Photography « 360Photography

RSS

Archive for the ‘Photography’ Category

8 Tips for Perfect Moon Photography Settings

29 Apr

The post 8 Tips for Perfect Moon Photography Settings appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Many people have attempted to capture a picture of the bright ball of light that governs the night sky, but getting your moon photography settings just right can be quite tricky. It’s easy to get frustrated when taking photos of the moon, especially when so many moon shots online look crisp and clear.

Fortunately, capturing great moon shots isn’t too difficult once you wrap your head around a few basic elements. With a little patience and practice, you’ll be taking excellent photos of the moon in no time at all!

Moon photography settings: the basics

The first thing to know about shooting the moon is that it’s deceptively bright. You might not think of this giant ball of rock as particularly luminous when compared to the sun, but it puts out way more light than you might think. This makes it tricky to calculate exposure and get your other moon photography settings just right.

The other important item to keep in mind is that the moon is not a slow celestial body. In Greek mythology, Selene, the goddess of the moon, speeds across the night sky in a glowing chariot. Our ancient ancestors knew what they were talking about! If you take a picture of the moon, you have to keep its constant movement in mind; otherwise, you’ll never get a great shot.

Moon Photography Settings Moon Behind Trees — Nikon D7100 | Nikon 70-200mm f/2.8G ED VR II | 200mm | f/8 | 1/180s | ISO 640

The final part of the equation to remember is that the moon, while relatively close in a galactic sense, is pretty far away when you look at it from the perspective of a photographer. If you want a good picture of the moon, you need at least a 200mm lens – and even then, it’s best to use a crop-sensor camera for a bit more reach. So a focal length of 300mm or greater is recommended, and photographing the moon is one time when megapixels really do matter. Unless you have a very long zoom lens, you’ll be cropping your images quite a bit.

If you want a simple answer to the question of what moon photography settings to use, here’s my advice:

Shoot with a fast shutter speed of at least 1/180s.
Use a small aperture like f/8.
Keep your ISO low – so that when you crop, your picture will remain clean and not noisy.
Use a telephoto lens.
Always shoot in RAW; that way, you have plenty of room to edit the colors, sharpness, and other elements of your photo afterward.

Moon Photography Settings Clouds and Foreground Trees — Nikon D500 | Nikon 70-200mm f/2.8G ED VR II | 200mm | f/4.8 | 1/200s | ISO 640

While the above advice is a good starting point, you will need to experiment and figure out which settings are right for you. It’s a good idea to dive a little deeper into aperture, shutter speed, and ISO to find out what effect they have on your moon photos so you can get the shots you’re aiming for.

Now let’s take a closer look at the best moon photography settings:

1. Use Manual mode

This might be intimidating if you’re used to letting your camera make exposure decisions for you, but moon photography is a great way to learn Manual mode.

Your camera knows what to do in most well-lit situations, but shooting the moon isn’t one of them. You have to take control, and Manual mode lets you choose the aperture, shutter speed, and ISO – all of which are critical to getting good pictures of the moon. You must be very specific about your exposure settings, and Manual mode lets you dial in the precise values you need.

Crescent Moon with Trees in Foreground — Dim morning light meant I had a bit more freedom to adjust my exposure settings, which was very easy to do in Manual mode.

Nikon D500 | Nikon 70-200mm f/2.8G ED VR II | 200mm | f/4 | 1/180s | ISO 200

2. Shoot in RAW

You have enough to worry about when taking pictures of the moon: exposure settings, weather concerns, cloud cover, foreground obstructions…and that’s just the beginning.

Setting the right white balance and making sure your highlights and shadows are perfectly captured is almost impossible to do in the moment. Thankfully, RAW can save the day.

Crescent moon Unprocessed RAW — This is the unprocessed RAW file straight out of my camera.

Nikon D500 | Nikon 70-200mm f/2.8G ED VR II | 200mm | f/4 | 1/180s | ISO 200

Shooting in RAW gives you ultimate flexibility when editing your moon photos in a program such as Lightroom. You can adjust the exposure, tweak the sharpening, bring out details you might have missed, and of course, adjust the white balance to your heart’s content.

The JPEG format is fine for many photographic situations, but not moon photography. For best results, use RAW.

Crescent moon processed RAW — The exact same image as above, but after the RAW file was processed in Lightroom. Adjustments include white balance, boosted exposure, and tweaks to the highlights/shadows.

3. Use a fast shutter speed

Shutter speed is a good place to start when thinking about moon photography settings because of how fast the moon moves across the sky. Similar to sports photography, you’ll need a fast shutter speed to freeze the motion.

1/180s is a good starting point, but if you can go higher without increasing your ISO, I recommend doing so. 1/250s is good and so is 1/300s (go beyond that, and you start to get diminishing returns).

full moon — My 1/10s shutter speed was much too slow, and the picture is blurry as a result. 1/10s lets in a lot of light, but the moon moves too much to get a crisp, sharp picture at that shutter speed. Compare this to the image at the end of the article, and you will notice a huge difference!

Nikon D200 | Sigma 120-300mm f/2.8 | 300mm | f/11 | 1/10s | ISO 200

4. Keep your ISO low

Cameras have come a long way, and what used to be considered a crazy high ISO – like 3200 or 6400 – is now easily achieved without a huge loss in image quality. Things are a bit different when taking photos of the moon, though. Lower ISOs are always preferable, and that holds doubly true for photos of our nearest celestial neighbor.

ISO 100 or 200 is best, but that might not be realistic given the lens you’re using. Generally speaking, you should be fine with ISO 800 or lower, partly because you will get a cleaner image, but also because you will have more leeway when editing your RAW files afterward.

5. Use a small aperture, but not too small

Most lenses have what’s known as a sweet spot, where the image isn’t too soft and chromatic aberration is well-controlled. This sweet spot isn’t usually at the widest or smallest aperture, but somewhere in the middle.

For that reason, I like to take pictures of the full moon at an aperture between f/4 and f/8. However, the optimal aperture will depend on your particular lens and the type of photos you’re taking.

Moon Photography Settings Crescent and Venus — A crescent moon is very dim! Normally, I recommend a smaller aperture, but for this shot, I needed all the light I could get. I used a large aperture of f/2.8 and an unusually slow shutter speed to capture this celestial dance between the moon and Venus.

Nikon D7100 | Nikon 70-200mm f/2.8G ED VR II | 180mm | f/2.8 | 1/90s | ISO 100

Honestly, of all the moon photography settings to worry about, I would put aperture at the bottom of my list. Before you consider the aperture, make sure you have a fast shutter speed and the lowest possible ISO. Finally, adjust your aperture until you get a picture you like.

Even if your photos are not tack-sharp because you had to shoot wide open, it’s a trade-off I recommend making. I would rather have a slightly blurry result than a higher ISO setting that will result in noise, especially in the deep blacks of the night sky.

6. Underexpose slightly

It might seem counterintuitive, but when taking pictures of the moon, you don’t want your images to be as bright as possible. I get my best results when underexposing by one stop or more, depending on the situation.

The easiest way to do this is to set your aperture, shutter speed, and ISO so your light meter indicates a properly exposed picture. Then drop the exposure by one or two stops. The result is a picture without any blown highlights and plenty of room for editing (as long as you make sure to shoot in RAW).

Full Moon with Power Lines in Foreground — My light meter told me this photo was properly exposed – but in the end, the moon was too bright. I should have dropped the exposure to darken the image.

Nikon D500 | Nikon 70-200mm f/2.8G ED VR II | 200mm | f/4 | 1/200s | ISO 360

I also recommend using spot or center-weighted metering when doing moon photography. The moon is extraordinarily bright compared to the dark sky around it, which causes all sorts of confusion for your camera’s light meter. Telling your camera to meter based on one small portion of the scene (i.e. the moon) will help you get a better initial exposure value, one that you can then fine-tune.

7. Get creative

Taking pictures of the moon is enthralling, especially if you have never done it before. But after a few shots of that big bright ball of light in the sky, start thinking of a new approach. Try putting trees, buildings, or other objects between you and the moon. Experiment with taking pictures during the waxing or waning crescent phase.

Moon Photography Settings Lunar Eclipse — Instead of taking one single picture of the moon during a lunar eclipse, I took 20 and combined them in Photoshop. The end result was much more visually interesting than a single shot would’ve been.

Also, try getting shots at dawn or dusk when you can catch the sky in a rich blue or purple. These are simple, fun ways of taking pictures of the moon that can produce some unexpected results.

8. Manually focus to infinity

Your camera’s autofocus might struggle when it comes to getting pictures of the moon, but you can take care of this by adjusting your lens’s focus point manually.

Make sure your lens is focused as far out as it will go (this is often indicated by an infinity symbol on the lens barrel).

Moon photography settings: conclusion

Moon Photography Settings Full Moon — Nikon D200 | Sigma 120-300mm f/2.8 | 300mm | f/2.8 | 1/250s | ISO 200

There’s no magic or secret sauce when it comes to getting great shots of the moon. The only real trick is to get the right moon photography settings and to keep practicing until you’re happy with the results.

Try some of these tips as a starting point, and then branch out and see what you can come up with. You might be surprised at the pictures you’re able to take!

Moon photography settings FAQ

Can I take a picture of the moon with my phone?

It’s possible, but this is an area where a DSLR or mirrorless camera with full manual controls really has the edge. A mobile phone can’t zoom in very far, and even those that do have optical zoom lack the light-gathering ability required for good moon shots. That’s not to say it can’t be done, but you’ll likely get significantly better results with a dedicated camera.

Do I need an expensive zoom lens to get a picture of the moon?

A zoom lens helps, but it doesn’t have to be expensive. Even a basic 55-250mm kit lens, like the one that might have come with your camera when you bought it, is fine. Just make sure to follow some of the tips in this article, and you can get some good moon pictures.

What white balance setting should I use to get a picture of the moon?

That really depends, and there’s not always a good answer. Some people like to use the Daylight setting because the moon is reflecting the sunlight and has no actual light of its own. Just make sure you shoot in RAW so you can adjust your white balance after you take the picture.

How do I keep both the moon and the foreground in focus?

First, make sure you are using a small aperture like f/8 or f/11, which will give a much wider depth of field. In addition, you need to put a lot of space between you and your foreground objects. If you’re shooting through tree branches in your own backyard, they will always end up far too blurry. Position yourself so the trees, buildings, or other foreground objects are farther away; this will help make sure they are more in focus.

How do I get the moon to look so big? My moon pictures never look like the professional shots I see online.

Many people have asked me this, and it all comes down to your lens. A longer focal length will make the moon appear larger. If you don’t have a long lens, you can rent one for the few days that a bright full moon is visible. Many professional moon pictures are also cropped, and if you use a very high megapixel camera, you have a great deal of freedom to crop without a huge drop in quality.

The post 8 Tips for Perfect Moon Photography Settings appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Digital Photography School

Comments Off

Posted in Photography

11 Photo Manipulation Ideas (for Beautiful Results)

28 Apr

The post 11 Photo Manipulation Ideas (for Beautiful Results) appeared first on Digital Photography School. It was authored by Megan Kennedy.

If you’re looking for some fun photo manipulation ideas to create stunning art, you’ve come to the right place.

Today, manipulating digital photography is a quick and easy process. Want to generate a double-exposure look? Create a tilt-shift effect? Simulate a fisheye lens? All these options and more are accessible thanks to image manipulation programs like Photoshop.

So here are 11 photo manipulation ideas to get your creative juices flowing!

1. Make a tilt-shift effect

When viewing a landscape from a distance, the scene looks uniformly focused to our eyes. However, when we look at a fake or model landscape, our physical proximity to the miniature scene creates some interesting optical effects.

But you don’t need a fake landscape to create this “tilt-shift” effect. With the right lenses, you can achieve it in-camera – or you can replicate the phenomenon in post-processing!

Here is a great tutorial on simulating a tilt-shift effect in Photoshop.

2. Generate an anaglyph 3D effect

anaglyph 3D effect photo manipulation ideas — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/4 | 1/100s | ISO 160

Anaglyph 3D renderings are made up of two differently filtered and slightly offset colored images. When viewed through special glasses, the two different colors are seen by different eyes, creating a 3D effect.

Creating an anaglyph 3D image in Photoshop is easy. First, open a photo and duplicate the Background layer twice. Select one of the duplicated layers and click on the FX icon at the bottom of the Layers panel. Select Blending Options – this will open the Layer Style window. Uncheck the G and B checkboxes next to Channels in the central panel. Then click OK.

Next, select the other duplicated layer. Click on the FX icon at the bottom of the Layers panel and select Blending Options again. This time, when the Layer Style window opens, uncheck the R checkbox. Click OK.

Finally, select one of the duplicated layers and nudge it slightly to the left or right using the mouse or the directional keys on the keyboard. The colors in the layers will separate, generating an anaglyph effect.

3. Imitate a circular fisheye lens

circular fisheye effect photo manipulation ideas — Canon 5D Mark IV | Canon EF 100-400mm f/4.5-5.6L IS II USM | f/5 | 1/160s | ISO 320

Photo manipulation ideas inspired by camera equipment can achieve engaging results. A fisheye lens is an ultra-wide-angle that produces a large amount of distortion, creating distinctive panoramic or hemispherical images.

To create a circular fisheye effect, open an image and select the Elliptical Marquee tool. Set the Style dropdown on the top menu to Fixed Ratio and drag the Marquee tool over the center of the image. Click Filter > Distort > Spherize. Adjust the amount of distortion you’d like in the pop-up panel (I usually leave the slider at 100%). Click OK.

To isolate the Spherized section from the rest of the image, keep the Spherized layer selected. Right-click inside the perimeter of the Spherized layer, then hit Select Inverse.

Next, right-click on the outside of the circle and select Fill. In the Fill pop-up box, make sure the Contents dropdown menu is set to Black, the Mode is set to Normal, and the Opacity is set to 100%. Click OK.

The area outside the Spherized subject will fill with black, isolating the fisheye effect.

4. Combine two images for a double exposure effect

From the days of early photography, shooters have gone to considerable lengths to avoid ghosting and double exposures. However, some photographers generate multiple exposures deliberately for creative purposes.

Double exposures can be made in-camera (both digitally and on film), but they can also be imitated in Photoshop.

This article demonstrates a simple way to make a double exposure effect in post-production.

5. Simulate an infrared effect

infrared forest scene photo manipulation ideas

Infrared photography captures wavelengths of light that operate outside the visible spectrum.

While there are several in-camera ways to create infrared imagery, the effect can be simulated in Photoshop, too. Take a look at our article on creating beautiful infrared effects.

6. Create a lens flare

When bright light reaches your camera, it can reflect off different parts of the lens to create an interesting flare effect.

While lens flare is sometimes unwanted, it can have interesting creative applications. In this article, we show you how to add a lens flare to an image with Photoshop.

7. Create a sepia look with Photoshop

beautiful sepia leaves — Canon 5D Mark IV | Canon EF 100-400mm f/4.5-5.6L IS II USM | f/8 | 1/200 | ISO 400

Sepia is a warm brown tone named after the pigment derived from the ink sac of the cuttlefish genus Sepia. In photography, the term sepia refers to a form of print toning. The use of sepia in photography began in the 1880s, and today the beautiful warmth of sepia toning is associated with age and history.

To apply a sepia tone to a photograph in Photoshop, first open an image. Create a Curves adjustment layer and adjust the curve to introduce a faded aesthetic:

The next step is to set the Photoshop foreground color to around the #35322e mark and the background color to around #cebbab. Click on the Create New Fill Or Adjustment Layer icon at the bottom of the Layers panel and select the Gradient Map option. This will apply a gradient sourced from the foreground and background color selections.

Select the Gradient Map layer in the Layers panel and open the Properties panel. In the Properties tab, click on the strip of graduated color to open the Gradient Editor.

Once in the Gradient Editor, make sure the Gradient Type is set to Solid and the Smoothness to 100%. Here’s what the window should look like:

Finally, feel free to make adjustments to the Gradient Map (this will change the sepia effect). Once you have finished preparing the Gradient Editor, click OK. And you’re done!

8. Apply an Instagram-like filter in Photoshop

Instagram filter effect — Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/4 | 1/250s | ISO 100

Instagram gives users the option to easily customize images or videos before uploading them to the social media platform. And with varied and eye-catching results, many users have looked to emulate Instagram filters in Photoshop!

If you are interested in applying Instagram-inspired effects to your photography work outside of the social media platform, this tutorial might come in handy.

9. Create a Lomography-inspired effect

Lomography effect photo manipulation ideas — Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/8 | 1/320s | ISO 200

Named after the optics manufacturer Lomo, Lomography makes use of the unpredictable and unique optical traits of plastic cameras and alternative processing techniques. And with the rise of digital photography, the Lomo aesthetic has spread to digital manipulation techniques.

While there is no single Lomography look, different Photoshop techniques have been developed to recreate Lomography-type effects.

To produce a Lomo-inspired digital photograph, first open an image in Photoshop. For a more traditional look, you can crop the photo into a square using the Crop tool.

Next, create a Curves adjustment layer. In the Curves histogram, click on the RGB dropdown menu and select Red. Make a shallow S curve within the histogram.

Next, select Green from the RGB dropdown menu and make a slightly more pronounced S curve. Lastly, select the Blue channel from the RGB dropdown menu and make an S curve similar to the green S curve.

Keep in mind that the curves don’t have to mirror each other exactly – what we are aiming for is a well-saturated image with considerable contrast and a distinctive hue. For the best results, I recommend experimenting! You can also add some grain via Filter > Noise > Add Noise.

Lomographic images also tend to have pronounced vignettes. To emulate this effect, duplicate the original image layer. Then, with the Lasso tool selected, draw a loose oval or circle around the center of the image area. Click Select > Modify > Feather. Set the Feather Radius to 250 pixels (the maximum) and click OK.

Next, click on Select > Inverse. With the inverse selection active, create a Levels adjustment layer. In the Levels panel, adjust the sliders to introduce a dark vignette around the edges of the image (the effect will vary from photo to photo, so some experimentation may be required!).

10. Apply a Sabattier effect in Photoshop

The Sabattier effect is one of many photo manipulation ideas that originated in the darkroom. The process involves rendering a negative or print either partially or completely tonally reversed. In other words, dark areas in the image become light and light areas become dark – for an effect known as solarization.

In the darkroom, this Sabattier effect can occur when a semi-developed print or negative is re-exposed to light for a brief moment; the result is a surreal, eye-catching version of the photo.

Of course, you can also recreate the Sabattier effect in Photoshop with two simple methods:

Sabattier method 1

The first technique applies a solarizing filter directly to your photo.

First, open an image and duplicate it. With the duplicate layer selected, click Filter > Stylize > Solarize. That’s it! The image will instantly take on a solarized aesthetic.

For a more classic solarization effect, convert the image to black and white with a Black and White adjustment layer. Different black and white settings will alter the appearance of the solarization, so try a few different presets or make your own custom adjustments.

Sabattier method 2

While the Solarize filter method works well, it doesn’t offer a lot of creative control – it’s just a straight conversion. To make a less destructive and more customizable solarization effect, open your image in Photoshop and add a Black and White adjustment layer (if desired). Create a Curves adjustment layer.

In the adjustment layer, create this curve:

From there, you can adjust the curve for a dramatic look. Depending on the image, you can also reverse the Curves adjustment layer for a more pronounced or subtle effect. Since you’re working non-destructively with an adjustment layer, this process can easily be undone at any point.

11. Simulate a glitch effect

glitch effect Photoshop photo manipulation ideas — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/4 | 1/250s | ISO 100

Last (but not least!) on our list of photo manipulation ideas is a glitch effect simulation.

Glitches are flaws in a digital medium. Inherent in our modern technological landscape, true glitch art is made by capturing organic glitches, manually corrupting digital media, or by physically manipulating electronic devices to cultivate glitched imagery. The process can be quite tricky, however – so simulating a glitch effect can be an easier way to convey the fragility of digital media.

To discover how to create a glitch effect in Photoshop, check out our step-by-step tutorial.

Photo manipulation ideas: conclusion

From Lomography-inspired effects to simulated glitch art, the creative possibilities of photography are just about limitless. So if you find yourself in a creative rut, give one of the photo manipulation ideas from this list a try – you never know what new perspectives your manipulations might inspire!

Now over to you:

What are your favorite types of photo manipulation? Share your thoughts (and examples!) in the comments below.

The post 11 Photo Manipulation Ideas (for Beautiful Results) appeared first on Digital Photography School. It was authored by Megan Kennedy.

Digital Photography School

Comments Off

Posted in Photography

15 Rule of Thirds Examples (to Improve Your Compositions)

27 Apr

The post 15 Rule of Thirds Examples (to Improve Your Compositions) appeared first on Digital Photography School. It was authored by Megan Kennedy.

In this article, we share 15 rule of thirds examples – so you can see this helpful compositional rule in action.

If you’ve been struggling to understand the rule of thirds, or if you’re simply looking for rule of thirds inspiration, you’ve come to the right place.

Let’s get started!

1. Focus

The rule of thirds was designed to simplify artistic composition. The rule suggests that you break down scenes into nine equal parts separated by two evenly spaced horizontal and vertical lines, like this:

Rule of thirds examples - a macro photograph of a fern in black and white — The grid overlay allows you to easily visualize the rule of thirds.
Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | f/2.5 | 1/80s | ISO 100

Important compositional elements can then be positioned along the lines of the grid, in the off-center rectangles, or at the grid’s intersections.

In this photograph of a native fern (above), the sharpest point aligns with the top-left intersection of the rule of thirds grid. This composition generates more interest and depth than a centered subject, engaging the viewer and guiding the eye.

2. Lines

people with rope rule of thirds example — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/4 | 1/160s | ISO 125

In this street scene, the majority of the subjects are positioned in off-center rectangles. Additionally, the two white road lines roughly align with the two horizontal gridlines. This distribution of subjects activates the edges of the photograph, adding a sense of expansion and narrative.

3. Pattern

rule of thirds example pattern in window — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/4 | 1/100 | ISO 250

The pattern in this decorative window suggests an overall uniformity. However, the clearest pattern elements are only visible in the upper-left corner of the rule of thirds grid.

This invites the viewer’s eye to explore the various intricate perspectives that make up the scene.

4. Insects

Rule of thirds example - a bee on a flower — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | f/4.5 | 1/1000s | ISO 400

Here’s a fun rule of thirds example with an insect!

Insects can be tricky to photograph, but applying the rule of thirds can help create a more dynamic composition. If you compose with an insect off-center, you’ll capture a more natural image that alludes to the movement and life of a living creature.

5. Motion

Rule of thirds examples - a Boeing 737 on approach to land at Sydney International Airport — Canon 5D Mark II | Canon EF 100-400mm f/4.5-5.6L IS II USM | f/16 | 1/400s | ISO 200

One of the main reasons for observing the rule of thirds is to discourage photographers from placing a subject at the center of a photograph. With the help of the rule of thirds, you can create more engaging interactions between the image and the viewer.

We know the standard trajectory of an aircraft. But in the example above, by framing the subject off-center, I was able to generate a clear sense of motion.

6. Depth

Rule of thirds example - flowers in black and white — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/4 | 1/250s | ISO 100

There are many ways to increase the sense of depth in a photograph. By offsetting the sharply focused main subject (i.e., by following the rule of thirds!), you can achieve a sense of spaciousness and three-dimensionality throughout your image.

7. Narrative

car wash window rule of thirds — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/7.1 | 1/100s | ISO 100

A lot is happening in the center of this image. However, the driving figure behind the central feature is positioned off to the left, creating a shadowy clue to the story behind the photograph.

8. It doesn’t have to be perfect

Rule of thirds example - ducks fly ahead of a large storm cloud — Canon 5D Mark IV | Canon EF 100-400mm f/4.5-5.6L IS II USM | f/11 | 1/500s | ISO 100

Despite its name, the rule of thirds is more like a guide than an unbreakable law. In the image above, three ducks make their way across a thunderous cloudscape. However, while one of the ducks is precisely aligned with the right vertical of the grid, the other two ducks are positioned independently on either side.

Nevertheless, the offset position of the ducks counterbalances the weight of the storm clouds, creating a dramatic juxtaposition. It just goes to show that the rule of thirds can be a flexible guide rather than a rigid rule.

9. Directing the eye

rule of thirds flowers — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | f/2.2 | 1/800s | ISO 200

In this image, the emphasis is placed squarely on select areas of the flower. By positioning the subject away from the image center, you can draw the viewer’s eye toward the frame’s corners.

10. Weight

grassy landscape — Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/7.1 | 1/100s | ISO 100

Every element in a composition has a weight, one that’s based on perceptions and real-life experience.

Darker, denser subject matter feels heavier than lighter, airier subject matter. Using the rule of thirds to group darker or lighter subject matter together in one area of an image can emphasize this weight. In the image above, lighter areas toward the bottom contrast with a dense area of shadow in the top third of the frame.

11. Balance

Rule of thirds examples - a canopy of tree branches and leaves — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/6.3 | 1/125s | ISO 100

The canopy of leaves creates an engaging pattern, punctuated by the dark branches of trees – the heaviest of which are positioned toward the edges of the image.

With the help of the rule of thirds, this balance of lightness and heaviness creates an interesting and harmonious composition.

12. Less can be more

Rule of thirds examples - a black an white photograph of an empty carpark — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/6.3 | 1/250s | ISO 100

These rule of thirds examples can be a handy reminder that less is often more. By organizing subjects in accordance with the rule of thirds grid, you can give an image room to generate its own visual momentum.

13. Adding detail

a black and white macro photograph of a white lily. — Canon 5D Mark IV | Canon EF 50mm f/1.8 II with extension tubes | f/1.8 | 1/640s | ISO 100

This macro image of a lily contains plenty of information around the central area of the composition. However, additional off-center details make the most of the image space, adding a sense of expansive detail to the photograph.

14. Abstraction

Rule of thirds examples - an abstracted image of a leaf — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | f/1.8 | 1/40s | ISO 320

Even abstract photography can benefit from the rule of thirds. Here, I’ve positioned an out-of-focus leaf so it intersects with the rule of thirds gridline.

15. Space

Rule of thirds examples a grassy field in black and white. — Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/8 | 1/160s | ISO 100

When a scene is full of information, incorporating an area of reduced activity can add more depth.

So rather than aligning a subject with the rule of thirds grid, try aligning the grid with an emptier portion of the scene. This allows the viewer to visually digest the image and better grasp the scene’s context and behavior.

Rule of thirds examples: final words

As these 15 rule of thirds examples have demonstrated, having a good grounding in compositional theory can be highly useful!

So while the rule of thirds is more like a guide than a strict rule, use it to help you arrange the various elements of your photos.

Now over to you:

Do you use the rule of thirds in your photography? Share some of your own rule of thirds examples in the comments below!

The post 15 Rule of Thirds Examples (to Improve Your Compositions) appeared first on Digital Photography School. It was authored by Megan Kennedy.

Digital Photography School

Comments Off

Posted in Photography

The 3 Must-Have Camera Lenses Every Photographer Should Own

26 Apr

The post The 3 Must-Have Camera Lenses Every Photographer Should Own appeared first on Digital Photography School. It was authored by Guest Contributor.

3 must-have lenses every photographer should own

What are the essential camera lenses every photographer must have?

In this article, I’m going to share the three key lenses that no photographer should be without. These recommendations come from personal experience; I rely heavily on these three lenses in my own photography.

They offer enough versatility to shoot in almost any situation, and they’re available for just about every camera system and lens mount on the market, from DSLR to mirrorless, from Nikon to Sony.

So if you’re ready to discover the must-have camera lenses for every photographer, let’s dive right in, starting with…

1. The general-purpose zoom

A general-purpose (standard) zoom goes from around 18mm to 70mm. At the wide end, you get an expansive field of view for environmental shots. And at the long end, you get a field of view close to that of the human eye.

These zooms are hugely popular and come in many shapes and sizes. For instance, you can grab an 18-55mm kit lens or a (more expensive) 24-70mm lens.

Out of all my lenses, a standard zoom sits on my camera the most. It lets me shoot fairly wide while also offering decent zoom for objects off in the distance. You can shoot landscapes at 18mm, environmental portraits at 24mm, street shots at 50mm, and tighter portraits in the 60mm+ range.

Ideally, your general-purpose zoom packs a wide maximum aperture for low-light shooting and precise depth of field control (f/2.8 is best, but f/4 also works). Of course, if you can’t yet afford a wide-aperture zoom, that’s okay; a standard kit lens will work fine in most situations.

Consider these general-purpose zooms from Canon:

Canon EF-S 18-55mm f/4-5.6 IS STM
Canon EF 24-70mm f/4L IS
Canon EF 24-70mm f/2.8L II USM
Canon RF 24-70mm f/2.8L IS USM

These general-purpose zooms from Nikon:

Nikon AF-S DX 18-55mm f/3.5-5.6G II
Nikon AF-S 24-70mm f/2.8G
Nikon Z 24-70mm f/2.8 S
Nikon Z 24-70mm f/4 S

And these general-purpose zooms from Sony:

Sony 16-50mm f/3.5-5.6 OSS
Sony 24-70mm f/2.8 GM
Sony 24-70mm f/4 Vario-Tessar OSS

2. The macro lens

A macro lens lets you get up close and personal to your subject so you can capture stunning details of insects and flowers – as well as close-ups of clothing, jewelry, and more.

Note that the length of your macro lens isn’t as important as its magnification capabilities (a 1:1 magnification ratio or higher is best; it’ll let you get insanely close to your subjects).

I currently keep a 50mm f/2.8 macro in my bag because it’s small and light. I carry it around with me all the time, and when I need it, I whip it out for a detail shot or two. My macro lens also doubles as a decent portrait lens (it’s very sharp and the f/2.8 maximum aperture provides a shallow depth of field). And the level of detail you can get when shooting objects up close is fantastic.

Having a macro lens opens up a whole new world of tiny objects to photograph. Also, if you do any type of product photography (jewelry, food, etc.), this lens will allow you to capture a much greater level of detail than is possible with non-macro lenses.

Consider these macro lenses from Canon:

Canon EF 100mm f/2.8L IS Macro
Canon RF 85mm f/2 Macro IS STM
Canon EF-S 35mm f/2.8 Macro IS STM

These macro lenses from Nikon:

Nikon AF-S Micro 60mm f/2.8G
Nikon AF-S Micro 105mm f/2.8G VR

And these macro lenses from Sony:

Sony 90mm f/2.8 Macro G OSS
Sony 30mm f/3.5 Macro

3. The telephoto zoom

The most useful telephoto zooms span from around 70mm to 200mm – so you can capture standard field of view shots on the wide end and tight shots on the long end.

For instance, you might shoot full-body portraits at 70mm, tighter landscapes at 150mm, and headshots at 200mm. You can also use a 70-200mm lens to photograph sports, architecture, weddings, and more.

Regarding the maximum aperture: f/4 is acceptable and will get you decent low-light capabilities plus a shallow depth of field (especially when shooting at 200mm). But an f/2.8 maximum aperture is the holy grail of 70-200mm lenses; the depth of field is gorgeous at f/2.8, plus you can shoot indoors for basketball games, wedding ceremonies, graduations, etc.

The wider aperture will also let you shoot at faster shutter speeds so you can capture moving subjects such as birds and other wildlife. And a 70-200mm lens is a handy portrait lens; the focal length minimizes distortion and narrows the field of view to fill the frame with your subject.

So check out these telephoto zooms from Canon:

Canon RF 70-200mm f/2.8L IS
Canon RF 70-200mm f/4L IS
Canon EF 70-200mm f/2.8L IS III
Canon EF 70-200mm f/4L IS II

These telephoto zooms from Nikon:

Nikon Z 70-200mm f/2.8 S
Nikon AF-S 70-200mm f/2.8E VR
Nikon 70-200mm f/4G VR

And these telephoto zooms from Sony:

Sony 70-200mm f/2.8 GM OSS
Sony 70-200mm f/4 G OSS

Wait, what about…?

super-telephoto zoom must-have camera lens

I am sure that many of you reading this have other lenses you would consider essential.

For instance, a fast 50mm prime is great for portraits and street shots. A wide-angle zoom is perfect for landscape, architecture, and environmental portraits. A longer zoom lets you capture ultra-tight landscapes, birds, wildlife, and sports.

And it’s true:

All of those lenses are great to own.

But I’m trying to give you the three lenses that are most useful for every photographer, including folks who are new to photography or who have just bought their first camera.

And if you’re new to photography, these three lenses will give you the versatility to shoot in almost any situation.

You can use them for:

Family gatherings
Sports
Wildlife
Insects
Flowers
Landscapes
Events
Street scenes
Portraits

Then, once you hone in on the type of photography that most interests you, you might find that other lenses are essential for that specific subject – but until then, these are the lenses you should be carrying.

3 must-have camera lenses: conclusion

Well, there you have it:

The three camera lenses that every photographer should have, especially when starting out.

If you already own these lenses, great! And if not, consider adding them to your wish list.

Now over to you:

What lenses would you include on your own must-have lens list? Share your thoughts in the comments below!

About the author: Chris Folsom is a hobbyist photographer who spends much of his time photographing abandoned buildings. His photos have been published in newspapers and on numerous websites.

The post The 3 Must-Have Camera Lenses Every Photographer Should Own appeared first on Digital Photography School. It was authored by Guest Contributor.

Digital Photography School

Comments Off

Posted in Photography

Weekly Photo Challenge – Phones Only

24 Apr

The post Weekly Photo Challenge – Phones Only appeared first on Digital Photography School. It was authored by Sime.

Controversial, Simon! But you have to admit that, at some point, you’ve made a photograph with a phone – or you haven’t and that’s OK, too.

Use the hashtag #dPSPhonesOnly when you post on social media to help us see your photos! You can post here in the comments, (instructions down the bottom) or you can join and post over in our Facebook group if you like!

For this challenge, we’d like to see the BEST photo you’ve ever taken on your phone! It can be one you’ve taken at any time in the last year, or it can be a new one you make specifically for this challenge!

Remember, photography doesn’t need to be only ever with the highest resolution camera or the most expensive lens, learning comes in all shapes and sizes!

Sometimes we use them for documentation, sometimes just because we don’t have a camera-camera with us, whatever the reason, as opposed to what a few muttered when phones started seeing better resolution cameras, I think they’re here to stay!

Right then! Some admin, first things first! If you’ve missed any of our previous challenges, you’re welcome to go back and do them all, brush up on your skills or just find some inspiration in the comments that others have posted with their photographs – find them here

And here is a mini-tutorial on how to post your images in the comments below.

How do I upload my photo to the comments?

Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them.

Weekly Photography Challenge – Looking Up

The post Weekly Photo Challenge – Phones Only appeared first on Digital Photography School. It was authored by Sime.

Digital Photography School

Comments Off

Posted in Photography

Tamron Announces the 150-500mm, a Portable Zoom for Sony Mirrorless

23 Apr

The post Tamron Announces the 150-500mm, a Portable Zoom for Sony Mirrorless appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Earlier this week, Tamron unveiled the 150-500mm f/5-6.7 Di III VC VXD for Sony E-mount cameras, a lens that will offer significant power, versatility, and affordability to Sony users.

The 150-500mm f/5-6.7 is Tamron’s “first ultra-telephoto zoom lens for full-frame mirrorless cameras that reaches the 500mm focal length.” But despite the super-telephoto range, the 150-500mm is surprisingly compact. At 500mm, the lens reaches 11.1 in (28 cm), and when retracted to 150mm, it clocks in at a portable 8.3 in (21 cm) for a travel-ready package.

While the f/6.7 maximum aperture may frustrate professionals, enthusiast sports, wildlife, and bird photographers will love the opportunity to get up close and personal without splurging on Sony’s $ 2000 USD 200-600mm lens. At 150mm to 300mm, you can capture wider photos of your subject; zoomed in to 400mm and 500mm, you can grab crisp detail shots and wildlife portraits.

And though the Tamron 150-500mm will work just fine on Sony full-frame cameras, when mounted on an APS-C camera – such as the Sony a6600 – the lens delivers a whopping 225-750mm range, perfect for photographers seeking to shoot small, skittish subjects such as birds.

Of course, image quality remains to be seen, but Tamron confidently claims that the 150-500mm packs “amazing high image quality,” boasting “exceptionally high resolving power across the entire image.”

As for autofocus, the 150-500mm “provides high speed, high precision, and excellent quietness,” thanks to Tamron’s VXD focusing technology.

Sure, a wider maximum aperture would be useful, especially for low-light wildlife and sports photography. But wider apertures come with eye-watering costs, plus Tamron has added Vibration Compensation (VC), which ensures sharp images even when shooting handheld in limited light.

While the Tamron 150-500mm doesn’t come cheap, it’s not pricey, either (relatively speaking). You can preorder the lens for just $ 1399 USD, though expect to receive your copy after June 10th (also, Tamron notes that “the release date or product supply schedule could change” due to COVID-related problems).

So if you’re an enthusiast photographer in need of a super-telephoto zoom, I highly recommend you check out the Tamron 150-500mm.

Now over to you:

What do you think of this new lens from Tamron? Will you be interested in purchasing it? Share your thoughts in the comments below!

The post Tamron Announces the 150-500mm, a Portable Zoom for Sony Mirrorless appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

Comments Off

Posted in Photography

11 Portrait Photography Ideas to Inspire You

22 Apr

The post 11 Portrait Photography Ideas to Inspire You appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Coming up with fresh portrait photography ideas is challenging for many photographers. Whether you take a lot of portraits or are a beginner, it’s always best to have a few good ideas up your sleeve.

So here are 11 portrait photography ideas to create great images of whoever is in front of your camera, starting with…

1. Communicate well

Let your portrait subjects know what you want from them. Talk to them about what you are doing with the lighting, props, and background. This will build their confidence in you and show them you are serious about taking some great portraits.

Don’t be shy. Be interested in who they are and how they are feeling. Ask them questions. Show an interest in what they want.

Woman in a field — Nikon D800 | 105mm | f/3.2 | 1/2000s | ISO 200
© Kevin Landwer-Johan

2. Light based on the mood

Style your lighting to suit the mood of the portrait you are creating. If you want a soft, gentle portrait, use soft lighting and add lights or reflectors to reduce strong shadows.

Alternatively, embrace the darkness and generate a sullen atmosphere by creating a shadowy, dark effect. Purposely underexpose so you create a sense of mystery.

portrait of a woman in the market — Nikon D800 | 50mm | f/2.2 | 1/250s | ISO 200
© Kevin Landwer-Johan

3. Make use of the environment or isolate your subject

Wherever you are, look around and think about how you can incorporate elements of the environment into your portrait photos. Think about whether showing some of the location will add to the portraits you are making.

If there’s nothing suitable to include in the photo, then isolate your subject. Blur the background by using a shallow depth of field, or find a plain, blank background to position your subject in front of.

a monk sweeping leaves portrait photography idea — Nikon D800 | 105mm | f/4 | 1/400s | ISO 200
© Kevin Landwer-Johan

4. Ask your subject what they want

Even if you have some good portrait photography ideas of your own, ask your subject what they want. You may be surprised at what they have to offer.

The young lady in the photo below told me to include ice cream in our planned portrait session. So I bought ice cream. We were challenged by the weather. Even indoors with the air conditioning on full, the ice cream melted too quickly. So we made the most of it!

a young woman with an ice cream — Nikon D800 | 105mm | f/6.3 | 1/200s | ISO 100
© Kevin Landwer-Johan

5. Use many lighting and background setups

Think outside the box and use different lighting setups and backgrounds during the portrait session. By controlling the lighting and backgrounds, you can create a strikingly diverse set of portraits.

portrait photography idea a young woman with an ice cream — Nikon D800 | 105mm | f/9 | 1/200s | ISO 100
© Kevin Landwer-Johan

6. Take a series of portraits

Take a series of portraits with the aim of displaying them together. Keep the lighting and background the same for each shot and capture a range of expressions and poses from your model.

If you isolate your model on a plain background, you can print the entire series as a single image. Or you can frame each shot on its own but hang the series together.

Three portraits of a girl in a green scarf — Nikon D800 | 105mm | f/8 | 1/160s | ISO 400
© Kevin Landwer-Johan

7. Photograph your subject’s hands

Hands bring a fresh dynamic and can help add more story to your pictures. You can have the hands holding something, or you can just arrange them nicely.

Giving your subject something to do with their hands will often help them relax. People can feel uneasy when they don’t know how to place their hands. So guiding the hands with some directions or suggestions will help your subject feel more comfortable.

portrait photography idea of a woman with a snake — Nikon D800 | 105mm | f/11 | 1/200s | ISO 400
© Kevin Landwer-Johan

8. Go with the flow

Sometimes, your subject may have some great ideas that are quite different from yours. Go with the flow and include these. Take the photos they want because they will always be enthusiastic and more expressive when trying out their own ideas.

Even if the ideas your subject suggests are not so stellar, take the photos anyway. This will help your subject build confidence and strengthen the relationship between the two of you.

Then, once you’ve spent some time capturing the photos they want, move on to your own portrait photography ideas.

two kids acting out a scene — Nikon D800 | 55mm | f/5.6 | 1/200s | ISO 200
© Kevin Landwer-Johan

9. Capture the moment

Be prepared to capture special moments as they happen. Don’t be peering down at your camera and fiddling with the settings. Instead, engage with your subject. Be constantly aware of what they are doing and how they are looking. You want to be ready when they smile (and even when they grimace).

When your subject is engaged in an activity, getting your timing right can be more challenging. For the street portrait below, I had to move to keep up with my subject. He was demonstrating the quality of the wallets he had for sale. He poured lighter fluid on one and set it alight to show that it was not made of plastic. It all happened very quickly!

Man with a wallet on fire — Nikon D800 | 20mm | f/4 | 1/125s | ISO 400
© Kevin Landwer-Johan

10. Incorporate some movement

Portraits do not need to be still. Movement can help add liveliness to a photo.

Have your subject walk or jump. You can also get them to turn their head quickly, like I did for this photo:

portrait photography idea a woman spinning around — Nikon D800 | 105mm | f/2.8 | 1/160s | ISO 200
© Kevin Landwer-Johan

Head movement works best when a person has long hair, but it can be a good idea even for shorter-haired subjects.

Any movement can make way for spontaneity, so don’t forget about the importance of capturing the moment (as I discussed in the previous section). Be ready for anything that might happen.

11. Expose for good skin tones

I’ll add one technical idea:

Set your exposure so your subject’s skin tone is well exposed. This is especially important when there’s a lot of contrast in your composition.

For instance, wedding portraits of a bride and groom can be challenging. A stunning bride in a white dress and a groom looking handsome in his dark suit can make it difficult for you to find a balanced exposure setting. So spot meter off their faces; this will ensure you end up with a good exposure.

Two Akha woman having a laugh portrait photography idea — Nikon D800 | 105mm | f/5.6 | 1/200s | ISO 400
© Kevin Landwer-Johan

Bonus tip: Show your subject the portrait

Here’s a bonus portrait photography tip:

As soon as you have a few good photos, show your subject. Until you do this, they may not have a clear idea of what you are doing or how you are framing them. But once you show them how good you are making them look in the portraits, they will feel better about themselves. This boosted confidence will only lead to more great portraits.

portrait photography idea a woman with an elephant — Nikon D800 | 105mm | f/11 | 1/100s | ISO 400
© Kevin Landwer-Johan

Portrait photography ideas: final words

It can be challenging to come up with good portrait photography ideas, so I hope this list was helpful.

The next time you have a person in front of your camera, remember these ideas – and use them!

Do you have any portrait photography ideas? Share them (and your portrait photos) in the comments below!

The post 11 Portrait Photography Ideas to Inspire You appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Digital Photography School

Comments Off

Posted in Photography

Smartphone RAW Photography: An Easy Way to Improve Your Photos

21 Apr

The post Smartphone RAW Photography: An Easy Way to Improve Your Photos appeared first on Digital Photography School. It was authored by Ana Mireles.

What is smartphone RAW photography, and how can you set up RAW imaging on your phone? If high-quality photos are your goal, you must know how to do smartphone RAW photography.

For a long time, only standalone cameras supported RAW format. But these days, many smartphone manufacturers are including it as a feature on their devices – and in this article, I’ll share with you step-by-step instructions for capturing RAW photos on iPhones, Samsung phones, and Huawei phones.

And in case your native camera app doesn’t support RAW, I’ll include a list of third-party apps that produce RAW photos.

Let’s get started.

What is smartphone RAW photography?

native camera smartphone RAW photography — RAW format on the left/JPEG format on the right (taken in the Huawei P20 Lite native camera app.)

A RAW file is the unprocessed version of a photo. When you take a photograph, the camera records all sorts of information.

Then, if it saves it in JPEG – which is the most common format – it will use only the information it needs and discard the rest.

After that process, there’s no way to recover the information that was thrown away. So you’ll have less dynamic range and fewer details in the highlights and shadows. (The loss of information will be more noticeable if you want to do extreme editing, which can lead to unpleasant artifacts such as banding.)

smartphone RAW photography in Lightroom Mobile — Both these images were taken using the Lightroom app on a Xiaomi Redmi 8. There’s faint color banding in the sky on the JPEG image (right).

Most camera manufacturers have proprietary RAW file formats. For example, Nikon cameras generate NEF files, Canon files are CRW, and so on.

DNG format was developed by Adobe as an open-source RAW file, so it’s more compatible and any manufacturer can use it. In smartphone photography, DNG is the most commonly used RAW format.

Should you shoot in RAW on a smartphone?

If you want to do serious mobile photography, then yes. Photographing in RAW gives you great flexibility when you edit your photos.

However, RAW files are 10 to 12 times bigger than JPEG files – and that’s a lot of storage space. So you might not want to shoot in RAW for every single picture that you take.

If it’s an option on your phone, save the images to an SD card instead of the internal memory. Another storage solution is to send your files to the cloud or transfer them to your computer to be backed up on an external hard drive.

How to shoot in RAW: Step by step

Not all phones support RAW format, and the ones that do have different ways of enabling it.

Here’s a step-by-step guide for the most common smartphone brands:

For Huawei shooters

These instructions reference a Huawei P20 Lite; however, the process should be the same on all Huawei models that support RAW photography.

First, open the camera app and scroll through the Mode menu until you reach Pro. Select this mode, and keep in mind that RAW shooting is not available in the other photo modes.

Open your camera Settings menu by tapping on the gear icon (this will be in the upper left corner if you’re shooting in landscape orientation and in the upper right corner if you’re shooting in portrait orientation):

Tap Resolution:

Then scroll to the bottom, where you’ll find the Photo Format section. Enable RAW format:

Then close the settings and snap your photo! As long as you’re in Pro mode, the images will be saved in RAW (plus a JPEG copy).

RAW files are saved in Files > Internal Storage > DCIM > Camera > RAW. You can review them in the gallery under More Albums > Others > RAW.

For iPhone shooters

Not all iPhones support RAW format in the native camera app. If your iPhone doesn’t shoot in RAW, you’ll have to use a third-party app. Look for recommendations at the end of this article.

However, the iPhone 12 Pro and the iPhone 12 Pro Max both support Apple ProRAW (they need to have iOS 14.3 or later, though).

To enable ProRAW, go to Settings > Camera > Formats. Under the Photo Capture section, you can turn on Apple ProRAW.

Once you have enabled this function, you’ll have the RAW option when you’re taking pictures. Simply tap to turn it on or off. (That way, you can shoot in different formats without having to go through the Settings menu every time.)

When you take a photo and RAW is on, it will be saved as a DNG file of about 25 MB. But if you turn ProRAW off, your iPhone will create a JPEG or HEIF file – whichever you have selected as the default.

For Samsung shooters

Keep in mind that not all Samsung devices will support RAW files. However, for the Samsung devices that do support smartphone RAW photography, here’s how to set it up:

Open the camera app and scroll the options bar until you find More.

In the More menu, you can see different modes. Tap on PRO.

Then open Camera Settings and scroll down to Save Options.

Enable Save RAW copies.

Once you’ve done this, all the pictures you take in PRO mode will be saved with a RAW copy – in every other mode, the images will still be JPEGs.

If you want to save a JPEG file when shooting in PRO, you need to go to the Camera Settings and disable the RAW option.

If your Samsung phone doesn’t support RAW files in the native camera app, you can always download another app to do so. You’ll find a list of recommendations at the end of the article.

Apps to shoot in RAW

As I explained above, not all smartphones offer RAW shooting in their native camera app. However, there are plenty of third-party apps that will let you work in RAW. Here’s a list of a few good ones:

Lightroom Mobile (for iOS and Android). The free limited version includes the RAW function, though you will need to create an Adobe account. Of course, if you have an Adobe Lightroom or an Adobe Photography subscription, you already have access to the full version of Lightroom Mobile.

Lightroom mobile shoot in RAW — In Lightroom Mobile, you just have to tap on the top of the screen to open the menu and switch between DNG (RAW) and JPEG.

VSCO (iOS and Android). The RAW function is only for iPhone 6 and later. Older devices and Android phones can use VSCO as a camera and editor but won’t be able to shoot in RAW.

ProShot (iOS and Android). The RAW function works only on compatible phones. To know if your phone supports ProShot RAW, you might want to do some research before purchasing it. The cost is $ 1.99.

ProCam (iOS). Works on iPhones with 12 MP cameras – that’s iPhone 6s and later. It supports RAW files in Auto and Manual mode.

On1Photo RAW (iOS and Android). Free. Supports RAW and JPEG formats in all photo modes.

Flannl RAW camera (iOS). Free.

Manual Camera Lite: Professional Camera DSLR (Android). This free version supports RAW format on some phones. You can upgrade to the PRO version, but it’s not necessary to capture photos in RAW.

Smartphone RAW photography: conclusion

As you can see, it’s very easy to do smartphone RAW photography, no matter your phone type. It may take a few extra taps, but it makes a world of difference!

Now over to you:

Have you tried shooting smartphone RAW photos? Have you noticed a difference compared to your JPEGs? Share your thoughts (and images!) in the comments below.

The post Smartphone RAW Photography: An Easy Way to Improve Your Photos appeared first on Digital Photography School. It was authored by Ana Mireles.

Digital Photography School

Comments Off

Posted in Photography

Top 10 Mistakes That Cause Blurry Pictures (And How to Fix Them)

20 Apr

The post Top 10 Mistakes That Cause Blurry Pictures (And How to Fix Them) appeared first on Digital Photography School. It was authored by Anne McKinnell.

“Why are my pictures blurry?”

It’s a common question, and one that doesn’t have an easy answer. The truth is that blurry pictures are caused by many factors – so if your photos are blurry, it’s often difficult to pinpoint the exact problem.

That’s why I wrote this article. I’m going to list the 10 main reasons why you’re ending up with blurry photos. I want you to carefully go through this list. See if any of the reasons stand out.

And then make the necessary changes!

Odds are, if you can address the problem, you’ll be taking tack-sharp images in no time at all.

Let’s dive right in, starting with the biggest reason why your photos are blurry:

1. Your shutter speed is too slow

A too-slow shutter speed is the number one culprit of blurry photos.

You might think you can hold perfectly still for half a second, but I assure you there are very few people in the world who can.

In fact, most folks can only handhold a camera down to the 1/160s to 1/80s range (though this can fluctuate, depending on the focal length of the lens, as well as the size, the lens technology, and the level of magnification).

When handholding your camera, remember this rule of thumb to avoid blur caused by camera shake:

Your shutter speed should be the reciprocal of your lens’s focal length.

So if you’re using a 60mm lens, your shutter speed should be 1/60s or faster. With a 200mm lens, use at least 1/200s. With a 400mm lens, use at least 1/400s.

(The longer your lens length, the more camera shake is magnified, so telephoto lenses require much faster shutter speeds.)

sharp pelican without blur — Using a 400mm lens, I selected a shutter speed of 1/400s to reduce the possibility of camera shake.

Some lenses and cameras have image stabilization technology built into them. Now, image stabilization usually allows you to slow your minimum shutter speed by around 3-5 stops, so you can handhold a 60mm lens past the 1/8s range. But you should always be cautious and take extra shots just to be sure.

What is your minimum shutter speed?

In addition to the reciprocal rule, it’s important to know your own personal minimum shutter speed.

You see, we all shake a little, but some of us shake more than others. So it’s good to know at what point camera shake becomes an issue for you.

Try this exercise:

Put your camera in Shutter Priority mode and take a photo at 1/500s. Then lower your shutter speed and take another image. Keep this going until you head all the way down to 1s or so, then pull up the images on your computer. Ask yourself: When does the blur become a problem? Personally, I rarely go below 1/125s if I’m handholding my camera.

2. Not using a tripod

If you’re experiencing camera shake and you can’t use a faster shutter speed (due to low-light conditions), or you don’t want to use a faster shutter speed (because you’re purposely trying to blur something in the frame), then you need to steady your camera another way.

And I highly recommend using a tripod. It’ll keep your camera completely steady even as you dial in exposures of one second or longer. If a tripod is too inconvenient, consider a monopod, which is a more compact, flexible option.

Also, when you use a tripod, image stabilization is not necessary and may even be counterproductive, so it’s a good idea to get in the habit of turning any IS off when you put your camera on a tripod.

3. Bad camera-holding technique

For the best stability, practice the official photographer position:

Stand with your feet slightly apart, one staggered forward, and firmly planted to stabilize your body right to left and back to front. Support the camera with your left hand by holding the lens from underneath, and use your right hand to grab the grip and gently press the shutter button. Tuck your elbows tight to your chest and use the viewfinder rather than the Live View screen (holding the camera to your face will help keep it steady).

Some photographers even go so far as to listen to their breathing and heartbeat, taking care to fire the shot between breaths and beats for maximum stability.

photographer handholding camera with technique to prevent blurry photos — Proper technique when handholding your camera.

4. Your aperture is too wide

The size of the aperture determines the depth of field, which is how much of the image is in focus. And this has a direct effect on the sharpness of your photo.

When a lens finds focus, it locks onto a specific distance known as the plane of focus. So if you focus at, say, 15 feet, everything 15 feet away from the camera will have maximum sharpness, and anything in front of or behind that plane will start to blur. The strength of this blur effect – that is, the speed at which sharpness falls off – depends on the aperture.

If you use a wide aperture such as f/2.8, the depth of field will be very shallow. This effect is magnified by longer focal-length lenses. So if you use a telephoto lens and the aperture is f/2.8, there may be only a razor-thin sliver of the image that is in sharp focus. But if you use a small aperture such as f/11 or f/18, the depth of field will be larger. More of the image will be sharp.

desert landscape — Using an aperture of f/20, everything is sharp from foreground to background.

Choosing the right aperture depends on the type of image you want to create. But if you are trying to get everything in the frame as sharp as possible, try using a small aperture (produced by a larger f-number such as f/11 or f/22).

Note that a small aperture will let in less light, so you will need to use a slower shutter speed to compensate. See the first problem on this list!

5. Not using autofocus

These days, cameras are sophisticated. So let them do what they are good at! Cameras do a fantastic job of nailing focus, both with still subjects and subjects in motion.

Is autofocus perfect? No, and later on in this article, I’ll discuss a few times when manual focus is actually helpful. But generally speaking, autofocus is the way to go.

why are my pictures blurry? sharp vulture

6. Not focusing in the correct place

Even if you’re using the perfect handholding technique or a rock-solid tripod, if you focus in the wrong place, you’ll end up with blurry pictures anyway.

Focusing carefully is especially crucial when using a wide aperture (because you’ll have a razor-thin depth of field!). A slight miscalculation in the focus can throw the subject completely out of the focal plane, or give you a subject with perfectly sharp earlobes and blurry eyes.

Photographers often leave their cameras set to an auto AF-area mode – one that tells the camera to decide automatically what part of the picture should be in focus. Most of the time, modern cameras are pretty good at this, particularly if the subject is prominent in the frame. However, with more complex compositions, the camera can get confused and try to focus on the wrong thing. To specify the focal point yourself, switch to a single-point AF-area mode.

When you look through your viewfinder, you should see an array of little dots or squares laid over the display, like this:

These are your focus points, and they show you where in the frame the camera can lock focus. In single-point AF-area modes, you can use the camera’s direction pad to select one of these dots, and the camera will always focus on that point (and that point alone).

Note that, to tell the camera to focus, you would normally depress the shutter button halfway before pressing it the rest of the way to take the shot. This works pretty well, but cameras can be overly sensitive – if you press too lightly, the button may come unpressed and try to re-focus after you’ve already found your point of focus. If you press too hard, you might capture the shot before the focus is ready. And if you take multiple pictures in succession, your camera may try to focus again before each shot. For these reasons, some photographers highly recommend back-button focusing.

7. Using the incorrect autofocus mode

There are three main autofocus modes offered by most cameras. You should be switching between these modes every time you’re faced with a new shooting situation; otherwise, you’re bound to miss shots that you normally could’ve nailed.

Single-shot autofocus, called AF-S or One-Shot AF, is meant to be used with still subjects.

Continuous autofocus, called AF-C or AI Servo AF, is designed to track movement through the frame, so it works best when your subject is in motion.

Finally, there’s an automatic mode, called AF-A or AI Focus AF. This is likely the default setting on your camera. It reads the scene and determines which of the first two modes it should use.

8. Not using manual focus

While I’m a big advocate of autofocus, there is one particular time when manual focus comes in handy:

When your camera is on a tripod, and you’re using a wide aperture to achieve a very shallow depth of field.

If you want to make sure the most important thing in your frame is sharp, switch to manual focus. Then use the LCD zoom function to magnify the display by 5x or 10x. And make tiny adjustments to the focus until you get it just right.

You can also try manual focusing when shooting close-up subjects (e.g., a flower petal) or when photographing landscapes in the darkness.

9. There’s junk on or in front of your lens

A big smear on your lens is going to affect the clarity of your image.

And if you put a cheap plastic filter in front of your lens, that’ll degrade image quality, too.

So make sure your lens is clean. And make sure that all your filters are high quality. If you always shoot with a UV filter and you keep getting blurry pictures, try taking a few shots without the filter to see if the quality of the glass is negatively affecting your images.

10. Poor lens quality

Beginners love to blame their blurry pictures on their optics, though a bad lens is rarely the problem.

That said, lens quality can make a difference, and you’ll occasionally find lenses that are genuinely soft. And some lenses may be sharp in the center but get blurry around the corners and edges of the image, or sharp at certain apertures but slightly fuzzy at others. Every lens has a unique character that may or may not be useful to the type of work you’re doing.

It’s also worth noting that each lens has a “sweet spot” – a certain aperture at which it performs best. This is usually in the middle of its aperture range, around f/8 or f/11.

Fixed focal length lenses are usually sharpest, though it’s not always convenient to carry around two or three lenses rather than a single, all-purpose zoom.

Mistakes that cause blurry pictures: final words

Well, that’s it:

The 10 most common reasons your pictures are blurry.

If you’ve been struggling with blurry photos, you hopefully now know (or can at least guess) the culprit! And you can make adjustments to get things looking sharp.

Now over to you:

Are your photos blurry? Did you figure out why? Which of these mistakes have you been making? Share your thoughts in the comments below!

The post Top 10 Mistakes That Cause Blurry Pictures (And How to Fix Them) appeared first on Digital Photography School. It was authored by Anne McKinnell.

Digital Photography School

Comments Off

Posted in Photography

What are the Differences Between Canon EF, EF-S, EF-M, RF lenses

20 Apr

When you’re beginning to learn about photography, there is a lot to understand. Apart from the basics of cameras and photography, if there is one thing that trips most beginner photographers, it’s the different kinds of lenses available for a single brand of camera body. I’ve been there myself, so I thought I’ll clear up some basics. Let’s talk about Continue Reading
Photodoto

Comments Off

Posted in Photography