There is an ongoing discussion within the photography world on the pros, cons and when exactly it is best to use APS-C lenses rather than full frame lenses. When you come to choose a new lens for your camera, deciding between an APS-C or full frame lens can have a significant effect on the images you produce. Understanding the differences Continue Reading
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Archive for the ‘Photography’ Category
When To Use APS-C Lenses Over Full Frame Lenses
15
May
The Sony a6900 Will Debut Before the Month Is Out: Here’s What We Know
15
May
The post The Sony a6900 Will Debut Before the Month Is Out: Here’s What We Know appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
For weeks, SonyAlphaRumors has been dropping information regarding the so-called Sony a6900, which will debut in “late May” as an a6600 successor.
While the “a6900” moniker is not yet confirmed, a “trusted” SonyAlphaRumors source has said that the new camera “will not be named ‘a6700,’” with another SAR source offering the a6900 label.
So what do we know about this new a6900?
SonyAlphaRumors confidently states that the a6900 will replace the a6600, but will feature an APS-C sensor and a body similar to the full-frame a7C. It will “be branded as [a] ‘vlogger’ camera,” which suggests several blogging-friendly specs: a fully articulating screen, for one, but also impressive video capabilities (at least 4K/30p plus mic/headphone jacks) and a compact design.
Indeed, various rumors suggest that the a6900 will feature 4K/60p video, a notable upgrade over the 4K/30p offered by the a6600. Interestingly, rumors also point to a new high-resolution sensor – several SonyAlphaRumors sources have suggested 32 MP – in a surprising break from Sony’s string of 24 MP APS-C models.
Here are additional specs suggested by (unconfirmed) SAR sources:
- Improved rolling shutter performance
- 20 frames-per-second continuous shooting
- 2.36M-dot EVF
- The “same tilt screen” as the a7C
- Upgraded in-body image stabilization (compared to the a7C)
- A7C-like price ($ 1798 USD)
Most of these items seem pretty standard and don’t offer any major improvements over the a6600. The exception is the 20 fps continuous shooting rate, and I’ll admit that I’m skeptical; after all, it’s a feature matched only by Sony’s highest-level full-frame models and is wholly unnecessary for vloggers.
Of course, you can also expect Sony’s standard autofocusing capabilities, including its vaunted Real-time Eye AF, plus outstanding subject tracking and generally speedy focusing, all of which will appeal to vloggers and still shooters alike.
So be sure to keep an eye out for further Sony a6900 news, especially if you’re interested in a compact, vlogging-focused camera; we should get an official release before the month is out.
Now over to you:
What do you think of the Sony a6900? If the rumored specifications are right, would you be interested? Are there any key features that the camera is missing? Share your thoughts in the comments below!
The post The Sony a6900 Will Debut Before the Month Is Out: Here’s What We Know appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Chromatic Aberration: What It Is and How You Can Avoid It
13
May
The post Chromatic Aberration: What It Is and How You Can Avoid It appeared first on Digital Photography School. It was authored by Joshua Burke.
Chromatic aberration is a huge image-quality killer – but many photographers don’t know what it is and how it can be prevented.
In this article, I’m going to share everything you need to know about chromatic aberration, including:
- Why it happens
- How to identify it
- Four simple strategies to minimize its effects
So without further ado, let’s discuss how to deal with that pesky chromatic aberration once and for all.
What is chromatic aberration?
Chromatic aberration (also known as color fringing or dispersion) is a common problem in lenses that occurs when colors are incorrectly refracted (bent) by the lens; this results in a mismatch at the focal point where the colors do not combine as they should.
Confused? Don’t be. To help understand this a bit better, remember that the focal plane is your sensor’s point of focus, where all the light from your lens should join together to be correctly captured and recorded. But depending on the construction of your lens, your chosen focal length, and even the aperture that you’ve used, certain wavelengths (colors) may arrive at points in front of or behind the focal plane.
Take a look at the diagram below. Do you see how the red, green, and blue light hits the sensor in different spots? That’s chromatic aberration at work.
When CA occurs, you end up with telltale color fringing around the edges of your photograph. Check out the photo below. The left-hand side shows red and green fringes along the sharp edges of the subject. As you can see, it doesn’t look so great.
But although you can edit out low levels of chromatic aberration in Photoshop and Lightroom, the reality is that it’s annoying to remove CA from each and every photo, plus every moment you spent touching up a photo is one moment less that you have for photography.
Why does chromatic aberration occur?
Chromatic aberration happens because your lens acts as a prism. It bends light, and much like the triangle-shaped prism made famous by Pink Floyd, colors passing through the lens are split at different angles.
Here, it’s important to remember that light is actually made up of several different wavelengths (colors). So for your camera’s sensor to detect the combined color of light, your lens needs to make all wavelengths of that particular ray hit the exact same point on your sensor.
It may sound simple, but various wavelengths (and thus various colors) strike your lens all at once, and each of these wavelengths will behave slightly differently depending on the lens glass that it is passing through.
The feat of engineering required to correctly align all of these different light rays is usually achieved by the manufacturer’s use of a lens array. In fact, if you were to pull your lens apart, you’d probably find upward of 16 lens elements – all designed to correct for various things along the light’s journey between your lens and your sensor.
Unfortunately, this is also where chromatic aberration tends to rear its ugly head. Hidden within the design of these lens elements are defects – either in the glass or the design of the lens itself – which, under specific conditions, may cause your photos to exhibit CA.
Now, I’m not saying you need a pro-level lens. In fact, a key point is that all lenses suffer from chromatic aberration in one form or another, no matter the cost. What matters is whether or not your lens exhibits visible chromatic aberration, and whether the amount of visible CA is a dealbreaker for your particular needs.
Also, even if you’re stuck with a CA-prone lens, you can still take steps to prevent image-quality issues, as I discuss in the next section.
How to avoid chromatic aberration defects: 4 strategies
Chromatic aberration is a major problem, especially on cheap lenses. But the good news is that, if you are stuck working with a lens that exhibits some form of visible chromatic aberration, there are several easy-to-understand strategies to remove or minimize its effect on your photos.
1. Avoid high-contrast scenes
Chromatic aberration tends to flare up when shooting high-contrast scenes. Particularly problematic are darker subjects surrounded by white backdrops, landscapes against a bright sunrise, or – as in the example of the cheetah above – heavily backlit subjects.
There’s no easy in-camera method of avoiding contrast. So there’s often nothing you can do here except adjust your composition. Swap your backdrop out to something that more closely matches your subject’s tones, or simply wait for more favorable lighting conditions.
If you absolutely must capture an image as-is, then shoot in RAW and prepare for a touch-up in post-production.
2. Adjust your focal length
Although it’s nice to have access to a wide range of focal lengths, the fact is that most zoom lenses exhibit chromatic aberration at their focal length extremes. So setting the focal length toward the middle of your lens’s range will usually help remove the offending CA.
Note that using a zoom lens at its widest will usually introduce various other defects in your image. So if you’re set on a wide-angle perspective, choose a prime wide-angle lens to handle the job, or make a panorama at a longer focal length, then join the photos in post-processing.
3. Stop down your aperture
Although the result will depend on the type of lens you are using, stopping down your aperture helps minimize most lens defects, including chromatic aberration.
(You’ll need to consider reducing the shutter speed or boosting the ISO to compensate for the light loss.)
So instead of using an f/2.8 or f/4 aperture, try going to f/8 or f/11 – then take a few test shots to see if the chromatic aberration has disappeared.
4. Reframe with your subject at the center of the image
Chromatic aberration is often more noticeable toward the edges of the frame, not the center.
(This is generally due to the curvature of the lens elements.)
Therefore, if you reframe your shot but put your main subject closer to the middle, you’ll often end up with little-to-no chromatic aberration on your subject.
Of course, you may still have noticeable CA around the edges of the frame, but you do have the option to crop this away. It’s not ideal if you need to retain every pixel in your photo (e.g., for large prints), in which case you should consider one of the other preventative measures discussed above. But if you’re creating small prints or you plan to distribute your photo online, cropping shouldn’t be a big issue.
Chromatic aberration: final words
Well, that’s it:
Everything you need to know about chromatic aberration, including what it is and how to avoid it.
Now you know how to keep your images free of CA. And you can capture stunning photos – even with cheaper lenses.
Over to you:
Are you struggling with chromatic aberration in your photos? Have you tried any of the measures discussed above? Share your thoughts (and images) in the comments below.
The post Chromatic Aberration: What It Is and How You Can Avoid It appeared first on Digital Photography School. It was authored by Joshua Burke.
How to Batch Resize in Photoshop: A Step-by-Step Guide (2021)
12
May
The post How to Batch Resize in Photoshop: A Step-by-Step Guide (2021) appeared first on Digital Photography School. It was authored by Helen Bradley.
What’s the easiest way to batch resize in Photoshop?
In this article, I’m going to take you through a simple, step-by-step process for resizing your images. It’ll take seconds – and when you’re done, you’ll be able to resize dozens (or hundreds!) of photos at once.
Let’s get started.
Batch resizing in Photoshop: step by step
Batch resizing isn’t hard, and it takes very little knowledge.
To start, make sure you open some files in Photoshop (though note that you don’t need to open all the files you’re aiming to resize; a random file or an empty canvas will do just fine). As you can see below, I’ve opened a blank document:
I’m going to cover the Image Processor method of batch resizing. Pretty much anyone can do it, and it generally works well. However, if you have more complex batch resizing requirements, consider writing an action; that way, you can tailor the resizing to your particular needs.
Now let’s take a closer look at the batch resizing process, starting with:
Step 1: Open the Image Processor
Choose File>Scripts>Image Processor.
The Image Processor dialog box will open, where you’ll see a simple, four-step process for resizing your images:
Step 2: Select your images for batch resizing
In the first section of the Image Processor dialog box, you’ll need to identify the images you want to batch resize.
You can choose to resize all open images by selecting Use Open Images:
Or you can pick a folder from your hard drive via the Select Folder button:
If you do select a folder, you can tell Photoshop to resize images in all subfolders as well; just hit the Include All sub-folders checkbox:
Step 3: Determine your export location
Now it’s time to determine where you want your resized images to go.
To save the resized versions alongside the originals, simply select Save in Same Location:
Then, when the resizing begins, Photoshop will create a subfolder next to the original files. (Because your resized versions will retain the names of the original files, creating a subfolder – rather than simply saving the images in the original folder – prevents any overwriting.)
Alternatively, you can select a different folder for the resized files:
Step 4: Input your preferred image sizes
This is the most important step of the entire process:
The moment where you dial in resize settings for your files.
First, determine your output file type. You can choose from JPEG, PSD, and TIFF (JPEG is the default and generally works well, but if you’re working with layered files, then PSD is a good choice).
If you do decide to save JPEGs, you can adjust the output quality; 12 will give you large, great-looking photos, whereas 1 will give you tiny, low-quality results.
For better color when displaying your photos on the web, select Convert Profile to sRGB:
I also recommend checking the Include ICC Profile box at the bottom:
Finally, select Resize to Fit, and type in your preferred file size!
Note that the dimensions you dial in are maximums. So if you type in 300 for the width and 300 for the height, the files will be resized so that the longest side of every image is 300 pixels.
(In other words, the images won’t be cropped or skewed to fit your preferred dimensions; they’ll be scaled up or down for the most natural-looking results.)
Also note that the width and height measurements don’t have to be the same. You could specify a width of 400 and a height of 300 – then all images would be constrained to a width of 400 or a height of 300, whichever comes first.
By the way, you do have the option to save your images in a second (or third) format, as well. Just select the Save as PSD or Save as TIFF checkboxes, and PSD and/or TIFF folders will be created alongside your JPEG folder!
Step 5: Run the script
When you’re ready, click Run.
The images will be automatically opened (if they’re not open already), resized, saved, and closed again.
To find your resized images, simply head to the folder you specified in Step 3 (above). If you chose to save JPEGs, the images will be in a subfolder called JPEG; if you chose to save TIFFs, the images will be in a subfolder called TIFF, etc.
Like this:
How to batch resize in Photoshop: final words
Well, there you have it:
The easiest way to batch resize your images in Photoshop.
So whenever you need to resize a lot of images for uploading on the web, use the Photoshop Image Processor.
It makes the job quick and painless!
Now over to you:
Do you have a favorite method of batch resizing images in Photoshop? If so, share it in the comments below!
The post How to Batch Resize in Photoshop: A Step-by-Step Guide (2021) appeared first on Digital Photography School. It was authored by Helen Bradley.
Photography Aspect Ratio: What Is It and Why Does It Matter?
12
May
The post Photography Aspect Ratio: What Is It and Why Does It Matter? appeared first on Digital Photography School. It was authored by Andrew S. Gibson.
What are aspect ratios in photography? How does an aspect ratio affect your images? And how can you change the aspect ratio once you’ve taken a photo?
In this article, I’m going to give you a quick introduction to photography aspect ratios – so that, by the time you’ve finished, you’ll understand what they are and how you can use them to improve your own images.
Let’s get started.
What is a photography aspect ratio?
An aspect ratio is the dimensions of an image expressed in a ratio form. You determine the aspect ratio by comparing an image’s width and height, then writing it as a width:height ratio (such as 3:2 or 4:5).
The aspect ratio of your images is initially determined by the dimensions of your camera’s sensor. Because sensor dimensions are fixed, it’s easy to take the aspect ratio of your images for granted.
But it is important to think about the aspect ratio when taking photos. Your camera aspect ratio has compositional implications – and I highly recommend you consider this when out with your camera.
Also, a quick note: While your camera aspect ratio is technically fixed, many newer digital cameras allow you to change the aspect ratio in the camera’s menu. Plus, you have the option of adjusting an image’s aspect ratio in post-processing, so it’s more flexible than you might think!
Why does aspect ratio matter?
Different aspect ratios will produce different types of compositions.
For instance, a square, 1:1 aspect ratio tends to produce very balanced, often confined images.
A 4:5 or a 3:2 aspect ratio offers a bit more space within the frame.
And a 16:9 aspect ratio gives a lot of room for expansion along the image edges.
Of course, the effect of the aspect ratio depends somewhat on the type of scene you’re photographing, and certain scenes naturally lend themselves to certain aspect ratios. That’s why it’s essential to think carefully about the aspect ratio before pressing the shutter button; different aspect ratio choices can dramatically affect the composition.
Common camera aspect ratios
Virtually every camera sensor offers one of two aspect ratios:
3:2 aspect ratio
A 3:2 aspect ratio is used by 35mm crop-sensor and full-frame DSLRs, some Leica medium format cameras, most mirrorless cameras, high-end compact cameras, and most 35mm film cameras. This aspect ratio has been with us ever since Leica made the first 35mm film cameras in the early 20th century.
Now, a full-frame 35mm sensor measures 36 mm x 24 mm. You can express this figure as a ratio: 36:24. Mathematicians always like to simplify ratios so the relationship between the two numbers is easy to visualize, and in this case, you can divide both dimensions by twelve.
That gives you 3:2.
As you’re likely aware, crop-sensor cameras have smaller sensors, measuring approximately 22.5 mm x 15 mm (though the exact measurements vary depending on the brand and model). Despite the different sensor sizes, the ratio between the width and the height remains the same, conforming to a 3:2 aspect ratio.
4:3 aspect ratio
The 4:3 aspect ratio is used by Micro Four Thirds cameras, many compact cameras, some medium format digital cameras, as well as medium format film cameras using the 6 cm x 4.5 cm format.
3:2 vs 4:3 aspect ratio
Now let’s compare the two common camera aspect ratios. In the diagram below, you can see the 4:2 aspect ratio (left), plus the additional space included by a 3:2 sensor:
Clearly, the 3:2 aspect ratio used by most DSLRs and mirrorless cameras is slightly longer than the 4:3 aspect ratio used by Micro Four Thirds cameras. The difference may not seem like much, but it has a major effect on the composition. Take a look at the following images to see why.
Here’s the original shot, taken with a 3:2 aspect ratio:
And here’s the same image, but cropped to the 4:3 aspect ratio, as if it had been taken with a Micro Four Thirds camera:
Do you see the difference? It’s subtle, but it’s there. The 35mm frame is longer.
And that can be challenging when it comes to composition because you have to find a way to effectively fill that length.
Landscape photography, in particular, often benefits from a compressed frame, and that’s one of the reasons for the popularity of 7:6 medium format cameras and 5:4 view cameras among landscape film photographers.
Here’s what the same landscape would look like cropped to these formats:
For me, the 7:6 aspect ratio is too short, but 5:4 is a very pleasing aspect ratio to work in.
Aspect ratio examples
Now, after seeing the photos above, you might be thinking that the difference between aspect ratios is not a big deal. And often, when you are shooting in the landscape format (i.e., with the camera positioned so that the frame is horizontal), the difference is minimal. It’s not so difficult to work with any of the aspect ratios I’ve presented above.
But if you switch to the portrait format (i.e., with a vertical frame), it’s a different story. A 3:2 frame suddenly becomes a lot harder to fill effectively, and the composition often benefits from cropping to a shorter rectangle. Here are some examples to show you what I mean:
The difficulty I had with the landscape above is that there was too much empty sky in the original image. I solved the problem by cropping off the top, and the final 4:5 aspect ratio seems to work nicely.
Of course, not all images will benefit from this type of crop. But if you find yourself struggling to fill the frame, especially if you have a 35mm camera with a 3:2 frame, you may want to try a different aspect ratio.
By the way, here is the first image cropped to a couple more common aspect ratios.
The panoramic format (16:9):
And the square format (1:1):
Adjusting the aspect ratio in-camera
As I mentioned above, many digital cameras let you adjust the aspect ratio in the camera menu. And if you have a camera with an electronic viewfinder, you may see the cropped image in the viewfinder itself.
If your camera doesn’t have an electronic viewfinder, you’ll need to use Live View to take advantage of the aspect ratio function. The camera will display the cropped image on the rear LCD screen.
But there’s a major caveat:
If you use a non-native aspect ratio while shooting in JPEG, your camera will crop the image when you take the photo, and there’s no way to resurrect the edges of the frame. So if you later decide that you want a 3:2 aspect ratio instead of a 1:1 aspect ratio, you’re out of luck.
However, if you use a non-native aspect ratio while shooting in RAW, the camera will save the entire image in the original aspect ratio, and you can change your mind about the crop in post-processing.
Cropping in post-processing
It’s often easier to crop in post-processing than in the field. Plus, if your camera doesn’t have an aspect ratio function, cropping during editing is the only way to adjust the aspect ratio.
In pretty much every dedicated editing program, cropping is easy.
For instance, in Lightroom, just click the Crop icon, then select an aspect ratio from the Aspect menu:
Photography aspect ratio: conclusion
As you now know, aspect ratio is a big deal. It’s always a good idea to think about aspect ratios while shooting – and then, if necessary, adjust the aspect ratio in post-processing.
Now over to you:
What’s your favorite aspect ratio? And do you think about aspect ratio while taking photos? Share your thoughts in the comments below!
Which aspect ratio is best?
There is no one best aspect ratio – it all depends on the look you’re after! Some scenes benefit from square (1:1) aspect ratios, whereas others look great with a 4:3 or a 5:4 aspect ratio. I’d recommend playing around in a program like Adobe Lightroom.
What aspect ratio do professional photographers use?
That depends on the photo. As discussed in the article, landscape shooters tend to favor squarer aspect ratios such as 4:5, though if you’re a panorama photographer, a 16:9 frame (or wider!) might be preferable. Portrait photographers tend to avoid narrow aspect ratios, but there are times when a portrait looks good as a 9:16 composition.
What is the aspect ratio of 8×10 photos?
8×10 photos have a 4:5 aspect ratio.
The post Photography Aspect Ratio: What Is It and Why Does It Matter? appeared first on Digital Photography School. It was authored by Andrew S. Gibson.
Film Photography: A Guide (and How to Get Started)
10
May
The post Film Photography: A Guide (and How to Get Started) appeared first on Digital Photography School. It was authored by Carl Spring.
Film photography is gaining in popularity.
At the start of the digital revolution, film was the realm of those who did not want to move to the new way of working (and those folks were usually harassed on forums and message boards).
But these days, film photography has a much different reputation. While some photographers see film as the preserve of hipsters trying to look cool, for many, film is a more organic method of photography. It allows you to slow down, focus on getting the shot, and experience a wait before seeing the results.
In this article, I’ll guide you through the process, equipment, and reasons to start shooting film.
What is film photography?
Film photography is the process of using chemicals to create a photograph. Film in roll form has been around since 1885. The film roll was invented by Peter Houston, who then licensed it to George Eastman (of the Kodak company). Kodak still dominates film photography to this day.
Without getting too complicated, film photography works by exposing silver halide crystals to light. The more light that comes in contact with the crystals, the darker the crystals become. Afterward, the film can be processed to create a negative (the inverse of the final image), and this can be exposed onto light-sensitive paper to create a final print.
Slide film is also available, which works slightly differently – but let’s not overcomplicate things too much!
Film vs digital: Why should you consider shooting film?
As I explained above, the process of creating a photograph on film is a science. It involves chemicals, darkness, and all sorts of other cool stuff. Anyone who has ever processed their own film images will talk about the feeling they had when they first saw a print come to life in the developer. It is a magical experience, and one that takes a lot of time and effort. But it is this time and effort that makes film photography so rewarding.
Let’s take a closer look at the many reasons you should shoot film over digital:
1. Film stops you from being sloppy
Film photography is much more deliberate than digital photography. Each time you press the shutter, there is a cost attached. So you quickly learn to nail the technical elements and the composition. Shooting a 36-exposure roll of film will cost you roughly $ 1 per image. So if you go out and shoot 200-300 images, as many of us do on a digital shoot, you will suddenly see how cheap digital photography is.
Also, when you can shoot bursts of 100 images, you don’t really need to wait for the perfect moment to unfold. You just shoot until you get it. You don’t need to worry about exposure because you can check the LCD, adjust as needed, and fix it in editing.
Film photography, on the other hand, isn’t about shooting hundreds of images. It’s about shooting a roll of 36 pictures (possibly 2 rolls if you have a great photoshoot). It is about making each exposure count and getting everything right in-camera.
In other words: With digital, it’s easy to become a lazy photographer because there are rarely consequences. With film, you’ll always be on your toes.
2. Film saves you hours in post-processing
Film tends to look great straight out of the camera, whereas digital photos can require hours of post-processing.
In fact, most popular editing styles are film-based. So if you want the look and feel of a polished photo without spending tons of time editing, just shoot film!
Digital photographs edited to look like film are the photographic equivalent of laminate oak flooring. Yes, it’s cheaper. Yes, it’s more practical. But it just isn’t the same as the real thing!
I don’t mean to say that printing film photographs isn’t an absolute art. If you look at some of the notes of Magnum’s master printer, Pablo Inirio, you will see how the process of creating a print from a negative is something that takes a true mastery of the craft. There are definitely no auto buttons in the darkroom.
But overall, the “film” look is pretty stunning – and requires little-to-no actual editing.
3. Film makes you better at problem solving
In film photography, your ISO is fixed.
So you’re forced to think carefully when doing photography. If the light is dropping and you’re shooting ISO 100 film, you’ll have to figure out how to get more light into the camera, or you won’t get the shot. Should you slow the shutter? At what speed can you still handhold? Are you sure? Should you open the aperture and sacrifice depth of field? How can you still get a great shot in tough conditions?
Film photography throws up a lot of questions, and you only get the answers when you see the developed images.
4. Film is (potentially) cost effective
Here’s the thing:
As I mentioned above, it costs around $ 1 per shot to do film photography. And that seems like a lot.
But if you look at the cost of a high-end film camera compared to something like the Canon EOS R5 (which is around $ 5000 with a lens), you’ll quickly realize that film photography can be very budget friendly, depending on how frequently you shoot.
Even if you spend $ 1000 on a high-end film camera and lens, it leaves you with a $ 4000 film budget. Additionally, high-end film cameras will keep their value. In fact, many film cameras rise in value. So if you purchase a film camera and sell it 5 years later, you might make a nice little profit in the process. That definitely isn’t true of the latest and greatest digital cameras.
5. Film photography is enjoyable
Ask yourself: What do you enjoy most about photography? Is it taking photos, or is it wading through editing software to find the best image out of 100 almost identical files? Is your enjoyment in seeing the final image, or in spending hours of editing to make it look perfect?
Personally, I am not a fan of editing, especially when I compare it to the enjoyment of taking photos. For you, it may be different, but photographing film sharpens my skills. It helps me get more keepers and means I spend less time behind the computer.
The easiest analogy I can draw here is with music. I love my phone with thousands of songs on it. The ability to carry every record I ever wanted to in my pocket is amazing, and it is how I listen to 90% or more of my music. However, when I really want to listen to music, I make a coffee, turn on my hi-fi system, and put on a record. It isn’t as convenient, and you have to get up to turn the album over halfway through, but it sounds better. And because I have invested more, I focus more, and I always enjoy it more.
6. It makes you cooler
Let’s face it:
Shooting film just makes you look cooler.
What equipment do you need for film photos?
You need a camera and some film. You then need a place to develop it. Pretty simple, really.
Let’s take a closer look at cameras and film:
Cameras
There are three main types of film cameras:
- Point and shoot
- SLR/Rangefinder
- Medium format
Each has its own advantages and disadvantages.
The easiest way to get into film photography is with a good-quality compact camera. It’s the analog equivalent of taking photos on an iPhone. The camera will work out the exposure, leaving you to work on the composition.
There are many compact film cameras out there, ranging from the cheap all the way up to the incredibly expensive. If you want to try shooting film, this is where I suggest you start. You can pick up a decent compact film camera on a well-known auction site for under $ 100.
A film SLR is a lot like a digital SLR except not as good. There are those with autofocus and those without. SLRs without autofocus will add another layer of complexity to taking photographs. Generally, you can find a manual focus SLR for cheaper. Manual focus cameras are also more reliable mechanically due to the smaller amount of internal electronics.
Even if you do use an autofocusing film camera, note that old autofocus systems are not anything like those we enjoy today (though they can make film less daunting). The right option is something only you can decide.
Finally, there’s medium format. Medium format cameras use much larger film, though with 12-16 exposures per roll. In the same way that a bigger digital sensor improves image quality and gives a shallower depth of field, medium format film creates ultra-stunning results. Many iconic photographs have been taken on medium format film, including shots of the NASA space missions.
Medium format cameras have some advantages (e.g., many are able to change film partway through a roll). But they also have many quirks, and these can be overwhelming for photographers new to film. Medium format cameras are bulky, heavy, and expensive compared to the other types mentioned here, so I’d hesitate to recommend them if you’re new to shooting film.
If you really want to try medium format film on a budget, you can get a Holga. It uses medium format film in a point and shoot style body with a plastic lens. Holga cameras have a very specific look; just don’t expect images like those shot by a “proper” medium format camera.
Choosing film
Your film will determine the look of your photography. It also fixes your ISO (i.e., if you put in ISO 100 film, you’ll be shooting at ISO 100 until the roll is finished). So make sure you carefully select your film’s ISO based on the day/time you’re shooting.
Now, each film has distinctive characteristics, such as color vividness and shadow softness. So the film you choose depends on the type of look you want to achieve. The main brands to check out are Kodak, Fuji, and Ilford.
Every film out there has an example photo or two on the internet, so get your Google on and see what looks good. I’d suggest buying a few different rolls of film and finding your own favorite. Trying a new film is part of the fun of film photography!
How to develop your film photos
The easiest way to develop your film photos is to send them off to a professional film lab. If you’re just starting out with film photography, this is the method I would definitely recommend.
However, many photographers (myself included) like the experience of developing their film at home. It’s a relatively simple process, and if you shoot a lot, it can be cost-effective. The main equipment and chemicals can be bought at many photography stores – some may even offer a discounted kit to get you started.
How to develop film at home is a whole different article. However, if you think you might want to try it, a basic equipment list is as follows:
- Film changing bag
- Film tank
- Developer
- Fixer
- Distilled water
- Thermometer
- Measuring cylinder
One quick tip for developing your film at home:
Dry it in the bathroom. The moisture from showering will decrease the amount of dust in the air, which will in turn decrease the amount of dust that will settle onto your negatives.
If you want to take things even further, you can set up your own darkroom for printing – but it’s more expensive and requires a dedicated space.
A guide to film photography: conclusion
Shooting film is a great way to learn more about photography. It gives you new methods of thinking about composition, exposure, and editing; it might even be the thing that can break you out of a creative rut.
As you now know, you can start film photography for cheap, and it may take your photography in a whole new direction!
Over to you:
What do you think of film photography? Have you tried it yet? If so, do you have any advice for beginners? And if you haven’t tried film, what camera and film do you plan to use? Share your thoughts in the comments below!
The post Film Photography: A Guide (and How to Get Started) appeared first on Digital Photography School. It was authored by Carl Spring.
7 Tips for Colorful Landscape Photography
09
May
The post 7 Tips for Colorful Landscape Photography appeared first on Digital Photography School. It was authored by Rick Ohnsman.
Color evokes emotion – so if you can become a master of color, then your colorful landscape photography will affect viewers on a deep level.
You may understand exposure, control your camera like a wizard, have the best equipment, get to the most exotic locations, and excel with editing. But if you don’t purposely imbue your images with intentional emotion, they will never “speak” to your viewer (or if your photos do speak, they might say the wrong thing).
That’s where color comes in handy. Let’s learn the language of color and how to use it – through seven colorful landscape photography tips (that’ll take your images to the next level!).
1. Learn the psychology of color
The human brain is hardwired to respond to different colors. Psychologists have studied this, advertisers use it masterfully, and to be a good photographer, you need to understand how different colors will make your viewer feel.
Here are the feelings that colors produce:
- Red: Exciting, important, passionate, angry, call to action
- Purple: Beauty, exotic, royal, luxurious, sensual
- Blue: Calming, serene, trustworthy, cold
- Green: Peaceful, tranquil, natural, alive, growth
- Orange – Fun, warm, energizing
- Yellow – Happy, sunny, bright
- Brown – Earthy, grounding, strength, dependability
- Black – Mysterious, elegant, bold, powerful, edgy
- White – Clean, healthy, pure, sterile, cold
2. Color relationships and the color wheel
In colorful landscape photography, we usually can’t choose our subject’s color. That said, if we understand the different color relationships, we can produce better photos.
You’re likely familiar with the color wheel (displayed below). Take a look at it as we discuss key color relationships:
- Complementary colors – These colors sit opposite each other on the color wheel. They can work nicely in a photo; for example, blue (often a sky color) and orange/brown (often an earth color). Thus, a sky/land photo can be pleasing because the colors are complementary. Look at some of the examples below!
- Analogous colors – These are what we might call “color families.” For example, blue, blue-green, green, and yellow-green are adjacent to each other on the color wheel and therefore analogous. We can often make pleasing, colorful landscape photos with scenes comprised of analogous colors.
- Color triads – These are three colors equally spaced out on the color wheel. For example, green, violet, and orange. If you look carefully, you will find color triads in nature, and they can help create impactful photos.
3. Pay careful attention to the time of day
You won’t be involved in landscape photography for long before you’ll hear the terms “golden hour” and “blue hour.” Golden hour is the time of the day when the sun is rising or setting. The color of the light is very warm and golden.
Well before sunrise or later in the evening after sunset we have the blue hour. The sky is not dark and black. Instead, it’s very cool and blue in tone. Blue hour can produce interesting light and color with a whole different mood.
I’ve seen new and inexperienced landscape photographers come to shoot a sunset and make shots right up until the sun dipped below the horizon. Then they’d pack up and leave. That’s a mistake! The best sky color often comes well after the sun is already down. And if you wait even longer, the blue hour comes and continues until it gets truly dark.
Do enough colorful landscape photography during the sunrise/sunset/blue hour times and you run the risk of becoming a “light snob,” only wanting to make photos when the light and colors are “pretty.” (Shooting during midday? You must be joking!)
However, you won’t always have the luxury of getting to places during great light. Plus, even if you do, conditions won’t always cooperate. Many photographers can make nice photos of a spectacular sunset, but it’s the great photographers who can create impactful images at any time of day in any kind of light (and in any kind of weather).
4. Think about the season
Colorful landscape photography knows no season. There are great images to be made year round. But when planning a photo outing, you may want to consider how to take advantage of the colors of the season.
In the spring, colorful flowers and fresh green fields make for great subjects. Summer brings bright golden days, the sun and sand colors of the beach, bright colors and sunny scenes. Autumn is often a photographer’s dream with fall colors that delight the eye. Winter might be the least colorful season, but brilliant whites and deep cold blues are still impactful.
In any season, you can use color to communicate with your viewer. How do you want the photo to make them feel? Use color to carry that message: the cool blue tones of a winter’s day, the bright and happy yellow color of a field of flowers, the peaceful greens of a forest, or the fiery reds and oranges of a summer sunset.
When composing, shooting, and editing, give conscious thought to the colors you’re trying to bring out and what they say to your viewer.
For the best colorful landscape photography, make sure to consider what’s in season. When do the camas flowers bloom? When are the aspens at peak yellow color? When are the fields in the Palouse Country deep green or golden? What is the best time to get a moonless dark night and have the Milky Way high in the sky?
Knowing when to be at a location for the best colorful landscape photography takes good research and a large measure of luck. It all came together this evening several years ago. It’s never been quite as good since, but each year I still go back.
If you hope to get the very best colorful landscape photos, you need to do your homework, develop good information sources, and be ready to go when things are just right.
The old saying holds true: “Luck happens when preparation meets opportunity.”
5. Shoot when the weather is bad
If you’re a “fair-weather photographer,” someone who only gets out when the skies are clear and the weather is comfortable, then you’re missing some of the best colorful landscape photography.
Here’s another saying for you: “When the weather gets bad, the photos get good.” It may not be pleasant, but I’ll take a cold, stormy day with dramatic clouds, interesting light, and striking color over a clear, cloudless, warm bluebird day (if my goal is impactful landscape photography).
The same goes for rainy, foggy, or snowy days. Don’t think that good color always means contrasty, heavily saturated scenes. Watch for the more muted color and low contrast provided by inclement weather conditions.
Bright, saturated colors might be more impactful, but soft pastels and muted colors create mood and carry a completely different feel and message.
Once again, ask yourself, “How do I want to make the viewer feel?” Capture photos that speak your message and use color as your “words.”
6. Carefully edit colors for the best results
There are many good articles about how to edit color. That is not my intent here. Instead, I’ll offer some general things to keep in mind when editing colors in your photos.
- Shoot in RAW. You greatly limit your options if you only shoot and save JPEG images. The most obvious reason to shoot RAW is the flexibility to adjust the white balance later in editing rather than trying to get it right when shooting. Warming or cooling an image by adjusting the color temperature slider becomes much more difficult if you’re trying to overcome the wrong white balance baked into a JPEG.
- Understand the difference between global and local adjustment tools. Sometimes, you might want to adjust the color of the entire image – so global adjustment sliders and controls work fine. Other times, you might want to make the sky bluer without affecting the land below or bring up the saturation of just the red flowers in a landscape; such edits will require the use of local adjustment tools. If your objective is to communicate with color, knowing how to carefully and precisely control specific colors in your image is an important skill to master.
- Don’t overprocess. How much is too much? That’s a judgment call, but let me express a personal bias. Just as you can over-salt a meal, you can also oversaturate a color photo. Glowing “postcard color” is not a good look if you want to be taken seriously as a landscape photographer. Neither is a grungy HDR. I believe in using color to creatively speak a message, but I don’t want it to shout.
7. Make it monochrome
Sometimes, color is not the best way to give your image the most impact or communicate your message. Here are some reasons you might want to go monochrome instead:
- The image is more about the “bones” of a good image: shape, form, tone, and texture. The color is an unnecessary distraction.
- The image is almost monochrome anyway and the color isn’t adding anything.
- Black and white might better capture the old, nostalgic, or period feel of the image.
- In some genres of photography such as photojournalism or street photography, black and white offers a gritty reality.
- You want to create a lot of drama. You can often push a monochrome edit far, whereas the same amount of processing on a color image might look garish or just plain bad.
- You are unable to get good colors, so you save your image with a black and white conversion. It’s the last reason to favor monochrome, but it happens. That said, the choice to go color or black and white should be intentional rather than a rescue mission. Good photographers know their intent for a shot before they make it. But realistically, the fix for a bad color image might be a conversion to monochrome. While editing, you might think, “I wonder how this will look in black and white?” Also, this circles back to something I said earlier: Always shoot in RAW. Your images will be in color – but should you later decide black and white is preferable, it’s an easy conversion.
Help your images speak: conclusion
Imagine your photograph is printed and hanging on the wall of a gallery. You are not there, only the image and the viewer.
Now, what do you want the viewer to see, think, feel, hear, smell, and experience when looking at your photo? You are not there to interpret, explain, justify, or defend. Your photo must speak for itself.
Once you determine what you want the image to say, apply all the “visual words” at your disposal, many of which use the language of color. Do it well, and you’ll be a master of colorful landscape photography.
How can I use color theory in photography?
Understand the relationships between colors, such as complementary colors, analogous colors, and color triads. That way, you can create pleasing color photos.
How can I create better color landscape photos?
When you make a color landscape photo, consider what you want it to communicate to your viewer. Then work with the colors in that image when composing, capturing, and editing – so that the colors of the image “speak” to your viewer. Understand how different colors carry different feelings. Use the feelings to create more impactful images.
Should my landscape photos be color or black and white?
The answer is that it depends. If the idea is to concentrate on the basics, such as the shapes, forms, tones, and textures of an image, sometimes color becomes a distraction. Other times, a color photograph can communicate things a black and white image cannot. Photographers and artists have long debated the merits of each approach. Here is a quote worth considering: “To see in color is a delight for the eye but to see in black and white is a delight for the soul.” – Andri Cauldwell
The post 7 Tips for Colorful Landscape Photography appeared first on Digital Photography School. It was authored by Rick Ohnsman.
5 Secrets for Creating Perfect Silhouette Portrait Photography
08
May
The post 5 Secrets for Creating Perfect Silhouette Portrait Photography appeared first on Digital Photography School. It was authored by Alana Orth.
Silhouette portrait photography produces some of the most gorgeous images imaginable – which is why I recommend every portrait shooter try a silhouette shot or two.
In this article, I’m going to show you exactly what you need to do for perfect silhouette portraits. I’ll share plenty of tips and tricks I’ve learned from my own time as a portrait photographer. And by the time you’re done, you’ll be a portrait silhouette expert.
So let’s get started.
1. Shoot low and head to toe
Powerful silhouettes start with clear, minimalistic compositions. Here’s what I recommend:
Place the subject’s entire body, from head to toe, against the sky. To pull this off, you’ll need to be lower than the subject, so try lying on your back or stomach.
If you are unable to get low enough, you may need to have your subject get higher; ask them to stand on a rock, small hill, or sand dune. In most circumstances, this will allow you to get an angle that places the subject’s entire outline against the sky. (You can see a variety of examples throughout this article.)
Why is this so important?
If you can’t place your subject’s body against the sky, they will merge with the background, and the recognizable silhouette will be lost. You’ll end up with a lot of confusing darkness, and your viewer won’t be able to immediately tell what’s going on.
Also, pro tip:
It’s so, so, so important that your subject’s feet are outlined against the sky! Legs in a silhouette portrait that are cut off above the feet look like weird, short stumps:
Even with all this composition advice in mind, there will be times when you just can’t find a suitable spot for a full-body-framed-against-the-sky type silhouette.
And when that happens, you don’t need to give up on silhouettes entirely. Just get closer to your subject and create tighter compositions, focusing on the areas of your subject that are framed by the sky.
2. Shoot at the right time of day
Silhouettes work best around 20-30 minutes before sunset. The ideal time does vary with the angle you are able to achieve; the greater the height difference between you and the subject, the earlier you will need to take the shot.
Because if you wait too long, the sun will hide behind whatever your subjects are standing on, and the sky might not be bright enough to make a silhouette.
Shooting too early is also a problem, however; the sky’s colors can be a bit boring and you will have other issues, such as sun flare.
Pro tip: Silhouettes can be taken earlier in the day (i.e., before sunset) if the sun is partially blocked or filtered through strong clouds.
3. Choose your portrait silhouette settings carefully
Perfect silhouettes require careful settings.
Set your camera to Aperture Priority mode and dial in an aperture of f/2.8 and an ISO of 400. Select Evaluative Metering; that way, the camera will consider the whole scene when determining the exposure.
If you fill the frame with your subject’s face or body, the camera will expose for their skin even with a bright background (see the photo below, left).
But if you fill the frame mostly with a very bright sky, then the camera will expose for the sky – bringing out the natural sunset colors and making everything else dark (see the photo below, right).
So place your subject directly against the bright sky and make sure their body takes up a small portion of the frame. The subject will be heavily underexposed, and the sky will retain detail.
The result? A perfect silhouette portrait!
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Both the photographs above were taken with the settings I mentioned above (just seconds apart).
The difference? What was filling the frame – subject or sky.
4. Use perfect silhouette portrait posing
Silhouettes are very forgiving of poor facial expressions (because you cannot see them!). But silhouettes are very harsh when it comes to posing.
Here are a few things to keep in mind when posing subjects for a silhouette:
- Hugging poses do not work. A hug silhouette looks like a great big blob monster. Instead, all subjects need to be clearly defined, which means they need to be at least a couple of inches apart from each other. It’s nice for subjects to still be connected – but by holding hands or kissing, not by hugging.
- Have your clients look away from the camera. Face profiles look beautiful and natural.
- Watch the clothing. Very baggy clothing won’t work well for silhouettes; the shape can become unflattering. It is best to wear form-fitting clothes, as this helps clearly define your subject against the sky.
5. Take portrait silhouettes whenever you can (because they sell!)
Try to capture at least one silhouette at every photo shoot, whether it is a family portrait, maternity, engagement, or wedding.
Why? Because silhouettes sell!
Here are some reasons why silhouettes are great for client shoots:
- Silhouettes add variety to the series. Silhouettes are so different in their colors and style – and the variety they give instantly makes any shoot more interesting. Plus, because silhouettes are unique compared to standard portraits, they’re easy to sell individually as a piece of artwork.
- Silhouettes are perfect for shy clients. Some clients hate the idea of their faces hanging up on the wall. This makes silhouettes the perfect compromise! A silhouette can be marketed to a client as the perfect piece of personalized artwork – without making them feel uncomfortable or self-conscious.
- Silhouettes look better when printed big! Wide-angle silhouettes and scenic, environmental compositions look great, especially when printed large. So if you do capture wider silhouettes, you can sell them as a large piece of artwork. The client will love it, and it’ll be a more profitable sale for you.
Perfect silhouette portrait photography: final words
Well, there you have it:
Five simple secrets to capture stunning portrait silhouette photography.
Silhouette portraits are a lot of fun – so the next time you’re doing a portrait photoshoot, try a few shots! I’m confident you’ll love the results!
The post 5 Secrets for Creating Perfect Silhouette Portrait Photography appeared first on Digital Photography School. It was authored by Alana Orth.
Two Autofocusing Tilt-Shift Lenses From Canon May Debut Next Year
08
May
The post Two Autofocusing Tilt-Shift Lenses From Canon May Debut Next Year appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon will release its first RF-mount tilt-shift lenses within the next year, claims Canon Rumors. What’s more, these will “be the first tilt-shift lenses with autofocus.”
At the time of writing, Canon offers a number of tilt-shift lenses for its DSLR lineup, including the 17mm f/4L, the 24mm f/3.5L II, and the 90mm f/2.8L Macro. But all of Canon’s TS lenses are manual focus only, and Canon has not yet produced a tilt-shift option for mirrorless shooters.
If the rumors are right, Canon will release two wide-angle TS lenses:
- A 14mm f/4L lens
- A 24mm f/3.5L lens
The 14mm f/4L lens should be perfect for ultra-wide landscape photography; with a 14mm focal length, you gain the expansive field of view that’s especially popular among pro landscape photographers. It’s a perspective that cannot be matched by Canon’s current tilt-shift offerings (Canon’s widest TS lens is the aforementioned 17mm f/4L, followed by the 24mm f/3.5L II).
The 24mm f/3.5L, while perhaps less groundbreaking, offers a “standard” wide-angle perspective. It’ll undoubtedly excel when shooting landscapes, architecture, and even environmental portraits, either as a conventional lens or with the tilt-shift effects applied.
But what’s the value of a tilt-shift lens?
Lenses featuring tilt-shift capabilities allow you to address certain problems posed by architecture and landscape photography (though the TS effect is also just cool!). Specifically, tilting the lens adjusts the plane of focus. You can use this to produce a “miniature” effect, where all the elements look small and human-made – or you can use it to keep certain elements in focus while blurring out other elements.
So a landscape photographer might use the tilt effect to keep an entire scene in focus from front to back, even with a shallow depth of field. And a portrait photographer might use the tilt effect to creatively blur out all but the subject’s face.
You can also shift the lens; this essentially lets you choose a vantage point off to the side of your camera, but without having to move the camera body. It’s invaluable for architectural photography, where shifting the lens upward prevents unwanted distortion. You can also use the shift effect when capturing panoramas in landscape photography (it makes for beautiful, easily stitched results!).
Currently, Canon’s tilt-shift lenses are relatively expensive, and I doubt this RF-mount glass will break the mold, especially given the added autofocus capabilities. But we’ll ultimately have to wait and see; Canon Rumors suggests a “first half of 2022” announcement (one that should, incidentally, come “alongside a high-megapixel camera”).
So keep an eye out for more information. And if you’re thinking about purchasing a tilt-shift lens, you might want to hold off until these RF-mount options have been unveiled.
Now over to you:
What do you think of Canon’s potential tilt-shift lenses? Would you be interested? What draws you toward tilt-shift glass? Share your thoughts in the comments below!
The post Two Autofocusing Tilt-Shift Lenses From Canon May Debut Next Year appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The Weekly Photography Challenge – BlackAndWhite
08
May
The post The Weekly Photography Challenge – BlackAndWhite appeared first on Digital Photography School. It was authored by Sime.
Last week I ruffled some proverbial feathers and made sure to mention that we want you to go out and make a NEW photo for this challenge, which is kinda the point of a ‘challenge‘ as there really isn’t a lot that’s challenging about dipping into your Lightroom catalogue and pulling out a photograph from 1984, is there?
This week your challenge theme is #dPSBlackAndWhite (Or, mostly B&W)
Ideally, being digital photography SCHOOL we want you all to push yourselves with ‘easy’ themes that you have to spend a little time THINKING about how to make an awesome image! THat’s the goal, but, we get it – some people can’t, and so that’s why it’s not a ‘Rule’ it’s more of a guideline. So, that little gem of information out of the way, let’s get on with this week’s challenge which is B&W or, more commonly ‘Black and White’ which we haven’t done for a good while and I thought it might be good to see how you’ve progressed!
B&W Portraits | Still Life | Street | Headshots | …but HOW? click here for a post that might help.
Because I just had a little mini-rant about making this a new photograph and so on, I popped the camera on the tripod and photographed my guitars – they’ve made their share of grunge-type noises, so I opted for a messy gritty B&W conversion in Lightroom. You can use many different was to convert your photograph to B&W if you shoot it colour in raw, or just use the B&W filters (if your camera has them) options in your camera – most cameras have a ‘creative’ set of filters including B&W.
One thing I have always loved in a B&W image is higher contrast (as is evident) the photo of Battersea Power station and the tree (I like trees, huh) at Omaha Beach are older, depicting my love for gritty, contrasty B&W through the years, and the one below was taken about an hour ago, here in my office. ANyways, enough about me, let’s see what YOU have for B&W theme challenge this week. (Read on below for instructions on how to post)
Great! How do I upload my photos?
Upload your photo into the comments field (look for the little camera icon in the Disqus comments section below this post) 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.
Share in the dPS Facebook Group
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
The post The Weekly Photography Challenge – BlackAndWhite appeared first on Digital Photography School. It was authored by Sime.
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