The post Tamron 17-70mm f/2.8 for Sony Review: A Versatile Lens for a Great Price appeared first on Digital Photography School. It was authored by Suzi Pratt.
In December 2020, Tamron announced an exciting new lens: the 17-70mm f/2.8 for Sony.
The Tamron 17-70mm is small, lightweight, and designed for APS-C cameras – plus, it offers two excellent features often lacking on Tamron lenses.
But how does it function in the real world? And is it worth the $ 799 price tag?
Let’s find out in this hands-on Tamron 17-70mm for Sony review!
Tamron 17-70mm for Sony: overview
A 24-105mm lens offers one of the most popular focal length ranges available, thanks to its wide-to-telephoto reach. It’s a versatile pick used by casual and professional photographers alike.
And the 17-70mm is Tamron’s version of this lens because its focal length translates to 25.5-105mm on an APS-C body.
The Tamron 17-70mm is made for Sony APS-C (crop-sensor) cameras, so it’s ideal when combined with the popular Sony a6000 (or any of its recent variations). The lens can also be used on Sony full-frame cameras like the Sony a7S III – as long as the APS-C mode is selected.
Constant fast aperture
The 17-70mm f/2.8 for Sony is Tamron’s first fast-aperture zoom lens for APS-C cameras.
The lens maintains a constant f/2.8 aperture throughout the entire zoom range, while other APS-C Tamron zooms use variable apertures (i.e., apertures that shift as you zoom).
A constant aperture, especially a fast f/2.8 aperture, makes the 17-70mm great for shooting in low light. And at f/2.8, you can capture shots with creamy bokeh, like this one here:
1/1000s | f/2.8 | ISO 640
Vibration compensation
The 17-70mm also comes with Tamron’s image stabilization (Tamron calls this VC, or Vibration Compensation) to reduce camera shake.
Note that VC is often missing on Tamron lenses, especially those with constant apertures, so it’s certainly a welcome bonus on the 17-70mm.
Lenses with VC make it easier to shoot handheld photos and videos, especially at slow shutter speeds. That’s how I was able to pull off this handheld long exposure:
Handheld shooting at low shutter speeds is made possible by Vibration Compensation. 1/6s | f/13 | ISO 320
(Speaking of video: the 17-70 is a great video lens, thanks to the flexible zoom range, constant aperture, and inclusion of VC!)
Build and handling
If you’ve tried any recent Tamron lenses, the 17-70mm will look and feel very similar.
The lens is made mostly of plastic, which helps keep the weight down (it comes in at 1.2 lb/525 g), though you also get rubber zoom and focus rings.
The lens physically extends and retracts when the zoom ring is twisted. With dimensions of 2.9 x 4.7 in (74.6 x 119.3 mm), the lens can feel a bit large and off-balance when attached to a smaller camera like the Sony a6000. It definitely feels more balanced when used with a Sony full-frame camera.
The Tamron 17-70mm f/2.8 for Sony is moisture resistant and also has a front element with a fluorine coating to protect it from smudging.
And speaking of the front element, the lens has a filter size of 67 mm, common among Tamron’s recent lenses.
1/250s | f/4 | ISO 640
Performance
I used the Tamron 17-70mm in outdoor hiking and indoor restaurant settings, and the autofocus worked well for photos and videos.
The lens has quiet focusing thanks to an RXD stepping motor. This works wonderfully with Sony mirrorless cameras, which still offer the best autofocus on the market.
It’s easy to switch to full manual focus simply by twisting the focus ring. Also, with a minimum focusing distance of 7.5 in (19 cm), the lens has decent macro capabilities (and close-up shots look great with that gorgeous f/2.8 bokeh).
1/200s | f/4 | ISO 640
Image quality
Constant-aperture lenses tend to produce sharp, crisp images. You pay for it, though, because constant-aperture lenses – especially zoom lenses – don’t come cheap.
But while the Tamron 17-70mm is priced well under $ 1000, image quality is tack sharp across the entire focal length range, even at f/2.8. If Tamron can make more lenses like this at similar price points, they’ll win over many photographers and videographers.
At times, the 17-70mm does produce chromatic aberration and excessive vignetting, especially when shooting scenes with high contrast. Luckily, these are problems that can easily be solved in most photo editing programs, including Lightroom or Photoshop.
1/60s | f/2.8 | ISO 2000
Tamron 17-70mm alternatives
There are no true competitors to the Tamron 17-70mm f/2.8, at least not at its price point. When looking at similar lenses, the price goes up dramatically – or you sacrifice certain features.
Sony lens choices
The closest Sony competitor is the Sony E 16-55mm f/2.8 (24-82.5mm on APS-C cameras), which offers the constant f/2.8 aperture but is 15mm short on the telephoto side. The 16-55 also lacks image stabilization and will set you back $ 1,300.
The Sony E 18-105mm f/4 is a more affordable choice, coming in at around $ 600. This APS-C zoom lens offers a wider focal range than the Tamron plus image stabilization. However, the constant aperture is f/4, which is a lot slower than the Tamron’s f/2.8.
1/320s | f/10 | ISO 640
Who should buy the Tamron 17-70mm for Sony?
Considering the price and features of this lens, the Tamron 17-70mm is suitable for both professional photographers and videomakers alike, especially for those on a budget.
The lens’s features are typically found on glass that costs twice as much, including the constant f/2.8 aperture and the Vibration Compensation. It also offers remarkably sharp image quality considering its cost.
And given the relatively accessible price, the Tamron 17-70mm is also appropriate for beginner or amateur photographers and videomakers looking to increase their skills.
Using a constant f/2.8 aperture is a treat, and this lens will help budding photographers take better images in low light with nice, creamy bokeh.
So grab the Tamron 17-70mm f/2.8 for Sony right here!
Now over to you:
What do you think about the Tamron 17-70mm f/2.8? What do you like about it? What do you dislike? Will you consider buying it? Share your thoughts in the comments below!
Tamron 17-70mm f/2.8 sample images
1/60s | f/2.8 | ISO 800
1/100s | f/3.5 | ISO 640
1/320s | f/2.8 | ISO 300
1/1250s | f/2.8 | ISO 300
1/1000s | f/2.8 | ISO 300
The post Tamron 17-70mm f/2.8 for Sony Review: A Versatile Lens for a Great Price appeared first on Digital Photography School. It was authored by Suzi Pratt.
The post Weekly Photo Challenge – Sunrise appeared first on Digital Photography School. It was authored by Sime.
It’s 2021 and it’s simply time to see your sunrise, wherever you are in the world! This week, simply post your sunrise photograph and roughly where it was taken (which town are you in or near?) in the comment section. #dPSSunrise
Don’t forget, you can go back and try ALL of our CHALLENGES over HERE!
A sunrise can show many things, quality of light, silhouette, rays of sun, clouds, water… Whatever, as long as it’s a sunrise! Tag your post on social – #dPSSunrise
Share on Instagram and tag us so we can repost you! @DigitalPS
Photo by Federico Respini on Unsplash
Remember! Note down where you made your photograph and share it in the comments!
Share on Instagram or Twitter and use the hashtag #dPSCars 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.
The post Weekly Photo Challenge – Sunrise appeared first on Digital Photography School. It was authored by Sime.
The post 21 Family Portrait Ideas for Gorgeous Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Preparation is key to any successful photoshoot, and having plenty of family portrait ideas will help ensure your session goes as smoothly as possible.
Whether you’re working with friends, repeat clients, or new customers, you want to make your family portrait sessions fun and engaging, because this will always lead to better pictures.
So if you’re stuck in a rut or just looking for something new to try, check out these 21 ideas. They’ll stimulate your creativity and get you thinking about fun ways to take pictures of families.
Let’s get started.
1. Standing together
This one won’t win any awards for creativity, but it’s a classic. It just works.
Position everyone close together, with those on the outside turned slightly inward. Kids can stand on the ground or be held by an adult.
I always like to start with shots like this to cover my bases before I try new and creative ideas. That way, you can always deliver a classic posed image your clients will love, in case your other ideas don’t quite work out.
2. Look for interesting backgrounds
While the focus of your family photos should always be the people, it can help to use different locations – especially if you find yourself working with repeat clients.
Introducing new background elements or other scenery can dramatically alter the look and feel of an image, and will give your clients pictures they will remember forever.
This type of shot is a classic for a couple of reasons. For one, families love it. Plus, it’s the type of photo you can’t get with a mobile phone.
I recommend using a zoom lens, because you can zoom from telephoto to wide as the group gets closer.
It also helps to have a camera with a fast continuous shooting speed and a deep buffer, so you can take as many shots as you need to nail the perfect one.
5. Go for a run!
This one works great if you have children involved. Just tell everyone to back way up and then run toward the camera.
Make sure everyone is holding hands; otherwise, the speedier ones will end up ahead.
Also, quick tip:
Use your camera’s high-speed shooting functionality combined with a fast shutter speed to freeze the action.
6. Showcase the generations
When doing a multigenerational family portrait session, it’s a good idea to get at least one shot showing the eldest couple plus the family.
Put the eldest couple in the middle and surround them with their children, grandchildren, and other relatives. This creates a sense of closeness and family bonding that’s immediately apparent to anyone who looks at the photo afterward.
This might seem like cheating because a single headshot isn’t the same as a family portrait.
But I love taking headshots for my family clients since they require almost no extra effort on my part and the families always enjoy the results.
(I’ve found that most people aren’t expecting individual headshots when you do a family portrait session. So they’re seen as a fun bonus and will keep clients calling for repeat business.)
The sun also adds a nice rim light to the newly engaged couple. See how they shine in the late afternoon sun?
The couple was thrilled with the result, and your clients will be, too.
8. Group the genders
Grouping the genders isn’t exactly new or groundbreaking. But it’s a tried-and-true formula for success – one that your clients might not think about in advance but will greatly appreciate afterward.
So put all the women together and take some shots, then do the same for the men.
My clients always have fun doing this, and it gives them some great photos to hang on their wall.
Ditch the poses for a minute and let your clients just have fun. This works especially well with young kids; parents will pick them up, swing them around, and have a great time just enjoying the day.
But have your camera ready to capture those moments!
I did many family photo sessions that left me frustrated. You see, I didn’t have a great solution for a very basic problem:
I didn’t have a spot for people to sit.
If you’re in a controlled studio environment, you can deal with this easily. If you like to shoot out in nature, however, you might not be so lucky.
Thankfully, with a few cheap pieces of wood from any home improvement store, along with some tools and a free afternoon, you can build your own photo benches (and solve this problem once and for all!).
I now have three benches in different sizes that I use to accommodate a variety of families. They can be used separately or placed together as one long bench. It doesn’t even matter if they get scuffed or dirty, since imperfections add to a sense of character.
And the results are amazing, plus I no longer worry about finding a spot for my clients to sit comfortably.
Amidst the joy and chaos of a family photoshoot, it’s easy to overlook this classic pose – but it’s one that you’ll regret leaving out.
Parents love shots with their kids together, and even when not all the kids are happy and cheerful, I still get positive comments. Pictures like this show the unique personalities of each child, and I usually get one or two kids smirking, grinning, or doing their own thing, to which their parents say, “Yup, that’s just who they are!”
This old coffee table was what I used before I built my own photo benches. Nikon D750 | Nikon 70-200mm f/2.8 | 200mm | 1/200s | f/4 | ISO 250.
12. Involve the pets
Bringing pets to a photoshoot can be a mixed bag. When you introduce a four-legged friend to a formal family photo session, you add a lot of uncertainty, and it’s almost impossible to make the animal do what you want it to.
Even so, there’s a host of important benefits: It puts your clients at ease, helps them remember their pets fondly, and can make for some genuine smiles.
I find this works best if you do your photo session at your clients’ house. But if you do go out, make sure the clients bring a portable kennel or some treats to keep the furry friend occupied when it’s not in the shot.
I like going out around town to do family photo sessions (preferably to a handful of places I have scouted in advance and used many times before).
The nice thing about some of these spots is that they have built-in structures and other accoutrements that allow you to take fun, sometimes unplanned, pictures of your clients.
So don’t be afraid to include these! Embrace the structures around you and use them to add flair to your photos.
This one is a little tricky, but the results can be absolutely heartwarming.
Just be careful how you talk with your clients and direct them during the shoot. You don’t want signs of affection to be forced or uncomfortable, and unless you are good friends with your clients, you might not know where to draw the line.
That being said, I’ve had nothing but positive results just by asking parents to give a quick hug or kiss to their little children. These simple signs of affection often end up being my clients’ favorite shots.
Any time you do a family photo session with kids, particularly younger ones, you have to be willing to accept a degree of uncertainty.
After all, the kids might be hungry, fussy, or defiant – and it’s your job to make the best images possible in spite of these obstacles.
I don’t recommend handing out sweets or treats to children, as this can introduce even more unwanted uncertainty. But if you want to get the kids to cooperate, ask your clients to bring along some of their child’s favorite books. This helps them relax and can lead to some very special pictures.
I do almost all of my work for clients outdoors. But sometimes I’m invited inside their homes, and this can make for some very special sessions.
If you schedule a shoot at your clients’ house, ask if you can arrive early. Assuming you get the go-ahead, come before the session and politely look for good spots to take pictures. Look for furniture, toys, and large windows that will let in plenty of light.
Ideally, you want to schedule a pre-consultation with your clients to discuss the session. Treat these at-home opportunities with the respect and dignity your clients deserve, and they will be glad to ask you for future photo sessions.
My friend asked if I would take pictures when he received his Ph.D., and I made sure to include campus buildings in the frame to serve as a reminder of his time in graduate school.
18. Capture candids
Sometimes the best shots of a photo session are completely unplanned. While posed pictures are nice, it’s also fun to get pictures of your clients just walking around, laughing, talking, and enjoying one another’s company.
In other words:
When photographing a family, show them being a family!
And it’s okay to cheat a bit here, too. For the shot below, I asked the couple to walk across the veranda, then I caught them in a candid moment of joy.
Fuji X100F | 23mm | 1/125s | f/5.6 | ISO 400
19. All hands on deck
When taking pictures of a large family, especially one that spans multiple generations, make sure to get an image with hands.
Clients love seeing mementos like this, and they can instantly pick out which individuals were present just by looking at the hands.
Plus, an image like the one below captures myriad details that are missing in headshots and full-body portraits: wedding rings, the weathered hands of the grandparents, and the small hands of children next to their mother’s and father’s hands. It’s a touching image that speaks volumes about the family without showing any faces at all.
Any time I do a family session, I make sure I’m well prepared. I have a clear idea of my goals for the session, where I want to be, what kinds of images I want to get, and of course, plenty of spare batteries.
But you have to be willing to adapt and incorporate your clients’ ideas, too. They might want to try something different, go to a new location, or pose in a way you hadn’t considered.
Don’t shut these ideas down! Even if the images aren’t your personal favorites, your clients might love them, and they will certainly appreciate your willingness to listen to their suggestions.
This idea is last because you have to use it carefully. If you know your clients well, and if there are young children in the family, then one fun thing to consider is a remote-controlled fart machine.
Yes, I know that seems absolutely ridiculous, but nothing sends kids into a gleeful bout of giddiness quite like an unexpected breaking of wind.
These little gadgets are inexpensive and can be hidden underneath a bench, taped to a stool, or tossed behind a tree. Right as you prepare to take a shot, click the remote and watch the kids erupt with laughter.
Adults might roll their eyes, but the kids will love it, and you’ll get some of your favorite shots of the session.
If you want to get genuine smiles and laughs from kids, this can definitely help. But don’t use it with new clients. Make sure you have a good relationship with clients and their kids first.
Family portrait ideas: Final words
There’s no guarantee that these family portrait ideas will result in perfect pictures. Any number of things can go wrong on a family shoot, but any number of things can also go right.
The point here is to fill your mind with possibilities. That way, you can do everything in your power to get the best possible shots.
And above all else, try to relax, have fun, and enjoy the session!
Your clients will love the results…
…and they’ll soon be asking you to come back for more pictures.
Frequently asked questions
What should my clients wear for a family session?
I recommend solid colors in matching groups (such as some people wearing blue, others wearing green, etc.). But remember that the photos are for your clients, and even if they show up in clothing you wouldn’t recommend, your job is to take good photos regardless.
Do I need a tripod for family photos?
Absolutely not! You can use one if you prefer, but I find that tripods and even monopods are more of a hassle than a help. You need to move around, especially if you’re shooting pictures of kids – and if you are tied down to a tripod, you won’t be nearly as flexible and adaptable.
You do a lot of outdoor family photos. What’s the best type of location to look for?
I try to avoid popular spots like botanical gardens and college campuses (which often have beautiful landscaping) and look for spots that are off the beaten path. My primary consideration is light: I like spots with tall trees and even lighting, even if there aren’t flowers or fountains. Choose your locations so the emphasis in your images will be on the people, not their surroundings.
What camera is best for family portraits?
You can use almost any camera for family photos, but I recommend one with a large buffer and the option for a battery grip. The former will prevent you from wasting time waiting for your camera while photo opportunities slip by. The latter will give your camera enough battery power to last for hours, which means one less thing for you to think about during the shoot.
Do I need an expensive portrait lens?
No, but if the only lens you have is the kit lens that came with your camera, I would recommend at least investing in a single prime lens. A 35mm or 50mm lens won’t be expensive and can yield amazing results, especially for family photos.
The post 21 Family Portrait Ideas for Gorgeous Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Are you struggling to capture incredible shots in a humid atmosphere? This is the story of almost every photographer. If you have worked in sweltering temperatures, you might be familiar with the preparations and care your camera needs to prevent condensation. Humidity and your camera are rivals. Photographers need to store their cameras and lenses in an ideal storage humidity Continue Reading Photodoto
If you don’t have a lens wide enough to capture the vista before you or the skyscraper above you, then creating a panorama is a great option.
Panoramas are often made of wide scenes, but you can also create vertical panoramas of very tall subjects.
Alternatively, you can create an Affinity Photo panorama with images taken in a grid. That way, rather than making a wide or tall panorama, you can stitch together photos to capture an image both taller and wider than you could shoot with your widest lens.
Note that you can make a panorama of anything; it doesn’t have to be a wide or tall scene.
Hardcore pano photographers will insist a tripod is necessary. Personally, I prefer not to use one when I make panoramas, with one exception: when I need a slow shutter speed and want to keep my camera steady.
Include overlap
When you take photos for a panorama, you must include a reasonable amount of overlap from one image to the next.
Without this overlap, Affinity Photo can’t seamlessly stitch the photos together.
But how much overlap should you include? Generally, I’d recommend around 25% or 30% overlap for great results.
When I take photos for a panorama, I look at an element in each frame about 25% from the edge. I then include that element in the next frame (also about the same distance from the edge). As I move my camera across or up and down while taking pictures, I am careful to line up the non-joining edges as evenly as I can. Trying to keep a straight line helps to make a panorama that will crop well.
Using a standard focal length lens or longer is best. If you use a wide-angle lens, you will run into problems lining up the images due to edge distortion.
Once you have a series of photographs for your panorama, open Affinity Photo.
If your photos are in RAW format, edit the colors and tones so the images look their best. Try to give each photo similar tones and color temperatures, because if your photos are different exposures or color temperatures, this will be noticeable.
I generally create a resized set of images for each new panorama. I make sure to reduce the file size, especially when I’ve taken a lot of photos. This makes it easier for Affinity Photo to manage many files at once.
(If you leave your images at full size and full resolution, you’ll be waiting a long time for your panorama to render.)
Once you’ve resized and saved your photos, go to the top menu in Affinity Photo.
Select File>New Panorama. This will open up a dialog box.
Click on Add, then navigate to the folder where you saved your images for the panorama.
Select every file, then click Open. The photos will be imported into Affinity Photo.
Then select Stitch Panorama. Once you’ve clicked this, you will see a preview of your panorama on the right and the individual files on the left.
If there are any images that Affinity Photo cannot stitch with the others, they’ll appear below the preview.
Click OK. Affinity Photo will render your panorama and open it as a new document. This may take a while, depending on:
The number of images you have
How large each image is
How powerful your computer is
Tweaking your panorama in Affinity Photo
Once your panorama is rendered, you will most likely have some blank space around it. There are a few ways you can edit this.
Cropping is the easiest. When you click on the Crop tool, a new menu bar will appear above your document. If you select the option to Crop to Opaque, Affinity Photo will automatically adjust the crop bounding box to exclude any areas that are blank.
You can also rotate your panorama if your horizon or verticals are not straight. And you can freehand crop your panorama.
Another option is to Inpaint Missing Areas. You’ll see an icon in the middle of your screen above your document (though you’ll need to deselect the Crop tool first; otherwise, the icon won’t be visible).
When you click Inpaint Missing Areas, Affinity Photo will use its AI technology to autofill the blank areas around your panorama. This works best when there is not much detail along the panorama edges.
As you can see in my example below, Affinity has managed to fill in the sky very well. But at the bottom, the inpainting is not good because there’s too much detail in the rice field:
With the Inpaint Missing Areas tool selected, click Apply. Affinity Photo will render your panorama and present it as a single image file.
For this example, I chose to use the automatic inpainting because it filled in the sky nicely. Once my panorama rendered, I then cropped the funky area from the bottom where Affinity did not extend the rice field well.
Creating Affinity Photo panoramas: conclusion
Affinity Photo panoramas are very easy to create, especially if you’re careful to add plenty of overlap when taking your photos.
If you haven’t tried creating a panorama, give it a go. Experiment with a simple series of images to start with. You can make a panorama with two to five photos to keep things less complicated. Then, once you have a feel for the process, start to include more images in each series.
Try using different focal lengths to see which you prefer. If you want to make a very detailed panorama, use a long lens and take lots of photos.
Remember, though: The more photos you include, the longer it will take to render your panorama!
Now over to you:
What types of panoramas do you want to create with Affinity Photo?Share your thoughts – and photos – in the comments below!
The post How to Create Panoramas in Affinity Photo appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
The post How to Reduce Camera Shake – 6 Techniques appeared first on Digital Photography School. It was authored by Natalie Norton.
Are you struggling with camera shake? Do your photos turn out blurry whenever you hand-hold the camera?
You’re not alone.
Camera shake is a huge problem. It’s the reason why beginners (and even experienced photographers!) end up with soft, blurry, unwanted photos.
Fortunately, there are a few simple techniques you can use…
…to ensure that your photos never suffer from camera shake again!
So here are six simple techniques for avoiding camera shake and achieving crisp, delicious images – no matter what.
Let’s dive right in, starting with the very first technique:
1. Tuck your elbows in
This technique is simple, yet it really works.
Just pull your elbows in toward your body and let them rest against your chest.
(You can press your elbows firmly into your chest for even greater stability.)
Like this:
It will give your arms a rock-solid foundation to work with so that your hands are utterly motionless.
And when you press the shutter button, you’ll have no camera shake to speak of.
Another quick tip:
Once you have your elbows tucked in, exhale completely before hitting the shutter.
Why?
Because even the slightest movement can cause unwanted shake, especially as you increase your shutter speed.
2. Raise your left shoulder
If you’re a right-eyed photographer, then you’ll need to shift to your left eye to use this technique. If you’re a left-eyed photographer, then you won’t need to change a thing!
Here’s what you do:
Raise your left shoulder high. Then brace your left elbow against your ribcage.
For further stability, you can pull your right elbow into your chest (as discussed in the previous technique).
Also, make sure you exhale completely before pressing the shutter button to avoid introducing additional camera shake.
3. Create a tripod with your knee
If you’re taking a photo low to the ground…
Or you don’t mind getting a little dirty…
Then this is the camera shake reduction technique for you!
And it’s pretty darn easy to pull off.
Simply sit down.
Bring your knee up.
Then rest your elbow on it, like this:
Again, bring in that other elbow for greater support.
You’re essentially creating your own tripod – so you have solid support wherever you go.
4. Lie down on the ground
In general, this is the most effective way to avoid camera shake without a tripod.
All you do is lie flat and let the lens sit directly on the ground.
To prevent any downward tilt of the camera, you can put a hand underneath the lens barrel or lens hood.
(If that doesn’t do the trick, you can always create a fist.)
In the first image, you’ll notice that I placed my hand flat against the cement and balanced the lens on top to give myself some height:
In the second image, I created a fist with my hand to give myself even more room to shoot.
Of course, this technique isn’t always feasible. If your subject is high off the ground, you’re probably not going to want to shoot from such a low angle.
(Imagine doing an engagement session while lying flat against the ground!)
Plus, lying on the ground can be uncomfortable, especially if you’re shooting on cement, in mud, in water, etc.
So work with this technique when you can, but don’t be afraid to use one of the other options on the list if need be.
5. The machine gun hold
This next technique is sometimes referred to as the machine gun hold, because you hold your camera like, well, a machine gun.
Personally, I don’t use this technique much. I find it awkward and difficult to maintain for more than a second or two.
But just because it doesn’t work for me doesn’t mean it won’t work for you. So give it a try and see what you think!
Here’s what you do:
Hold your camera to your eye with your right hand. Then raise your left elbow until your lens barrel can rest on it comfortably.
For added stability, place your left hand on your right bicep.
Like this:
6. Cradle your camera
Here’s your final technique for reducing camera shake:
Cradle your camera!
Like this:
As you can see, I crouched down and placed my left elbow on my knee.
Then I created a sort of cradle for the lens between my shoulder and my wrist.
It’s a pretty solid hold. Unfortunately, it’s tough to change positions once you’re cradling your lens, so the hold works best if you’re shooting an unmoving subject (e.g., a model during a portrait session).
Six techniques to reduce camera shake: conclusion
Well, there you have it!
You now know six simple techniques for reducing – or eliminating – camera shake.
And I can assure you that they work well; they’re the exact techniques that I myself use to avoid “The Shake.”
Now over to you:
Which of these techniques is your favorite? Have you tried any of them? Share your thoughts on camera shake – and camera shake reduction techniques – in the comments below!
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The post How to Reduce Camera Shake – 6 Techniques appeared first on Digital Photography School. It was authored by Natalie Norton.
The post Nikon’s Future: A Flagship Z Camera, 8K Video, and Affordable Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Nikon will be releasing “a flagship Nikon Z-series mirrorless camera…within the year,” said Keiji Oishi, a Department Manager of Nikon’s Imaging Business Unit. The camera “is being developed with the goal of surpassing the D6.”
This comes from a recently published DPReview interview with Oishi, which touches on the past, present, and future of Nikon’s camera business, including new cameras, lenses, Nikon’s mirrorless sales success, and the pursuit of 8K recording.
The development of a flagship mirrorless model is welcome news for Nikon fans; it firmly reinforces Nikon’s commitment to growth and innovation in the face of supply struggles and questions about the company’s viability.
While Oishi didn’t offer many details on Nikon’s upcoming flagship camera, he did claim it “will respond to the advanced needs of professionals” and will “debut a newly developed, high-resolution stacked CMOS sensor.” The term “high-resolution” is a relative one, but this could signal Nikon’s intent to compete with the upcoming Sony a1, an all-around powerhouse packing a 50 MP sensor, class-leading autofocus, and 8K/30p recording.
In other words: Nikon’s flagship model may look to satisfy more than just professional sports photographers. Were the camera to pack 45+ megapixels while offering fast autofocus and shooting speeds in the spirit of the D6, it’d be capable of capturing sports, events, portraits, and even pro-level landscapes.
As for video:
Oishi claims that Nikon’s engineers “are considering powerful video features such as 8K that respond to the needs of all kinds of content creators and professionals.”
So while 8K video isn’t a guarantee, it’ll likely find its way into the upcoming flagship model. With the 2020 arrival of the Canon EOS R5 and the days-away release of the Sony a1, Nikon will soon be the only leading camera manufacturer without an 8K hybrid camera. And while Nikon is ostensibly a stills-centric brand, the 8K bandwagon is one that it won’t want to miss.
So when can we expect this high-resolution, high-performance, 8K powerhouse?
Given the lack of recent leaks, don’t hope for anything before summer 2021, and fall or winter is a realistic possibility. But we’ll definitely see the camera before the year is out, assuming all goes to plan.
A few other interesting tidbits from the interview:
Nikon aims to produce lenses “with a focus on more compactness and affordability” in the hopes of “mak[ing]…lenses more accessible to more people.” This will come alongside an effort to offer an expanded lineup of APS-C Z-mount cameras.
(Currently, Nikon only offers a single APS-C Z-mount model, the Z50.)
Nikon camera sales have “defied expectations” these last few months, especially with the launch of the Z6 II and the Z7 II. As Oishi explains, “In the last quarter, we reported record mirrorless sales, which was helped by strong performance of the Z7 II and Z6 II. We observed strong sales of new products, both mirrorless cameras and lenses.”
Oishi thinks the hot Z6 II and Z7 II sales come from DSLR holdouts; he states that “many loyal Nikon users [were] waiting on the second generation of the Z series,” and that, thanks to “the improvements we put into the second generation,” Nikon DSLR shooters have finally bought into the Z system.
This is all excellent news for Nikon fans, and while the company still has a long way to go, it’s clearly taking steps in the right direction.
Now over to you:
What do you think about Nikon’s upcoming flagship mirrorless camera? Where do you see Nikon headed over the next few years? And what affordable lenses would you like Nikon to produce? Share your thoughts in the comments below!
The post Nikon’s Future: A Flagship Z Camera, 8K Video, and Affordable Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post Getting Landscapes Sharp: Hyperfocal Distances and Aperture Selection appeared first on Digital Photography School. It was authored by Elliot Hook.
Want to know how to master depth of field and hyperfocal distance – so you can capture consistently sharp landscape photos?
You’ve come to the right place.
Because in this article, I’m going to tell you everything you need to know about hyperfocal distance.
And by the time you’ve finished, you’ll be able to confidently use it in your own landscape photography.
Let’s get started.
Keeping your landscape photos sharp: depth of field
Great landscape photos generally have all of their key elements sharp.
This includes foreground objects that are just meters from your camera, as well as background elements that are kilometers away.
In this scene, it was important to capture everything in sharp focus – from the frozen puddle in the foreground to the hills in the background.
So how do you achieve such perfect front-to-back sharpness?
By ensuring that your depth of field is large enough to render everything of interest suitably sharp.
Let me explain:
When you focus on an individual point within your landscape, you are creating a plane of focus that lies parallel to the sensor.
Everything in front of and behind that plane is technically not in focus. But there is a region within which objects will appear acceptably sharp – even though they’re not in focus!
That region is the depth of field.
Put another way, the depth of field is the range of acceptable sharpness within a scene, moving outward from the point of focus.
For instance, in the graphic below, the camera is focused on a rock:
A theoretical example showing the depth of field for a given focal length, aperture, and point of focus.
So the plane of focus sits parallel to the sensor at that rock, and the limits of acceptable sharpness that form the edges of the depth of field lie in front of and behind that plane.
If you were to fire the shutter button on that camera, you’d get a photo with a sharp rock. The front of the first tree would be sharp, and the rest of the trees would fade into softness.
Make sense?
Factors affecting depth of field
Thus far, I’ve talked about depth of field as if it were a fixed property.
But it’s not. Your depth of field can change depending on three key factors:
Focal length
Aperture
The distance between the camera and the point of focus.
Let’s take a closer look at how each of these elements affects depth of field, starting with:
Focal Length
A short focal length (e.g., 20mm) will give you a greater depth of field than a long focal length (e.g., 400mm).
So while it’s easy to keep an entire scene in focus with a wide-angle lens, you’ll struggle to do the same with a long telephoto.
Of course, changing your focal length will alter your field of view and therefore your composition, so you should rarely adjust your focal length to change the depth of field. Instead, select your focal length, frame your composition, and then use the next factor on this list to achieve the perfect depth of field:
Aperture
A narrower aperture, such as f/16, will produce a deep depth of field. A wider aperture, such as f/2.8, will give you a shallow depth of field.
So if you’re after an ultra-sharp, deep-depth-of-field shot, you’ll want to use a narrow aperture.
But be careful; extremely narrow apertures are subject to an optical effect called diffraction, which will degrade image sharpness. So while you should absolutely use aperture to adjust the depth of field, be on the lookout for blur.
Distance to the point of focus
If your focal point is close to the camera, then you’ll get a shallower depth of field. If your focal point is far from the camera, you’ll get a deeper depth of field. So if you shoot a distant subject, it’ll be much easier to get the entire scene sharp!
In other words:
To increase the depth of field, you can either choose a more distant subject…
…or you can back up to frame a wider shot.
Note that these three factors work together to determine the depth of field.
No one factor is important than any of the others; instead, they’re three variables in the depth of field equation.
So if you want a deep depth of field, you could use a narrow aperture or move farther away from your subject or use a wide-angle lens.
(You could also do all three of these things for an ultra-deep depth of field.)
And if you want a shallow depth of field, you could use a wide aperture or move closer to your subject or use a telephoto lens.
Keeping the entire scene sharp with hyperfocal distance
If you’re dead-set on capturing a scene with front-to-back sharpness, then you’ll need to understand another key concept:
Hyperfocal distance.
Hyperfocal distance is the point of focus that maximizes your depth of field.
In fact, by focusing at the hyperfocal distance, you can often ensure that the entire scene is sharp, from your nearest foreground subject to the most distant background element.
Look at the graphic below:
By focusing at the hyperfocal distance, the entire scene will fall within the depth of field.
Do you see how the area from the point (or plane) of focus onward is sharp?
That’s what the hyperfocal distance will do for you.
And it’s the reason landscape photographers love using the hyperfocal distance.
Because by selecting a narrow aperture, and by moving the point of focus to the hyperfocal distance, you can render the entire scene in focus – for a stunning result!
(By the way, when focusing at the hyperfocal distance, the near acceptable sharpness limit is half of the hyperfocal distance.)
Now, you’re probably wondering:
How do you determine the hyperfocal distance when out shooting?
Technically, you can do a mental calculation, but this can get pretty complex. So I’d recommend you use a hyperfocal distance chart or calculator (there are plenty of apps for this, such as PhotoPills).
Eventually, you’ll be able to intuitively identify hyperfocal distances for common apertures and focal lengths – so you won’t even need to use an app!
Aperture selection and the dangers of diffraction
As you should now be aware, a narrow aperture deepens the depth of field.
So if you want your entire scene sharp, you generally need a narrow aperture.
Unfortunately, choosing your aperture isn’t as simple as dialing in f/22. Thanks to diffraction, if you set such a narrow aperture, you may get the entire scene in focus – but still end up with a blurry image.
For example, the image below shows a comparison of the same scene, shot at f/8 (left) and f/16 (right):
The frosty fern leaf is an important part of the foreground interest here. And though both images look perfectly sharp when resized and compressed for browser viewing, the 100% crop for each image below shows a significant difference in detail:
The sharpness of the fern leaf at f/8 (left) versus f/16 (right). The image was captured with greater sharpness via a wider aperture of f/8 – though I took care to focus on the hyperfocal distance.
Do you see how the image on the right (taken at f/16) is blurrier than the image on the left (taken at f/8)?
That’s diffraction at work.
And note that, for the scene in question, both apertures resulted in a depth of field that extends from before the fern leaf to infinity.
(In other words: The blurriness has nothing to do with depth of field.)
Diffraction becomes an issue in all lenses as the aperture gets smaller, though it is more pronounced on inexpensive lenses. Typically, the sweet spot, in terms of lens performance, is somewhere between f/8 and f/11.
So when selecting your aperture, you’ll want to keep your lens as close to the sweet spot as possible, while also ensuring sufficient depth of field.
Getting landscapes sharp: conclusion
Now that you’ve finished this article, you can hopefully see that it’s worth understanding hyperfocal distance, aperture selection, and how they affect each other.
So make sure you find a nice hyperfocal distance app.
And remember to avoid tiny apertures (because they cause diffraction).
That way, you can get consistently sharp landscape shots!
Now over to you:
Do you struggle to keep your landscape photos looking sharp? Do you think an insufficient depth of field is the culprit?Or is it diffraction? Share your thoughts in the comments below!
The post Getting Landscapes Sharp: Hyperfocal Distances and Aperture Selection appeared first on Digital Photography School. It was authored by Elliot Hook.
The post 9 Pet Photography Tips appeared first on Digital Photography School. It was authored by Guest Contributor.
If you’re looking to capture some stunning pet photography, then you’ve come to the right place.
Because while pets are unbelievably cute, taking pictures of your best friend isn’t easy.
Pets, unlike humans, do not understand what we are trying to do. They won’t just pose for the camera!
That’s where this article comes in handy.
I’m going to give you nine simple tips for pet photography…
…that will get you taking beautiful pet photos in minutes!
Let’s dive right in.
1. Use natural light
When doing pet photography, always use natural light.
Why?
For one, flash can cause the red-eye effect, which looks, well, bad.
Plus, flash bursts can scare animals.
That’s why I recommend shooting outside (go out when it’s cloudy for some soft diffused light).
You can also try shooting indoors, but make sure you’re in a well-lit room (ideally one with a large window).
2. Keep the eyes sharp
Sharp eyes are always important in portrait photography – and pet photography is no different!
As they say, “The eyes are the window to the soul.” And your pet’s eyes can be very expressive.
So make sure to focus on your pet’s eyes. Keep them tack sharp.
(If you’re working with a shallow depth of field and can only get one eye in focus, make sure it’s the one closer to the camera!)
These days, some cameras offer eye AF for animals. With eye AF activated, your camera will identify your pet’s eyes – and nail focus consistently! So if your camera does offer this feature, I highly recommend you try it out.
3. Go to your pet
It is very important that your pet feels comfortable and at ease.
So instead of forcing your pet to come to you…
…go to them.
Most importantly, get down on your pet’s level. Sit on the floor or lie on your belly and remember to shoot from your pet’s eye level or below.
We all know how a dog looks when viewed from above; this is the way we always see them.
Instead, show us how your pet sees the world!
4. Highlight your pet’s character
You know your pet better than anyone else, and a successful picture is one that conveys the character of its subject.
So try to display your pet’s character in your photos.
If you have a lazy cat, show them yawning. If your animal is of the playful type, show them in action performing their favorite trick.
Really, the opportunities are endless! Just ask yourself: What is special about my pet?
And then try to communicate that in your next photo!
5. Go macro
Macro pet photography is intimate and often stunning.
And it’s not tough to do, either.
Simply use a macro lens, a telephoto lens, or some type of close-focusing camera.
Then fill the frame with your pet’s face and fur!
You’ll soon find that close-up shots make some of the best pet portraits!
6. Surprise your pet
One of the most difficult aspects of pet photography is keeping your pet still.
(Especially if you have a pretty energetic pet…)
So here’s an easy trick:
First, let your pet play quietly.
Then, once you have your camera set up and ready, give a quick whistle.
This will surprise your pet. With luck, you’ll have a few seconds to capture them in a nice, alert posture!
7. Time your session carefully
If you want to capture some formal-looking pet photography, then “schedule” your photoshoot when your animal is somewhat sleepy.
You might shoot after your pet has woken up from a nap. Or you might shoot late in the day, when your pet is tired and lacks energy.
That way, it will be much easier to capture a sharp shot.
Of course, if you want a more dynamic series of shots, then grab your camera at a time when your pet is especially active!
8. Be patient
Pet photography requires a lot of patience.
Dogs, cats, and other pets can be pretty excitable – but if you’re patient enough, your furry friend will end up relaxing.
And that’s when you can get some of your best shots!
In fact, you might consider starting your photoshoot with action images.
Then, as your pet calms down, you can capture intimate close-ups, cute poses, and more.
9. Experiment
Here’s your final pet photography tip:
Experiment!
Because while the advice in this article will certainly get you some great shots…
…there’s always room to try new things!
So take your time and enjoy the session. Don’t be afraid to test different approaches, angles, and compositions.
Shoot a lot; you can worry about the results later!
Pet photography tips: Final words
Hopefully, you now feel well-equipped to capture some stunning pet photos!
By getting low, being patient, carefully timing your session, and more, you can practically guarantee gorgeous results.
Now over to you:
What pets do you like to photograph? Share your favorite pet photography in the comments below!
This guest post on pet photography was submitted by Antoine Khater at All Day I Dream About Photography.Read more unique photography and retouching tips on Antoine’s website or subscribe to his RSS feed.
Table of contents
Pet Photography
GENERAL
9 Pet Photography Tips
1. Use natural light
2. Keep the eyes sharp
3. Go to your pet
4. Highlight your pet’s character
5. Go macro
6. Surprise your pet
7. Time your session carefully
8. Be patient
9. Experiment
Pet photography tips: Final words
1. Use natural light
2. Keep the eyes sharp
3. Go to your pet
4. Highlight your pet’s character
5. Go macro
6. Surprise your pet
7. Time your session carefully
8. Be patient
9. Experiment
Pet photography tips: Final words
9 Tips for Taking Better Photos of Cats
Beginner's Guide to Photographing Horses
Why Taking Pictures of Your Pets Will Help Make You a Better Photographer
How to get the Money Shot in Pet Photography
What Are Your Pet Photography Peeves?
PREPARATION
6 Tips for Working with Unruly Animals in Pet Photography
LIGHTING
Tips for Great Lighting for Pet Photography
GEAR
4 of the Best Lenses for Creative Dog Photography
Pros and Cons of Photographing Dogs with a Prime Lens
CREATIVE TECHNIQUES
Five Tips for Creative Pet Photography
10 Amazing Camera Hacks for Better Dog Photography
POST-PROCESSING
Fixing Animal Eyes in Lightroom
BUSINESS
Five Things You Need to Know Before Starting a Pet Photography Business
ADVANCED GUIDES
6 Tips for Photographing Dogs in Action
How to Shoot Animal Portraits
How to Photograph Agility Events and Other Dog Sports
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The post 9 Pet Photography Tips appeared first on Digital Photography School. It was authored by Guest Contributor.
The post Weekly Photo Challenge – Cars appeared first on Digital Photography School. It was authored by Sime.
We’ve had ‘transport’ but I thought maybe this week we’ll look at cars specifically!
We have SO many tips for photographing cars, and I’ve gathered a search for you (Click Here) and I also want to share a link to a friend of mine’s website, Larry Chen, he’s a Canon Explorer of Light and an amazing car photographer (Click Here) for some inspiration.
Don’t forget, you can go back and try ALL of our CHALLENGES over HERE!
Your Cuban Ride
Quick Car Photography tips? Here’s a list of seven that might help you.
Think about details and angles that you don’t often see or think about, perhaps you could try panning for a different looking photo?
You can upload your photo here (comments down below) or over in our Facebook Group.
Share on Instagram or Twitter and use the hashtag #dPSCars 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 favourite photo-sharing site and leave the link to them.
The post Weekly Photo Challenge – Cars appeared first on Digital Photography School. It was authored by Sime.
