The post Canon to Announce a New Camera and “Many, Many Lenses” appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon will soon be announcing “more lenses at once than ever before,” according to the often-reliable Canon Rumors.
This information comes from an unnamed source “with a stellar track record.”
According to CR’s source, “Canon is going to make a ‘massive splash with a new camera and many, many lenses.’” And while the source – and Canon Rumors – offered no information as to which lenses and camera this will be, we can certainly speculate, based on the Canon RF lens roadmap and leaked information on upcoming Canon mirrorless models.
So what gear can we expect from Canon? And when can we expect it?
Regarding lenses:
Canon’s leaked roadmap is pretty sizable, featuring a whopping 15 lenses to be released over the next couple of years:
Canon TS-R 14mm f/4L
Canon TS-R 24mm f/3.5L
Canon RF 10-24mm f/4L USM
Canon RF 14-35mm f/4L IS USM
Canon RF 18-45mm f/4-5.6 IS STM
Canon RF 100-400mm f/5-6-7.1 IS USM
Canon RF 35mm f/1.2L USM
Canon RF 135mm f/1.4L USM
Canon RF 24mm f/1.8 IS STM Macro
Canon RF 100mm f/2.8L Macro IS USM
Canon RF 400mm f/2.8L IS USM
Canon RF 500mm f/4L IS USM
Canon RF 600mm f/4L IS USM
Canon RF 800mm f/5.6L IS USM
Canon RF 1200mm f/8L IS USM
As you can see, Canon’s new lenses cater to wide-angle landscape shooters and sports/wildlife super-telephoto photographers, with a few fast primes sprinkled in.
I could certainly see Canon announcing most or all of the super-telephoto glass in one breath, especially if their release coincides with the announcement of Canon’s flagship, sports-focused mirrorless camera, the highly-anticipated EOS R1.
And previously, Canon Rumors did claim that the EOS R1 will “show its face in 2021” – and that the R1 will likely be teased prior to the 2021 Tokyo Olympics.
So does Canon’s “massive splash” announcement refer to a summer reveal of the EOS R1 plus a series of super telephotos? This seems plausible; releasing sports- and wildlife-focused super-telephoto lenses alongside Canon’s highest-performance mirrorless model to date certainly makes sense, though hopefully Canon will include a couple of non-specialist lenses to keep other users satisfied.
Another camera possibility is an EOS R5s, rumored to pack 90+ megapixels into a 35mm sensor, or an APS-C RF-mount EOS R7, designed as a mirrorless successor to Canon’s popular 7D lineup.
Regardless, I do think a summer 2021 announcement date is likely, especially given Canon’s current “supply chain and manufacturing issues.”
So if you’re a Canon shooter looking for additional lenses, or you’re a non-Canon shooter considering a switch to Canon, make sure you keep an eye out for more information!
Now over to you:
Which Canon RF lenses do you think will be announced? And which camera? Share your thoughts in the comments below!
The post Canon to Announce a New Camera and “Many, Many Lenses” appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Inspiration comes in many forms for photographers, such as light falling on an object, the time of year, look on a person’s face and others. Below is our list of 100 inspirational photography quotes along with images and links to their authors. We hope this large list inspires you and makes you take a moment to reflect on your photography. Continue Reading Photodoto
The post 13 Creative Food Photography Ideas (For Unique Results!) appeared first on Digital Photography School. It was authored by Simon Bond.
If you’re looking for creative food photography ideas, then you’ve come to the right place.
Because in this article, I’m going to give you 13 fun ideas to take your food photography to the next level.
So if you’re ready to move beyond basic food photos, and if you want to start creating compelling artistic images with your food…
…then let’s dive right in!
Food photos can have a message and a concept.
1. Try different points of view
Here’s a simple yet effective food photography idea:
Change your perspective.
You see, most people view their food from a sitting position. And that’s how many casual food photographers approach their food.
But if you adjust your angle, you’ll capture food in a very different way.
Here are some perspectives you could try:
Bird’s-eye view: Aim your camera directly down at the food from above.
Plate level: Get down on the same level as your plate and photograph across it.
Wider scene: It’s tempting to focus only on the food. Instead, use a wider lens to show the scene around the food (plus the food itself, of course!).
The bird’s-eye view angle is an effective one! Here, some food styling adds to the overall look.
2. Experiment with the white balance
Food is often photographed with an off-camera flash, which opens up a lot of creative possibilities.
One trick:
Put a gel on your flash (such as a blue gel or an orange gel). Then adjust the white balance of your camera to compensate for this color shift. Finally, fire your flash at the subject (while aiming to keep the background untouched by artificial light).
If you’ve done your work carefully, you’ll end up with a colorful background (a color opposite that of the flash gel), but neutral food!
3. Use a food artist
Getting someone to professionally style your food before shooting will give your photos a more creative feel.
As a photographer, you’ll be leaning on the creativity of your stylist here; your job will be to compose and light your image in a professional way.
Detail photos can create an unusual narrative. This is a close-up of a Korean kimbap slice.
4. Try out some light painting
Food photography is, in essence, a form of still life (though one that needs to be carried out while the food still looks fresh!).
As with most still life photography, you can use light painting to give your images a more dynamic look.
Here’s how it works:
First, set up your food and determine your composition.
Set your exposure, making sure the shutter speed lasts 10 seconds or more.
Then fire off a shot and use some form of light to “paint” your food.
(Anything that emits light could be used, from a smartphone to a programmable LED light stick.)
If all goes well, you’ll end up with a very pro-looking image!
Light painting with food photography is fun! I used a smartphone to create an artistic background.
5. Think about the background
If your photograph includes a background, you’ll need to use it in an aesthetically pleasing way.
Because the background matters – almost as much as the foreground, in fact!
Fortunately, there are a few easy strategies you can use to create a stunning backdrop:
Bokeh: Use a large aperture, focus on your main subject, and blur the background. Add some lights in the background for beautiful bokeh light balls.
Plain: Stick colorful paper or a painting behind your subject for a more standard, plain look.
Show a scene: Include the wider scene to give your food some context. (This could even include the restaurant where the food has been served!)
A large aperture blurs the background into beautiful bokeh.
6. Reflect your food
Here’s a creative food photography idea that makes for very modern, sleek images:
Reflect your food in glass for a double image.
Simply set up your food on a glass panel. Then lower your camera angle until you get a nice reflection in the glass.
You’ll want to make sure your food is well-lit – but be sure to avoid obvious balls of light bouncing off the surface of your glass.
Here, a cake is reflected on a sheet of glass.
7. Tell the story
Cooking and preparing food is a process.
So every dish goes through a journey before it gets plated and put on a table.
Try to document that journey! Look to take photos of food at various points along the way to the table, so you can create a complete picture of the food.
Here are a few times when you might want to photograph food:
When it’s growing. Food needs to be produced, and photographing it during this phase can help you tell a story, especially if you’re creating a series of images.
When it’s sold. A visit to the market is a fantastic opportunity for food photography because vendors often display their food in an interesting way.
When it’s cooked. If possible, photograph the chef as they prepare the food. Pro tip: If you can capture the chef adding the finishing touches to a dish, you’ll get an especially satisfyingshot.
On the table. The majority of food photos are of the plated meal. There’s nothing wrong with photographing food at this point; just aim to use some of these ideas to capture more creatively plated food photos.
A chef creates a fresh spring roll with rice paper (and he’s framed by rice paper, too!).
8. Create some detail photos
Get out that macro lens, and get in close to your food!
First, this will offer some interesting, never-before-seen perspectives.
Plus, focusing on the detail or shape of food just makes for some very cool photography!
Try focusing on a single item of food. Then switch it up, and capture lots of the same food repeating throughout your photo.
An off-camera flash captures the steam coming off the noodles.
9. Frame your food
Food photographers rarely frame food with important contextual elements.
But if you can find ways to create an interesting frame, you’ll end up with a much stronger composition.
For instance, you might try surrounding the main food item with items that relate to it, as I did in the photo below:
Here, the strawberries frame the main subject and add narrative to the photo.
Or you can use plates or cutlery to frame the food.
Really, the sky is the limit!
10. Try lensball food photography
Lensball photography is a fun technique that uses a crystal ball to create unique photos. Like this:
A lensball can provide a different perspective for food photos.
And they’re easy to use, too!
Just place your lensball close to the food…
…and you’ll get a very cool result.
11. Shoot food floating in midair
If you want to get a bit wild with your food photography, then try some midair shots!
For instance, you might show a banana floating off the ground, or a carrot suspended against a dark backdrop.
And if you want to take this a step further, you can try cutting up the food – so you get a set of suspended food slices smack-dab in the middle of your photo.
Of course, you’ll need to build some type of stand for your food (or use a technique like this one here), and you’ll need Photoshop to complete the effect.
But if you’re willing to put in the work, the results will be worth it!
12. Create a splash!
You can use water (or other liquids) to give your food a fresh feel – especially if you’re willing to get the food wet.
Now, there are a couple of different approaches to this. Both use flash to get that moment of capture.
Splash: Drop liquid-like milk, water, or juice onto food to create a splash.
Food into water: Drop food into a tank of water. Then photograph the food as it creates bubbles and splashes. Of course, this works best with fruit and vegetables; cake will likely be a bit messy!
13. Freeze your food
Here’s your final creative food photography idea:
Put your food in a tub of water, then stick it in the freezer.
Check back in a bit, and you’ll have a block of ice – with the food encased inside it!
Take out the block and photograph through the ice. You’ll end up with some unique images, like this one:
I froze these fish in a block of ice.
While you can try this technique on many different types of food, I like to use it for fish photography. It can even look like the fish are swimming in the water!
Creative food photography ideas: final words
Now that you’ve finished this article, you know plenty of creative food photography ideas.
And you’re well on your way to capturing some unique photos.
So take your camera, find some food, and have fun!
Now over to you:
What food do you plan to photograph? Which of these creative ideas do you plan to use first? Share your thoughts (and images!) in the comments below.
The post 13 Creative Food Photography Ideas (For Unique Results!) appeared first on Digital Photography School. It was authored by Simon Bond.
The post Capture One 21 Review: Dehaze, Speed Edit, and More appeared first on Digital Photography School. It was authored by Carl Spring.
In this comprehensive Capture One 21 review, I’m going to take you through everything you need to know about Capture One’s latest editing software.
In fact, as a beta tester for the newest release, I’ve spent plenty of time working with Capture One 21 behind the scenes (and I have used Capture One as my main editing software going all the way back to version 12!).
So let’s take a closer look at this software program – and determine whether it’s the perfect editor for you.
Starting with…
What’s new in Capture One 21?
The list of new features is a little lighter than in other major upgrades.
It includes:
A new import design
Dehaze
Speed Edit
ProStandard profiles
General speed upgrades and bug fixes
New tooltips and hints
The familiar Capture One layout with a few new additions. Are these enough to make it worth the upgrade?
Dehaze
Capture One’s new Dehaze tool is a welcome addition for landscape photographers. Dehaze has been in Lightroom for some time now, and it’s nice to finally see it in Capture One.
Basically, the Dehaze tool is there to reduce the amount of atmospheric haze in images and improve the saturation in low-contrast photos.
Dehaze is most commonly associated with removing fog or smog from an image, but you can also increase the haze – an effect that can add atmosphere. The tool can also be applied selectively via layers. To my eye, it seems to work quite well, but I’m a non-landscape shooter and have little to compare it to.
Now, I have seen this tool used to dodge and burn portraits, and it can subtly enhance faces if used sparingly.
However, while the Dehaze tool is good (and many claim it’s better than Lightroom’s), it’s not really the tool that landscape photographers desperately wanted. And for those of you who are not landscape photographers (like me), it’s a tool you will rarely use.
As a non-landscape photographer, I will rarely use the Dehaze tool. I had to search through my archive for a landscape shot.
Speed Edit
Wow! Just wow! Capture One 21’s new Speed Edit feature is really good. I am a huge Loupedeck fan, but I may be moving away from it for editing in Capture One. The Speed Edit tool really is the next best thing.
In basic terms, Speed Edit is a set of keyboard shortcuts you use with your mouse to edit images. Simply hold down the key associated with the edit, then drag the mouse to make the adjustment.
The process works incredibly well in practice and, within a few minutes, becomes second nature. The ability to edit images in a full-screen layout with no distractions is amazing. The only thing you will see is an unobtrusive slider at the bottom of the screen showing which edit you are carrying out.
Capture One 21 comes with the most common Speed Edit keys mapped for you, but these can be customized to suit your preferences. You can also adjust the sensitivity of your mouse. This can be changed easily, so if you are looking to get a set of rough edits done, you may want to leave the sensitivity quite low. Then, when you go back to complete final edits, you can fine-tune the sensitivity for precise control of the sliders.
The main editing tools come with corresponding keys, but you can easily change these and add other shortcuts.
The adjustments you can make to an image with Speed Edit are:
Exposure
High Dynamic Range
White Balance
Dehaze
Clarity
Levels
Vignetting
Sharpening
Lens Correction
You can also use these shortcuts to quickly and easily alter the size, opacity, and hardness of brushes. I’ve heard some people comparing Speed Edit to PC gaming, and while I’m not a gamer, it feels natural to use the keyboard and mouse in harmony like this while editing.
Speed Edit is a serious timesaver and brilliantly implemented. It will save a lot of people a lot of time when editing – especially if you edit hundreds of files at once. Also, the ability to edit without toolbars allows you to focus solely on the image.
The Speed Edit tool allows you to edit your images with no visual distractions, and it works perfectly in practice.
ProStandard profiles
This feature is currently only available for a selection of the most popular cameras, but Capture One is working on profiles for more cameras, and ProStandard looks like it will be the default profile for new cameras going forward.
Capture One states that these “ProStandard” profiles have been completely reworked to give much greater color accuracy while protecting hues and color shifts. For people doing work such as product photography or reproduction of artworks, this is a massive improvement.
But for those who are not in need of such accuracy, do the ProStandard profiles really make a difference?
The answer is yes – but it is subtle.
When I compared some files shot on a Canon 5D Mark IV, the unedited photo simply looked better with the ProStandard profile applied. Colors seemed a little richer and more lifelike, and it felt like a better starting point.
However, the difference is not night and day. So while ProStandard profiles are nice, they’re not an essential feature for most photographers.
One of these is the standard profile, and one is ProStandard. Can you tell which is which?
Import and speed improvements
The Capture One import process had a facelift.
It is now easier to pick and unpick selects before you import images into the system, and while I haven’t run tests, the actual import feels much faster.
Improvements continue under the hood. Capture One feels snappier. It’s hard to quantify this, but it’s something I noticed, and no doubt a lot of long-term Capture One users will, too.
The import is improved in Capture One 21. It’s faster overall, though many will not notice or need this.
Enhanced tooltips
When a software company lists new and improved tooltips and tutorials as a key feature, it really does make you question how significant the new version is.
Yes, the tooltips are improved, but they aren’t really needed past the first few weeks of using the software.
Then again, I am a long-term Capture One user. So I spent some time thinking about those who are coming across from Lightroom or other software, and here’s what I concluded:
The tooltips and tutorials will be useful while you get accustomed to the software. The tutorials are short, meaning you don’t have to wait too long before you can dive back into your edit. And the tutorials are well done. The tooltips, while annoying for longer-term users (you can switch them off!), will help you get to grips with Capture One 21 – so that mastering the software will not take you that long.
As a seasoned user, I forget that tips like this can be really useful when learning software.
Is Capture One 21 worth it?
Capture One marketed their software release with an approach of buy now, discover later. They ran a series of online events showcasing new features, each time promising there was much more to come.
However, there wasn’t much more to come, and many customers who either purchased or upgraded came out en masse to make their voices heard. Feedback was decidedly mixed, and many were not very happy with the new feature set.
And I’ll be honest:
It really doesn’t feel like a full-blown release to me.
A saving grace for the Capture One team is that they have upgraded Capture One 20 to run on the latest Mac OS X. This is a welcome gesture, one that will make the decision of whether to upgrade easier for many.
Capture One is working on an Apple silicon adaption, but this is not yet ready (though I’m sure it will be here sooner rather than later). Again, this is only useful for some users but worth pointing out, especially if you are tempted by one of the new Macs that Apple has already released or is bringing out in 2021.
I hope there is a large update within a few months that adds ProStandard profiles for many more cameras, and maybe even some more tools that make this version more of a must-have.
The fact that cameras like the Nikon Z7 II will only be supported in version 21 means that some users will have no choice but to upgrade, although I feel some may be headed back to Lightroom.
There was also a price increase that doesn’t sit well with me. At the time of launch, Capture One for Sony, Nikon, and Fujifilm cost $ 129, but the price was quickly boosted to $ 199 (and the price to upgrade increased, as well). Photographers (especially professionals) have had an awful 12 months, business-wise. While this price increase may bring in some extra cash in the short term, it feels like the Capture One team failing to read the room. The way this release has been so aggressively marketed will, in my opinion, see many moving back to Lightroom.
However, Capture One is still my choice of editing software, so would I recommend you upgrade?
I love how Capture One makes my images look. For new users, there is an obvious conclusion; for those upgrading, it’s a little different.
For new users
I always tell those who use Lightroom to try Capture One. And when doing a Capture One 21 review, it’s easy to get caught up thinking about upgrades for existing users.
However, Capture One 21 is the best version of this software yet. So for those who are exploring software alternatives, I would strongly suggest taking a look. Especially those of you who have cameras compatible with the ProStandard profiles.
If you shoot with one camera brand, you can even get a brand-specific version of Capture One 21, which will save you money.
Here’s the bottom line:
RAW processing is where Capture One excels, and this release proves no different. Capture One images simply look better compared to Lightroom. I still feel Capture One is the best RAW editor out there.
For existing users
The new tools in Capture One 21 feel aimed at a specific niche of photographers. The Dehaze tool has no real appeal to someone like me who rarely shoots landscapes. Yes, it is fun to experiment with Dehaze on portraits, but I will use this tool infrequently at best. And I’m sure this is true for any non-landscape photographer.
The ProStandard profiles are nice, but not yet available for many cameras. And the need for incredibly accurate colors caters to a select group of photographers.
The new tool I love is Speed Edit. It’s beautifully executed and removes the need for a workflow tool such as a Loupedeck for many users. The ability to edit images in full screen without distraction is simply amazing. For those (like myself) who shoot weddings or events, this tool will be a huge timesaver.
Lastly, there is the new importer. It’s nice, but honestly, most won’t notice the difference. And those who need the speed will continue to use Photo Mechanic.
So my Capture One 21 review boils down to this:
Which new tools will you use? And do they justify the price increase? Personally, I am not able to justify the upgrade price just for the Speed Edit tool. Like many other photographers, my work has been drastically affected in the past 12 months, and I cannot justify the price of the upgrade right now. I am sure many other working professionals are in the same boat.
That said, for a small section of photographers, the upgrade is a no-brainer. Capture One 21 is the fastest version of the program, and it has features some will welcome with open arms. If you are yet to try Capture One, you really should test it out and see what all the fuss is about.
However, I will wait for Capture One 22.
You can download a 30-day trial of Capture One 21 on the Capture One website.
The post Capture One 21 Review: Dehaze, Speed Edit, and More appeared first on Digital Photography School. It was authored by Carl Spring.
The post The Rule of Odds in Photography (An Easy Trick for Better Compositions) appeared first on Digital Photography School. It was authored by Rick Ohnsman.
When you create a photograph, you’re hoping to manipulate the mind of your viewer.
While photos are simple, two-dimensional representations of reality, you – as the photographer – hope to let the viewer see what you saw, feel what you felt, and experience the world as you did.
And that’s what the rule of odds in photography is all about:
Tapping into the brain of the viewer to create a more pleasing composition.
So if you’d like to make better photos, read on!
The choice of three tulips for this shot was very purposeful. I tapped into the rule of odds!
What is the rule of odds in photography?
The rule of odds states that, whenever possible, a composition should have an odd number of objects, not an even number of objects. So an image should have three flowers rather than two, and five people rather than four.
Why?
The rule of odds taps into the brain’s propensity to create order.
You see, when viewing a group of objects, we unconsciously want to group them in pairs.
But when we’re faced with three, five, or seven objects in a photograph…
…we have a group that can’t be easily organized.
With an odd number of objects, one may become dominant. At the very least, the viewer will look longer at the image, moving between the individual elements.
That is the power of the rule of odds in photography:
It creates a composition that makes the viewer’s brain work a little harder and look a little longer.
Three repeating shapes play to the rule of odds. You can line them up…
…or arrange them to form an implied triangle, as with these three flowers.
Three, five, or seven objects can work well.
Once you move beyond these single-digit numbers, we tend to treat all of the objects as a group – even if they’re odd.
Five objects also adhere to the rule of odds!
Creating compositions with the rule of odds
Certain genres of photography give you, the photographer, complete power over your composition.
So you can arrange and compose your scene to include an odd number of subjects.
You can also arrange the odd number of subjects in pleasing ways; for instance, you can include strong compositional elements such as lines and triangles. In fact, these compositional tools are one more way to tap into the viewer’s brain as it works to find lines and patterns.
Often in still life compositions, we have the ability to arrange our subjects, choosing what, where, and how many objects are placed.
And that makes it easy to apply the rule of odds, as I did in the photo below:
When you set up a still life photo, you have full control over what to include and exclude. Here, the lantern, gloved hand, and pickaxe are the three key elements in this composition, so it follows the rule of odds.
Of course, it’s not enough to think only about the number of objects. You still need to think about natural pairs, because while a cup, a saucer, and a spoon might make a pleasing composition, a cup, a saucer, and a screwdriver would likely puzzle your viewer – even though it follows the rule of odds!
It was no accident that I chose a stem of flowers with three roses. And note the three objects in this light-painted still life: the violin, the sheet music, and the flowers.
Flowers can make great subjects for tapping into the rule of odds. If you are arranging the flowers in the scene yourself, think about using a group of three or five rather than an even number.
If you’re shooting flowers in nature, perhaps you can frame your shot to include an odd number of subjects. (You could also clone out a flower afterward.)
This was a matter of framing the shot to include just these three flowers.
In this case, I framed the shot to only include three leaves.
This triple-trunked tree was a perfect rule of odds subject.
The rule of odds for other subjects
Out in nature, perhaps shooting landscapes, you usually don’t have the option of moving around subjects.
Instead, spend time exploring your scene – and find compositions that take advantage of the rule of odds in photography.
When shooting outdoors, see what you can do to create compositions with an odd number of major objects, be it mountain peaks, trees, rocks, or clouds.
Note that you can still apply the rule during post-processing; if you have four elements instead of three, you can always clone one out, as I did in the image below:
The three posts worked well for this rule of odds shot, but four birds were on the front post. No problem; just clone one out! Do you agree that three is better than four?
Whether you’re composing in the field or editing on your computer, the rule will usually still apply. An odd number of objects will create a stronger image.
There was a whole flock of gulls perched on this fence, but cropping down to just these three let me follow the rule of odds.
This shot was mostly about the great reflections in the water, but the three geese worked with the rule of odds and enhanced the story.
Three or five? The top shot was the original composition. There are six rocks, but because two of them are closely grouped, you could consider them five objects. Still, I think the cropped version – with just three rocks – is better.
When you can’t move objects, such as in landscape photography, you can still take advantage of the rule of odds. Just keep it in mind when composing your shot.
The simpler shot at the right has just three objects. It works better than the shot at the left with four.
The same goes for architectural photography. Here, the five-in-a-row repetition works well.
We’re used to a first, second, and third place winner in sporting events. So not only did the rule of odds improve the composition, but it also helped tell a story!
The original shot contained six kayak racers. I cloned one out to drop the count to five.
Exceptions to the rule
Do photography for a while, and you’ll hear all kinds of “rules” – the rule of thirds, the reciprocal rule, the left-to-right rule, and all manner of other compositional and camera operation rules.
Of course, there are always exceptions to the rules. And there are times when it’s good to break the rules for an even better composition.
So when should you break the rule of odds?
First, when photographing people, you shouldn’t always stick to the rule. If you’re shooting a couple, then it wouldn’t make sense to have a third person (and this, in fact, would lend a new meaning to the rule of “odds”).
Of course, should that couple have a child, great; the group of three would make a nice rule of odds composition. Then, if the couple were to have another child, you’ll have to find a different way to pose them that works around the rule of odds.
Here’s another time to break the rule of odds:
If you’re taking a photo of Mount Rushmore. Who are you going to leave out to adhere to the rule of odds?
Therefore, the rule of odds should be like the rule of thirds. Use it when it works to enhance your composition, but don’t feel constrained by it if your subject just doesn’t permit its use.
It was just luck that this group consisted of five guys, but it was helpful for composing the shot.
Triple threat. There just happened to be three individuals in this group, and who was I to argue?
The odd one
Perhaps you’ve heard the song on Sesame Street, “One of these things is not like the others.” It’s a little game the show uses to teach children observational thinking.
Well, you can play a similar game with the mind of a viewer.
Simply seek out scenes and compositions where something in the image is odd, different, out of place, or doesn’t match.
Such images can be powerful. They engage the mind of your viewer, drawing attention to the odd object and making your viewer look a little longer at your photo.
Which of these things is not like the others? The nonconformist tree makes for a more interesting image.
Does the power of an “odd one out” image have anything to do with the number of objects in your photo? It might, or it might not. Perhaps it doesn’t conform to the standard definition of the rule of odds.
Still, it’s a powerful technique, and a great way to make captivating photos that engage your viewer.
Where does your eye immediately go in this shot? Yeah, I confess that I colored the one flower pink – but the point is that the odd one out immediately becomes the focus of attention.
The rule of odds in photography: Final words
When someone tells you your photos are odd, take that as a compliment!
Seriously, they aren’t likely to say that, but if you can find ways to embrace the rule of odds in photography, you will have another trick in your bag.
Not only is it hip to be square, but it’s also cool to be odd!
Now over to you:
What do you think of the rule of odds? Will you try it out in your compositions? Do you have any rule of odds photos that you’re proud of? Share your thoughts and images in the comments below!
What is the rule of odds?
The rule of odds states that an odd number of objects in a photograph (3,5,7, etc.) will be more engaging to the viewer than an even number of objects.
In what kind of photography is the rule of odds most easily used?
Probably still life photography, where you have full control over the number of objects in your shot and how they are arranged.
Can I use the rule of odds in landscape photography?
Yes, you often can! Even when you can’t move objects in your scene, you can carefully compose and frame your image to capitalize on an odd number of subjects. Sometimes, you can also crop your image in editing or add/remove objects to create an odd number of subjects.
What is the “odd one out” method of composition?
A good technique can be to look for things that break the norm or “stand out” because they’re different from the rest of a photo. Such objects will immediately draw the viewer’s eye and become the focal point in your photo. Think of a red flower in a field of yellow ones, a fork in a line of spoons, and maybe a baby chick in a carton of eleven eggs, and you’ll get the idea.
The post The Rule of Odds in Photography (An Easy Trick for Better Compositions) appeared first on Digital Photography School. It was authored by Rick Ohnsman.
If you use older camera lenses for your photography you might have run into the problem of lens yellowing. Don’t worry this isn’t an irreversible problem and we can help you to fix it. It’s much easier than you might expect. Before fixing the problem it’s sometimes worth understanding why this is happening. The reason for the yellowing is its Continue Reading Photodoto
The post Choosing Lenses: When to Use Which Lens and Why appeared first on Digital Photography School. It was authored by Rick Berk.
All camera systems offer a dizzying selection of lenses. These range from fisheye lenses that give a 180° field of view to telephoto lenses up to 800mm. You’ve got zooms, primes, macro lenses, super telephotos, tilt-shift lenses, and more.
So it’s not surprising that, in my time as a photographer, I’ve often had friends, students, or casual acquaintances ask me, “What lens should I get?”
There is no one right answer to this question – it all depends on you, how you like to shoot, and what you like to shoot.
Which is why I’ve written this article.
In it, I’m going to give you a rundown of each type of lens. I’ll explain what the lens can do and when you’ll want to use it.
By the time you’re done, you’ll know the perfect lens for your needs.
Let’s dive right in.
Start with your subject and your budget
What lens should you use?
To answer this question, I’d like to ask a few questions of my own.
The first question, and the easiest to figure out is, “What do you want to shoot?”
It could be sports, wildlife, birds, landscapes, architecture, portraits, or any number of other subjects.
Next, ask yourself:
“What is my budget?”
The cost of a lens depends on several things. Less expensive lenses will generally have variable apertures – so as you zoom, the maximum aperture gets smaller. More expensive lenses have a fixed aperture.
The good news is that all major camera and lens manufacturers offer a variety of focal lengths to satisfy most budgets.
After you’ve answered those two questions, it’s time to take a look at the different types of lenses and how they can be used. As you read these next few sections, make sure to focus on what you plan to shoot!
Wide-angle lenses (10mm to 35mm)
In my early days as a photographer, I never used wide-angle lenses. I started my career as a sports photographer and rarely used anything shorter than 70-200mm (and I often went for 400mm f/2.8 lenses or 600mm f/4 lenses).
But then, as I began shooting landscapes, I discovered the magic of wide angles.
Wide angles give an expansive view, and when used correctly, they can wrap you in the scene. My favorite lenses for landscape work tend to be a 14mm f/2.8, a 16-35mm f/2.8, and a 24mm f/1.4.
If you shoot scenes with prominent foreground objects, then a wide-angle lens is the way to go. A major mistake made by new photographers is to use wide angles incorrectly; by not being close enough, having no interest in the foreground, or by trying to include too much in the scene, you’ll end up with less impactful photos.
Wide angles are also handy in tight areas, like small rooms, cars, caves, etc. They can create volume and expansiveness in a limited space.
Which is why wide-angle lenses have the potential to drastically change your photography!
Standard lenses (35mm to 85mm)
Standard zoom lenses are great walkaround lenses. They are versatile, allowing you to do wide-angle landscape shooting, before zooming in to the telephoto end to take a great portrait.
In fact, standard zooms tend to cover moderate wide-angle focal lengths all the way down to a medium telephoto – they often start at 24mm to 35mm, then zoom to around 70mm or even 105mm.
Many kit lenses – lenses that come as part of a camera package – are standard zooms. However, there are also standard prime lenses.
What are standard primes?
Well, prime lenses offer just one focal length, such as 35mm, 50mm, or 85mm. So a standard prime falls somewhere in that 35mm to 85mm standard range.
In fact, back in the good old days of film, the most popular standard lens was a standard prime: the 50mm. When I was a student, everyone in the class started with a 50mm lens.
That said, whether you choose a zoom or a prime is up to you. Most people feel that zooms offer more bang for the buck these days. But a prime does force you to think more about composition and point of view, simply because it can’t zoom. And prime lenses also tend to be cheaper than optically-equivalent zooms.
Telephoto lenses (85mm to 300mm)
Telephoto lenses get you close to a subject without actually approaching them. Working with a telephoto lens is like shooting through binoculars because they magnify distant subjects.
Now, more often than not, when I speak to new photographers looking to purchase their next lens, they want something on the telephoto end. The most popular telephotos seem to be various flavors of 70-300mm or 70-200mm.
These lenses are excellent when used properly. However, too often, telephoto zooms allow the photographer to become lazy.
“If your pictures aren’t good enough, you’re not close enough,” said famed war photographer Robert Capa. Telephoto zooms allow you to stand back when the subject isn’t quite as approachable or when your subject might be feeling overwhelmed by the presence of the camera (e.g., candid street portraits). This makes telephoto zooms extremely useful for plenty of situations – but keep in mind Capa’s words, as it is easy to get lazy and let the lens do the work for you.
Telephoto lenses also compress distance, making everything appear closer together, as opposed to wide-angle lenses, which distort perspective and make things look separate.
This can be useful for landscapes when you want the sun or moon to appear large in comparison to other objects in the image. In this shot of the Shenandoah Valley at sunset, the telephoto lens compresses the scene, making the layers of mountains and mist look almost flat:
Of course, telephoto lenses are also excellent for sports, nature, and wildlife photography, where it can be difficult to get close. Sports, however, presents its own set of challenges. To be able to stop action without blur, you need a fast shutter speed. Typically, faster telephoto lenses are required.
A “fast” lens is usually one that has an aperture of f/4, f/2.8, or larger. If sports is one of your primary subjects, a telephoto zoom such as a 70-200mm f/2.8 is an excellent choice. If you really want to shoot like the pros, you’ll want a 300mm f/4, a 300mm f/2.8, or a 400mm f/2.8. These lenses are great for getting you closer to the action, but you need to be sure your shutter speed is fast enough!
Specialty lenses
Beyond the “conventional” lens types, there are a variety of specialty lenses available.
Do you like shooting tiny things? Try a macro lens.
Want to shoot architecture? A tilt-shift lens might do the trick.
In fact, there is a lens for every purpose; it’s just a matter of putting it to good use.
But always remember that a lens is just another tool on the camera. It’s up to the photographer to make it work!
What lens to use: Conclusion
Now that you’ve finished this article, you know all about the different types of lenses – and you know which lens to use and why.
So the next time you’re out with your camera, ask yourself:
What do I want to shoot?
And then pick the right lens for the job!
What lens is best for you? And what lenses would you like to purchase? Share your thoughts in the comments below!
The post Choosing Lenses: When to Use Which Lens and Why appeared first on Digital Photography School. It was authored by Rick Berk.
The post How to Use Foreground to Create Depth in Your Images appeared first on Digital Photography School. It was authored by Anne McKinnell.
What is the foreground, and how can you use it for stunning photos?
That’s what this article is all about.
I’m going to show you how you can identify and incorporate strong foreground elements in your photography – so that you end up with beautiful landscape shots, architectural shots, nature shots, and more.
And I’m going to explain my favorite way to use foregrounds:
To create depth.
(It’s a technique I use all the time in my own images, as you’ll soon see.)
So if you’re ready to become a foreground photography expert…
…let’s get started!
What is a foreground?
When you’re photographing a grand landscape scene, you can often divide it into three sections:
The background.
The middle ground.
And the foreground.
The foreground consists of anything that lies between you and your main subject.
Then there’s the middle ground, which is often the subject (i.e., the main point of interest in the photo).
And the background is made up of everything behind the subject.
Now, the foreground, middle ground, and background areas are not at fixed distances. They’re understood relative to one another.
For example, the scene below contains some colorful shrubs in the foreground, a pond in the middle ground, and trees in the background:
Another way to think about this is using a stage.
You have upstage, toward the back – that’s the background. It gives setting and context.
Center stage is the middle ground, where the bulk of the action takes place.
And downstage – the foreground – is closest to the audience, and therefore the most intimate part of a scene. Downstage is capable of whispering to the audience and luring them into the action. It is the most easily seen and heard part of the theater, and it can reveal the finer details of the story.
One thing to note:
While many photos – especially landscape photos – contain a foreground, a middle ground, and a background, not all photos are so layered. Some images include only a foreground and a background. Others have no layers at all.
How should you use the foreground?
In general, you don’t want an empty foreground.
Instead, you should fill the foreground with some key point of interest, such as a human figure, a tree, a boat, some flowers, rocks, or anything else that is comparatively near to you.
So when you’re out shooting, once you’ve found a nice background, check the area around you for a good foreground element.
Then include that element in your composition!
(You may need a wide-angle lens for this; that’s how I captured most of the photos in this article.)
For instance, when capturing the photo below, I used the beautiful sky as my background, and the colorful rocks as my foreground element:
One tip:
Don’t be afraid to change your perspective! If you find a nice foreground that won’t fit into the scene, try moving your camera higher, lower, or to one side to incorporate the foreground into the frame.
Why is a foreground so important?
A strong foreground is one of the simplest ways to create deep, three-dimensional photos.
You see, one of the biggest hurdles in photography is that majestic, three-dimensional scenes are rendered into mere two-dimensional images; the physical depth that the photographer experiences in real life is lost.
So how do you create the illusion of depth?
With strong elements in the foreground!
When you’re composing a photo and it’s looking a little too flat, simply adding some foreground interest can instantly improve depth.
For example, imagine a group of trees in a field, all standing in a row. If you photograph them head-on, they’ll look more or less identical – their size, distance, and sharpness will be the same, and the composition will likely be a flat, static one.
However, if you change your perspective and shoot the trees from one side, everything changes. One tree becomes closer and therefore larger, while the other trees shrink in comparison.
Like this:
When a viewer sees the image, their eyes will immediately fall on the tree in the foreground first, and the implied line created by the row will pull their gaze inward toward the other trees. Suddenly, the composition has depth!
Now, scenes can have many potential foreground elements. For instance, you can lower your camera to incorporate rocks, flowers, or anything else on the ground. That use of foreground will provide a point for the viewer’s eyes to enter the image, and any lines created in the foreground will direct the viewer’s gaze toward the middle ground and background.
Tips for using a foreground in photography
As with any compositional element, the foreground is only helpful if it adds to your image. If the foreground doesn’t help tell the story or – worse yet – it distracts the eye, then it isn’t going to improve the photo. Your foreground should be an important part of the scene and not a distraction.
Foreground elements can even be made of simple shapes and lines, like the foreground in the photo above.
In fact, your foreground elements can be nothing but shapes and lines, such as the paint on a stretch of road, the waves on the ocean’s shore, or the shadows cast across a windswept desert. Any lines that point toward your subject will be especially effective because they will guide the viewer toward the main attraction.
(Lines that point toward your subject are known as leading lines; these are a powerful compositional device!)
Similarly, a wall that stretches from foreground to background will carry the eye along with it. The corners of your frame are strong points, and anything that leads inward from these corners will have a significant impact.
Textures are another compositional tool that can make for an interesting foreground, like in the photo below:
Ultimately, however, the best foregrounds are those that you like the most!
So test out different foregrounds.
Experiment.
And capture some shots that are full of depth!
Using foreground to create depth: Conclusion
Now that you’ve finished this article, you should be well-equipped to create stunning, depth-filled images.
You know how to find powerful foregrounds.
And you know how to position them for gorgeous results.
So have fun with foreground photography!
Now over to you:
What do you think about using foregrounds to create depth? Do you plan to use this trick the next time you go out shooting? Share your thoughts in the comments below!
The post How to Use Foreground to Create Depth in Your Images appeared first on Digital Photography School. It was authored by Anne McKinnell.
Lighting with flash can give you more than just the ability to control the quality of your light. With the inherent consistency of light from (manual) flash, you can layer in slices of time as well.
But first, you’ll want to lock down two things: the ambient light portion of your exposure, and your camera’s physical position.
The post How to Make a Low Key Portrait (Step by Step) appeared first on Digital Photography School. It was authored by Sean McCormack.
If you’re looking to create a stunning low key portrait, then you’ve come to the right place.
Because in this article, I’m going to give you a simple, step-by-step process for creating low key photos.
In fact, it’s the same setup I use when capturing my own low key shots, so you know it works.
(And I include quite a few examples, so you can see what I’m talking about!)
Ready?
Let’s get started.
What is a low key portrait?
A low key portrait has tones that are mostly dark. Like this:
Compare it to a high key image, where most of the tones are lighter than 50% gray.
Low key portraiture replaces a light, airy feel with a more moody, dramatic look. And your histogram will be bunched up on the left-hand side.
That’s not to say you’re underexposing the subject to get a low key look. You’ll still need correct exposure on the face.
A lot of action movies or thrillers have posters with a low key feel. Think drama, and you’re in the ballpark for how a low key portrait will turn out.
The background and lighting
Your background needs to be dark, usually dark gray or black. And your subject’s clothing needs to be dark, too (though black clothes aren’t necessary). Also, avoid clothes with patterns, as this will draw attention away from your subject’s face.
Set your lighting to create drama; I recommend loop lighting, Rembrandt lighting, or some other form of sidelight. Take your cues from film noir.
The photos don’t need to be in black and white, though you may find that the absence of color in low key images can lend itself to this look.
Lighting a low key portrait
You don’t need to use artificial lighting to get a low key portrait. You can always use natural window light.
But to control the natural light, you must close the curtains down to a tiny slit. Then, with the room lights off, place your subject in the light and expose for their face.
You can also shoot in the studio, so let’s discuss how to light a low key studio portrait.
You’ll need a lighting setup that is flattering and controllable. A strip box will help control the light, as will a beauty dish. If you don’t have either, you can add some material over a standard softbox to create a strip light.
If you have a grid, even better. As long as you can control where the light goes, you’ll be able to nail a low key portrait. You can even block your light from the background using a black card (items that block light are referred to as flags).
Creating a low key portrait from scratch
For the examples below, I used an Elinchrom softbox with a white beauty dish and a white reflector.
However, as I’ve mentioned, you don’t need this exact gear to get these shots. Gear is only a small part of the equation.
It’s how you use the gear that counts!
Making the background darker
In this first shot, you’ll see the model against the wall, photographed with a butterfly lighting pattern.
Though the tones are dark, the image itself is too bright to be considered a low key portrait.
By moving both the model and the light away from the wall, you’ll notice the light on the subject stays the same, but the background gets darker:
Moving the model away from the wall means the light falls off and the background gets darker.
Move the light to the side
If you move the light around to the side into a short lighting position, you’ll see the background darkens even more and the shot becomes dramatic. We still have some light spilling onto our background, though:
Moving the light to the side means even less light falls on the background, which darkens it further.
Add a grid to your lighting modifier
By adding a grid to your modifier, you can control the light even more.
The grid restricts the light to a narrower beam; when a grid is in place, no light bounces around or spills past your subject.
A low key portrait with a grid added to the light.
Light with a grid added.
Add light onto the hair
While you’ll now have a very cool low key effect, you’ll see that the hair is starting to blend in with the background. If you want separation between the hair and the background, you need to add a fill light.
You could use a reflector, but a second light offers more control. For the photo below, I added a strip light on the other side of the subject (opposite the main light).
Make sure the hair light doesn’t hit your lens; otherwise, you’ll get flare. Use a grid or a flag to block your modifier, if necessary.
Here you can see two lights: the main light plus a hair light.
Low key portraits: Make sure you practice!
Hopefully, these steps will help you create your own stunning low key portraits.
The trick is to control the light so you darken the surroundings. Use the narrow curtain trick if you don’t have any lights.
You can even try putting a flash outside a window to replace the natural light source for more control.
Good luck with your portraits!
Now over to you:
What type of low key portrait do you plan to take? Please share your plans in the comments below!
The post How to Make a Low Key Portrait (Step by Step) appeared first on Digital Photography School. It was authored by Sean McCormack.
