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The Best Camera for Street Photography in 2021

20 Apr

The post The Best Camera for Street Photography in 2021 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Choosing the best camera for street photography doesn’t have to be difficult, but it can take some time to weigh the options. Fortunately, with all the cameras available today, it’s tough to make a bad choice!

That said, there are some street photography cameras that stand out among their peers – thanks to a unique combination of features.

While street photography can be done with almost any camera, from mobile phones to medium format, there are a few characteristics to look for when choosing your gear. A small size, easy-to-use manual controls, a quiet shutter, and a fast response time are all very much appreciated when capturing slices of life in public spaces.

Other features like a tilting screen, a built-in ND filter, a bright viewfinder, and weather sealing are nice, but not deal-breakers for most photographers. Ultimately, you’ll need to decide what’s important to you and choose accordingly, but if you’re not sure where to start, this list will hopefully be of use.

(Note: In terms of ranking, the top three picks are ranked in order; after that, every camera is about equally good, followed by four honorable mentions that don’t quite make the cut.)

1. Fujifilm X100V

Best Camera for Street Photography Fuji X100F

Back in 2010, Fujifilm released the original X100, which featured a groundbreaking set of features including a hybrid optical/electronic viewfinder and an APS-C sensor. It quickly became a runaway hit.

The X100V is the fifth iteration of this camera, and over the years Fujifilm has steadily refined it for street photography. Aperture, shutter speed, ISO, and exposure compensation each have their own control dials, which makes them dead simple to adjust on the fly. The hybrid viewfinder lets you shoot with an old-school rangefinder or an ultra-modern mirrorless, and the flip-out touchscreen makes it easy to compose from low angles.

Other benefits for street photographers include a 23mm fixed lens mated to an APS-C sensor, which results in a 35mm equivalent field of view – perfect for street photography. The lens is sharp and bright with a maximum aperture of f/2, so you can take pictures with ease and never worry about missing a shot due to poor light. The built-in leaf shutter makes photography virtually silent, which is great if you value discretion.

The X100V is small but not exactly pocketable, and it has a full suite of customizable buttons and dials to suit your style. If you want a virtually no-compromises camera designed from the ground up for street shooters, the Fuji X100V is a fantastic option; it is, in my opinion, the best camera for street photography today.

Pros:

Stellar image quality
Easy-to-use controls
Hybrid optical/electronic rangefinder-style viewfinder (the only one of its kind among all the cameras on this list)
Beautiful JPEG files with a wide variety of available film simulations

Cons:

Weather sealing requires the purchase of an adapter ring for the front of the lens
Autofocus isn’t as fast as some of its peers
Expensive, especially for casual photographers
No image stabilization

2. Ricoh GR III

Best Camera for Street Photography Ricoh GR III

The Ricoh GR line of cameras has been a favorite of street photographers for years, and with good reason. The third iteration of this venerable camera series continues the tradition of being small in size but packing quite a punch, and it offers nearly everything a street photographer could want.

An 18mm lens mated to the APS-C sensor results in a 28mm field of view; this is a bit wider than the Fujifilm X100V, and more like what you might see on a mobile phone. Some people like the wider angle, but I find the 35mm field of view much more pleasing and versatile. Image quality is outstanding, and high-ISO shots look great. Lots of photographers swear by the Ricoh black and white JPEGs, so if you like to shoot in monochrome, this might be a good option.

The Ricoh GR III has plenty of buttons but not as many dedicated controls as the Fujifilm X100V and other cameras on this list. It’s not quite as easy to rapidly change settings, but many custom functions can be mapped to specific buttons to make things easier. The maximum f/2.8 aperture isn’t as bright as the Fuji X100V, but the camera compensates with built-in image stabilization; this makes low-light photography a bit more practical as long as you are shooting still subjects. A non-tilting touchscreen makes composing shots a cinch, but the lack of a dedicated viewfinder is certainly something to consider if you prefer composing your shots by bringing the camera up to your eye.

Pros:

Small size makes it easy to carry in a pocket or handbag
Much more affordable than the Fuji X100V and some other options on this list
Excellent image quality
Built-in image stabilization

Cons:

f/2.8 lens is not as bright as the Fujifilm X100V
The lack of a built-in viewfinder means photos must be composed using the rear LCD screen
Battery life isn’t great, so you might consider carrying a spare

3. Sony RX100 VII

Best Camera for Street Photography Sony RX100 VII

The Sony RX100 line has been around for many years and has gone through myriad iterations to adapt to the demands of photographers. The most dramatic change in recent years is the lens, which used to have a much smaller focal range but now goes all the way from 24mm to 200mm (in equivalent 35mm measurements). This makes the RX100 VII an outstanding camera for many genres, including street photography.

While the lens isn’t nearly as bright as the Fuji X100V’s or Ricoh GR III’s, its maximum f/2.8 aperture on the wide end is great for daytime street photography. This quickly shrinks to a maximum f/4.5 aperture as you zoom in, but most street photographers typically shoot wide as opposed to telephoto.

The 1″ sensor in the Sony RX100 VII is what enables this camera to have such a versatile lens. And while it’s no match for its APS-C and full-frame siblings’ image quality and high-ISO performance, Sony makes up for it in terms of sheer technological prowess.

The RX100 VII camera is packed to the gills with features normally found on high-end mirrorless cameras costing thousands of dollars. Autofocus is snappy and reliable and includes subject tracking and eye AF, video recording is outstanding, and the pop-up viewfinder is a boon for street photographers. A rear touchscreen, a relatively robust set of manual controls, and several customizable buttons mean you can set the camera to shoot how you want to get the street photos you might otherwise miss. At the end of the day, the reason this camera earns a spot on my list is due to its unique combination of features and size; no other camera offers so much in so small a body.

Pros:

Very small size makes the camera extremely portable and pocketable
Incredible technology, from 4K video to fast, reliable autofocus
Versatile lens with a 200mm focal length at the long end
Optical stabilization helps you get clear shots of still subjects in low light

Cons:

f/2.8 aperture is only available at the widest end of the focal range
The small image sensor results in less depth of field and inferior high-ISO performance compared to other cameras
The pop-up viewfinder isn’t instantly accessible

4. Panasonic Lumix LX100 II

Best Camera for Street Photography Panasonic Lumix LX100 II

While the Panasonic Lumix LX100 II isn’t as feature-packed as other cameras on the list, it nonetheless acquits itself nicely in the world of street photography. It’s easy to use and packs fast autofocus and responsive controls, including dedicated dials for shutter speed and exposure compensation. The built-in 24-75mm (35mm equivalent) lens is great for wide-angle shots as well as tighter crops, and the bright f/1.7 aperture is perfect for low-light photography, though it does shrink to f/2.8 when zoomed to 75mm. Street photographers will love the small size of this camera, though the lens does stick out from the body enough to cause problems in a pocket or handbag.

Panasonic packs a lot of technology into its cameras, and the Lumix LX100 II has a range of high-tech features that make it well suited to street photographers. The autofocus points cover nearly the entire frame so you can focus almost anywhere, and built-in crop modes let you frame your shots in a variety of different aspect ratios.

The touchscreen makes focusing a breeze, which can be useful for on-the-spot candids, and the electronic viewfinder is great for thoughtfully composing your photos. Street photographers will also appreciate the aperture ring, which gives you full control over the aperture without requiring a trip to the camera menus.

Pros

Manual control dials for shutter speed and aperture
Built-in zoom lens covers a useful focal range for street photography
Small size

Cons

Image quality isn’t as good at higher ISO values
f/1.7 aperture is only available at the widest end of the focal length range
The viewfinder isn’t as sharp and crisp as others on this list, which makes composing some shots a little frustrating

5. Canon G1 X Mark III

Best Camera for Street Photography Canon G1X Mark III

The Canon G1 X Mark III combines the best of compact cameras and their larger-sensor DSLR/mirrorless brethren; the result is an imaging tool that is quite well suited to many types of street photography.

The G1 X Mark III’s overall appeal is a bit hampered by its size as well as some limitations of the built-in lens, but anyone after a street photography camera would be wise to consider it. The huge APS-C image sensor on the G1 X III makes for superb shots in a variety of lighting conditions, and a long list of impressive technical specifications makes this camera great for street shots.

Composing is simple with the rear LCD, and Canon goes one step further than most by offering a fully articulating touchscreen. Autofocus isn’t particularly noteworthy, especially when tracking moving subjects, but that’s usually not a primary concern for street photographers.

The 24-72mm (35mm equivalent) focal range of the zoom lens means you can get wide shots and street portraits, but the aperture range on the lens is definitely less than ideal. The f/2.8 maximum aperture (when zoomed out) is respectable, but the f/5.6 aperture when zoomed in severely limits this camera’s functionality in low light.

However, high-ISO shots look great, and street photographers will love the abundance of control dials and function buttons to access commonly used settings. The electronic viewfinder is crisp and sharp, and while not as nice as Canon’s high-end cameras, it’s certainly good enough for street photography.

Pros:

Excellent image quality, especially compared to some cameras on this list with much smaller sensors
Leaf shutter lets you use very fast internal flash sync speeds
Built-in neutral density filter lets you explore more creative possibilities

Cons:

Small maximum aperture limits the usefulness of the built-in lens, especially when zoomed in
Battery life is not great
The lens isn’t as sharp as others on this list

6. Nikon Z5

Best Camera for Street Photography Nikon Z5

The inclusion of the Nikon Z5 on this list might seem a bit strange, but hear me out. The Nikon Z5 isn’t specifically designed for street photography like the Ricoh GR III or Fuji X100V, and it’s larger and heavier than the Canon G1 X Mark III. You also need to attach a lens because it doesn’t include one like the Panasonic LX100 II and others.

But it has one standout quality for street photography: it is currently the cheapest full-frame mirrorless camera on the market. So for street photographers who value image quality above all else, the Nikon Z5 is definitely worth a look.

In addition to a full-frame sensor, the Nikon Z5 has plenty of other features to make street photographers sit up and take notice. Its flip-out touchscreen lets you shoot from up high and down low, and it has more than enough manual controls and customizable settings. It features a bright viewfinder, fast autofocus, built-in image stabilization, and an (optional) fully electronic shutter for discreet shooting.

The Nikon Z5 can be paired with Nikon’s Z lenses, many of which are outstanding for street photography. Bear in mind that the Z5 is expensive, heavy, and downright cumbersome next to its nimble, pocketable counterparts. But for full-frame street shooters, it’s one of the best options available.

Pros:

Exquisite image quality and autofocus performance
Dual memory card slots
Built-in image stabilization helps you get great shots with slower shutter speeds

Cons:

Larger than almost every camera on this list; it will not fit in a pocket
Very few small Z-mount lenses available, which limits its appeal for street photography

7. Olympus PEN E-PL10

Best Camera for Street Photography Olympus PEN E-PL10

The Olympus PEN series has long been beloved by street photographers, and while not up to the standards of some of its peers, the PEN E-PL10 definitely holds its own in key areas. It sports a Micro Four Thirds sensor, which sits comfortably between the 1″ sensor of the RX100 series and the APS-C sensors offered by cameras such as the G1 X Mark III and Fuji X100V. It strikes a nice balance between size and capability, with features that appeal to many street photographers.

Like the Nikon Z5, the PEN E-PL10 requires a separate lens, but Micro Four Thirds lenses are much smaller than their Nikon/Canon/Sony counterparts. For example, the 14-42mm lens (28-84mm equivalent) shown in the photo above makes the E-PL10 about the same size as the Fuji X100V when the lens is zoomed out to 14mm. And there’s a huge variety of MFT lenses, many of which are great for casual street shooting.

The PEN E-PL10 isn’t as feature-rich as some of its more pro-oriented siblings like the OM-D E-M1 Mark III, but it has a full complement of manual controls so you can get precisely the shot you’re after. Some street photographers might lament the lack of a dedicated viewfinder, but the articulating rear touchscreen makes composing photos easy and enjoyable.

The E-PL10 also stands out thanks to built-in image stabilization and fast, reliable autofocus. And the PEN E-PL10 is much less expensive than other cameras on this list, which makes it a great option for people wanting to get started with street photography.

Pros:

One of the smallest interchangeable lens cameras on the market
Excellent manual controls and built-in image stabilization
Inexpensive, even when factoring in the cost of a lens

Cons:

A Micro Four Thirds sensor means high-ISO shots aren’t top-notch
No dedicated viewfinder
Serious street shooters might outgrow the feature set of the camera rather quickly

Honorable mentions

The cameras listed below are all well-suited to street photography, but I generally consider them outliers in this type of discussion. While they are all worth considering, each is limited by some important factors, and I would generally recommend one of the initial cameras on this list over one of the honorable mentions.

However, if money, size, or access to the latest technology are not your primary concerns, then by all means, look at the models listed below.

8. Leica Q2

Best Camera for Street Photography Leica Q2

The Leica Q2 is a no-compromise street photographer’s dream. Everything about this camera is ideally suited to street photography, from its full-frame sensor to its exquisitely sharp 28mm f/1.8 lens to the brilliant optical viewfinder, durable construction, and weather sealing.

While you could buy several Fujifilm X100Vs and a Ricoh GR III for the same price as a Leica Q2, you would be making some compromises and tradeoffs in the process that you simply don’t have to think about with the Leica. So if money is no object and you don’t mind a massive lens protruding from the camera body, the Leica Q2 is my top recommendation.

9. Sony RX1R II

Best Camera for Street Photography Sony RX1R II

If you’re searching for an ideal street photography camera but can’t afford the Leica Q2, then the Sony RX1R II should sit at the top of your list. It’s similar to the Leica in many ways, with specs that surpass almost every camera at the top of this list, even if it doesn’t quite reach the same soaring heights as its German-made counterpart.

If the Q2 sits at the top of the podium, the RX1R is a very close second place. It’s expensive, but not quite as much as the Q2. It has a 35mm f/2 lens that isn’t quite as wide or bright as the Q2. It has a viewfinder, but it pops out like a periscope instead of being elegantly embedded in the camera body. While the rear screen flips out for greater versatility, the camera sacrifices weather sealing as a result.

In short, the Sony RX1R II is an outstanding camera for good reasons, but generally not one I would recommend for most casual street shooters.

10. Sony a6100

Best Camera for Street Photography Sony A6100

The Sony a6100 isn’t designed for street photography, but don’t overlook it. It’s a small, well-rounded, highly capable camera that also happens to serve the needs of street photographers quite well.

The Sony a6100 is a full-featured APS-C camera that accepts all of Sony’s E-mount lenses, and it packs some impressive technology to help you capture the images you’re after. Everything you would expect in a proper camera is here: manual controls, a bright viewfinder, great autofocus, and a flip-out rear screen. It’s small enough to tote around but not as pocketable as the Ricoh GR III or Sony RX100 VII. I would recommend pairing it with the 20mm (30mm equivalent) f/2.8 pancake lens, which essentially transforms this camera into a Fujifilm X100V.

Strictly from a street photography perspective, I prefer the X100V – but some might appreciate the technology and the ability to change lenses offered by the a6100.

11. Fujifilm X-E4

Best cameras for street photography Fujifilm X-E4

It almost doesn’t seem fair to relegate the Fujifilm X-E4 to the bottom of the honorable mentions category. In many ways, it seems like one of the best cameras for street photography you can buy! But while this camera has an extensive list of features that appeal to street photographers, I can’t recommend it over the Fuji X100V.

The X-E4 and the Fujifilm X100V share many common elements, from sensor size to flip-out screen to manual controls and even an integrated viewfinder. But while the X-E4 is newer and less expensive, it doesn’t come with a lens, and by the time you add one that is suited to street photography, the price is almost the same as an X100V.

And the X100V has a wide-aperture lens, better manual controls, and a hybrid optical/electronic viewfinder that will appeal to a lot of street photographers. As a small, capable, interchangeable lens camera, the X-E4 is great. But for street photography, the X100V is the better choice.

Best Camera for Street Photography Kids Walking in the Woods — Fuji X100F | f/2 | 1/600s | ISO 200

The best camera for street photography: final words

Street photography is all about capturing the candid everyday moments that make up the world around us. And almost every camera is capable of getting those shots – mobile phones, pocket cameras, and even DSLRs with big lenses.

There’s no rule that says the camera you already have isn’t going to be well suited to street photography. And your only inherent limitations are the ones you set for yourself. But if you’re looking for the best camera for street photography, I hope this list was helpful and gave you a few things to think about!

Street photography camera FAQs

Can I use my mobile phone for street photography?

Mobile phones are great for street photography, as long as you have plenty of light. When the lights go down, photo quality decreases dramatically, especially if you are shooting moving subjects. (Night Mode on mobile phones almost always requires your subjects to be very still.)

What focal range is best for street photography?

This one is largely a matter of personal taste, but anything between 25mm and 35mm is generally ideal for street photography. Much wider than 25mm and people start to look a bit distorted. Much narrower than 35mm, and you will have trouble fitting everything into the frame.

Can I use a DSLR for street photography?

While traditional DSLRs can certainly be used for street photography, I don’t recommend them when there are so many excellent mirrorless options available. DSLRs are large and conspicuous, and Live View shooting often uses contrast-detection autofocus (which is highly unreliable for dynamic street photography settings).

Do I need weather sealing on my camera?

Unless you are shooting in extreme weather conditions, you probably don’t need weather sealing. It’s nice to have for peace of mind and I wouldn’t recommend against it, but as long as you’re careful not to let your camera get soaked with rain or covered in dust, you’ll probably be fine.

Do I need to focus manually when shooting street photos?

Many street photographers enjoy shooting manually, which is very simple thanks to focus peaking on modern mirrorless cameras. However, autofocus works perfectly fine, and there is nothing wrong with using it for street photography.

The post The Best Camera for Street Photography in 2021 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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11 Surefire Landscape Photography Tips (+ Stunning Examples)

18 Apr

The post 11 Surefire Landscape Photography Tips (+ Stunning Examples) appeared first on Digital Photography School. It was authored by Darren Rowse.

Want tips for stunning landscape photography? You’ve come to the right place.

In this article, I’m going to share 11 easy landscape photography tips – which are guaranteed to get you taking beautiful images, no matter your experience level. I’ve also included plenty of example photos, so you can see the tips in action (and know that they really do work!).

Let’s get started.

1. Maximize your depth of field

In landscape photography, a deep depth of field is almost always the way to go.

In other words:

You want as much of your scene in focus as possible. The simplest way to do this is to choose a small aperture setting (i.e., a large f-number, such as f/11 or f/16). Because the smaller your aperture, the greater the depth of field in your shots.

Do keep in mind that smaller apertures mean less light is hitting your image sensor. So you’ll need to compensate for the narrow aperture either by increasing your ISO or lengthening your shutter speed (or both).

PS: Of course, there are times when you can get some great results with a very shallow depth of field in a landscape setting. It’s just a tricky technique that requires a lot of finesse.

2. Use a tripod

To maximize your depth of field, you’ll be using a small aperture – and you’ll also likely shoot with a long shutter speed.

But unless you’re careful, you’ll end up with an unusably blurry image.

That’s where a tripod comes in handy. You can use it to stabilize your camera and keep your photos tack sharp for 1-second, 5-second, and even 30-second long exposures.

In fact, even if you can shoot at a fast shutter speed, a tripod can still be beneficial. It’ll force you to slow down and consider your composition more carefully.

Also, to prevent camera shake from pressing the shutter button, consider a remote shutter release.

3. Look for a focal point

Pretty much every shot needs some sort of focal point, and landscape photography is no different.

In fact, a landscape photograph without a focal point ends up looking rather empty. And it’ll leave your viewer’s eye wandering through the image with nowhere to rest.

Focal points can take many forms in landscape photos. They can range from a building or a structure (such as in the photo above) to an eye-catching tree, a boulder or rock formation, a silhouette, or something else entirely.

Also, think not only about what the focal point is, but where you should position it within the frame. The rule of thirds can be useful here.

4. Think foregrounds

Here’s one key tip that can make your landscape shots stand out:

Think carefully about the foreground of your composition…

…and include clear points of interest.

When you do this, you give those viewing the shot a path into the image. And you create a sense of depth, which is always a nice bonus.

5. Consider the sky

In landscape photography, you should always think about the sky.

Most landscapes will either have a dominant foreground or a dominant sky. And unless you include one or the other, your shot will end up looking boring.

Start by observing the sky. If it’s bland and lifeless, don’t let it dominate your shot; place the horizon in the upper third of the image (though you’ll want to make sure your foreground is interesting).

But if the sky is filled with drama, interesting cloud formations, or colors, then let it shine! Place the horizon in the bottom third of the frame to emphasize the heavens.

(Also, consider enhancing skies, either in post-production or with filters. For example, you can use a polarizing filter to add color and contrast.)

6. Use lines to lead the eye

One of the questions you should always ask yourself as you do landscape photography is:

“How am I leading the eye of those viewing this composition?”

There are a number of ways to lead the eye (and including a clear foreground subject works well). But one of my favorite ways is to provide viewers with lines that lead them into the image (such as the road in the photo above).

Lines give an image depth and scale. Plus, they can offer a point of interest by creating patterns in your shot.

7. Capture movement

When most people think about landscapes, they think of calm, serene, and passive environments. However, landscapes are rarely completely still – and if you can convey this movement, you’ll add drama and mood to your image. You’ll also create a point of interest.

But how can you convey movement in a landscape?

You can focus on wind in the trees, waves on a beach, water flowing over a waterfall, birds flying overhead, moving clouds, etc. Capturing this movement generally requires a longer shutter speed (sometimes a shutter speed of many seconds!).

Of course, a slow shutter speed means more light hitting your sensor, so you’ll either need a narrow aperture or an ND filter. You might also choose to shoot at the start or the end of the day when there is less light.

8. Work with the weather

A scene can change dramatically depending upon the weather, so choosing the right time to shoot is of major importance.

Many beginner photographers see a sunny day and think that it’s the best time to go out with their camera. However, an overcast day that is threatening rain might present you with a much better opportunity – you can create an image with real mood and ominous undertones.

Look for storms, wind, mist, dramatic clouds, sun shining through dark skies, rainbows, sunsets and sunrises, etc. And work with these variations in the weather rather than just waiting for the next sunny, blue sky.

9. Photograph during the golden hours

landscape photography tips snow at golden hour

I chatted with a landscape photographer recently who told me that he never shoots during the day. His only shooting times are around dawn and dusk because that’s when the light is best, and that’s when the landscape comes alive.

These golden hours, as they’re often called, offer great landscape photography for a number of reasons.

For one, you get gorgeous golden light. I also love the angle of the low sun; it creates interesting patterns, dimensions, and textures, all of which can enhance a landscape photo.

10. Think about horizons

landscape photography tips winding mountain road

This is an old tip but a good one. Before you take a landscape shot, always consider the horizon on two fronts:

Is it straight? While you can always straighten images later in post-production, it’s easier if you get it right in-camera.
Where is the horizon positioned in the frame? A natural spot for the horizon is along one of the rule of thirds gridlines rather than in the middle of the frame. Of course, rules are meant to be broken – but I find that, unless you’re photographing a very striking scene, the rule of thirds usually works here.

11. Change your point of view

You drive up to the scenic lookout, get out of the car, grab your camera, turn it on, walk up to the barrier, raise the camera to your eye, rotate left and right a little, zoom a little, then take your shot – before getting back in the car and driving to the next scenic lookout.

We’ve all done it. However, this process doesn’t generally lead to the “wow” shot that many of us are looking for.

Instead, take a little more time with your landscape photos. Find a more interesting point of view.

You might start by finding a different spot to shoot from than the scenic lookout.

You can also look for new angles; this could mean getting down onto the ground to shoot from below, or heading up high to gain a nice vantage point.

Explore the environment and experiment with different viewpoints. You might find something truly unique!

Landscape photography tips: conclusion

landscape photography tips waterfall in Iceland

Now that you’ve finished this article, you’re ready to capture some stunning landscape photography!

So grab your camera, head out, and find a subject to shoot.

It’ll be a lot of fun!

Now over to you:

Which of these landscape photography tips are you going to try first? And do you have any landscape photo tips of your own? Share your thoughts (and images!) in the comments below.

The post 11 Surefire Landscape Photography Tips (+ Stunning Examples) appeared first on Digital Photography School. It was authored by Darren Rowse.

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Weekly Photo Challenge – Green

17 Apr

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

Green! That’s our theme this week and, for some, will be really easy! But, as I say pretty much every week, we want you to take a minute and think about the theme and make it a new photo rather than dipping into your Flickr account for the old stuff! (like I’m doing as it’s school holidays and I’m building tree houses and not out making photographs!) (For how to enter your photo, scroll to the bottom of this post)

Make sure you tag your photos #dPSWeeklyChallenge and #dPSGreen on social media.

Here’s an interesting article about GREEN in images, if you’re interested, but mostly, lets just crack on with four examples of green, and then let’s see you make and share yours!

Weekly Photo Challenge - Green — A green leaf?

All things green I’ve previously spotted on my travels, you can find ‘green’ pretty much anywhere! (I looked up and the only thing green in the room is the Nerf gun my 7yo shot me with earlier… ha!)

What will you find and photograph? Will it be unique?

#dPSWeeklyChallenge #dPSGreen

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 – Green appeared first on Digital Photography School. It was authored by Sime.

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Canon EOS R3: Eye-Control AF, 30 FPS, a BSI Sensor, and More

16 Apr

The post Canon EOS R3: Eye-Control AF, 30 FPS, a BSI Sensor, and More appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon EOS R3 with Eye-Control AF, 30 FPS, a BSI sensor, and more

Canon has introduced the EOS R3, a full-frame, mirrorless “high-performance professional camera,” designed for sports and action photographers.

As Canon explains, “The camera will put great emphasis on superb AF performance and speed,” and will lie “squarely between the EOS R5 and EOS-1D X Mark III cameras.”

In other words, while the EOS R3 will be Canon’s most powerful mirrorless model to date, don’t expect it to outcompete the EOS 1D X Mark III in every way. The EOS R3 won’t be a mirrorless 1D X replacement, and it likely isn’t a high-resolution action camera, either.

That said, the EOS R3 sounds pretty darn impressive. Here’s everything we know about this upcoming mirrorless powerhouse:

Canon EOS R3 specs

The EOS R3 will feature Canon’s own back-illuminated sensor. BSI technology packs key circuitry behind the sensor – rather than in front – to further expose photodiodes to light. This makes for enhanced high-ISO performance, and it also delivers superior dynamic range, a feature appreciated by photographers of all stripes.

The EOS R3 boasts a whopping 30 frames-per-second continuous shooting speed (using the electronic shutter, that is; Canon hasn’t released any information on continuous shooting via the mechanical shutter). And while many action photographers have resisted mirrorless technology, in part due to slow electronic shutter read-out speeds, Canon has made significant strides toward eliminating the problem; the company claims the R3 “provid[es] substantially faster read-out speeds during still-imaging recording,” and that the camera “is designed to produce less ‘rolling shutter’ distortion during electronic shutter operation.”

As for the AF system itself, brace yourself. The EOS R3 packs technology from the Canon EOS R5 and R6, both of which deliver lightning-fast AF performance. And the EOS R3 offers “even better performance during portrait and action-type shooting” thanks to Canon’s Deep Learning technology. If you’re a sports photographer, wildlife photographer, or photojournalist, the EOS R3 may soon be the camera to beat – even if Canon officially ranks it below the 1D X Mark III.

Build quality is on par with the 1D X Mark III series, and like the 1D X cameras, the EOS R3’s design sports an integrated vertical grip:

Last but certainly not least, the Canon EOS R3 will debut a never-before-seen mirrorless feature: Eye-Control AF, which promises to set focus based on where your eye is looking.

Canon writes:

The electronic viewfinder of the EOS R3 will offer photographers the ability to select the initial area for AF tracking by simply looking directly at the viewfinder location where they want to begin AF. With Eye-Control AF and Servo AF activated, the camera will focus on and track moving subjects at that location in the frame.

Of course, we don’t yet know how well Eye-Control AF will work. Canon has implemented a similar feature in the past, with mixed results. But given Canon’s recent autofocus successes, I’m cautiously optimistic that Canon can offer a pro-level Eye-Control AF this time around.

Canon EOS R3 release date and price

The EOS R3 is still under development and has no official release date. The R3’s sports-focused marketing does hint at a pre-Olympics (i.e., June or early July) introduction, however.

The EOS R3’s price is also a mystery, though the camera’s position between the $ 3900 USD EOS R5 and the $ 6500 USD 1D X Mark III suggests a $ 4500 to $ 5500 price tag.

Final words

While we’re still missing plenty of information on the EOS R3, new tidbits will likely leak in the coming weeks and months.

So make sure to keep an eye out for the latest R3 news.

Now over to you:

What do you think of the Canon EOS R3? Are you impressed? Excited? Disappointed? How much do you think the camera will cost? Share your thoughts in the comments below!

The post Canon EOS R3: Eye-Control AF, 30 FPS, a BSI Sensor, and More appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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15 Mountain Landscape Photography Tips for Stunning Images

16 Apr

The post 15 Mountain Landscape Photography Tips for Stunning Images appeared first on Digital Photography School. It was authored by John McIntire.

Of all of the undertakings you can make with your camera, mountain landscape photography can be one of the most rewarding. Apart from the fact that mountains are straight-up beautiful, their imposing nature makes them a great landscape photography element.

This article will give you 15 quick tips – so you get better results the next time you go chasing after mountains.

1. Fill the frame

Mountains, by nature, are huge. You don’t have to get the entire thing in the frame. It’s just as acceptable to fill the frame with a certain element that draws your attention. This will make the mountain the background in your images.

Yes, it can be tempting to try and get a huge vista in the frame. But if you take a moment to look for smaller details that could make an interesting photo, you might find something unexpected.

15 mountain landscape photography tips — Although the entirety of the mountain isn’t in the frame, it is still clear that the background is a mountain, and the tight crop gives a clue to just how big it is.
Canon 5D Mark III | Canon EF 70-200mm f/4L IS USM | 200mm | f/5.6 | 1/2000s | ISO 200

2. Use reflections when possible

mountain landscape photography lake reflection — Using reflections in your compositions is a great way to show off mountains.
Canon 7D | Canon EF 35mm f/2 | 35mm | f/16 | 1/50s | ISO 100

If the mountains you are photographing are near a body of water, you already have a ton of visual interest to use in your foregrounds.

If you can, wait until the water is still. Then you can use the reflections of the mountains in your composition. This may be personal taste, but it is always a winning combination in my book.

3. Show scale with smaller elements

village on a mountaintop — This tiny village near the top of a mountain in Spain shows just how enormous the landscape is.
Canon 7D | Canon EF 35mm f/2 | f/11 | 1/60s | ISO 100

Again, mountains tend to be huge, but when you shoot with an ultra-wide-angle lens, you wind up pushing the perspective back. And this makes it difficult to give your viewers a true sense of just how large things are within your frame.

You can combat this by including an element that shows the scale of things in the scene. Buildings, people, and animals all work well.

4. Include people in the landscape

As with the previous point, putting people in your mountain landscape photography can convey just how big the mountains are.

It does more than that, however. Because with the inclusion of a human element, you are adding something that your viewers can relate to.

5. Try a panorama

lake reflection with mountains — Stitching several images together into a panorama is a great way to ensure that you capture the entire scene.
Canon 7D | Canon EF 35mm f/2 | f/16 | 0.4s | ISO 100

When you are photographing mountains, don’t be afraid to take a sequence of shots that you can stitch together as a panorama.

Mountain ranges tend to suit the panorama format especially well because there is just so much to see!

6. Fill your foreground

This may be standard landscape photography advice, but it still applies when shooting mountains. If you’re using a wide-angle lens, you will have plenty of space in your foreground – and you’ll need to fill it with something interesting.

So pick a foreground subject and get up close to it. This could be flowers, an interesting rock formation, or something simple like a sign.

Then take a shot that combines the interesting foreground and a beautiful mountain background, like this:

mountain landscape photography foreground flowers with mountains in the background — Having lots of visual interest in the foreground of your images can help your viewers stay engaged.
Canon 7D | Sigma EF 10-20mm f/3.5 | 10mm | f/11 | 1/60s | ISO 100

7. Include a human element

mountain landscape photography village — Not all mountains are wild places. Including signs of human habitation can be a good way to capture something interesting.
Canon 5D Mark III | Canon EF 70-200mm f/4L IS USM | 169mm | f/11 | 1/60s | ISO 100

By human element, I don’t mean people. Instead, I advise you to find something human-made that will show your viewers how the people that live nearby incorporate the mountain into their lives.

On their own, mountains are impressive. But as part of our world, they are also part of our lives. If you can show this in your images, you might be able to convey an interesting narrative.

8. Use a different focal point

In your mountain landscape photography, the mountain does not need to be the focal point of your image. Instead, you can find a different focal point and use the mountain as environmental information.

Of course, you can still take a photograph of the sweeping vista. But once that is done, look smaller – and see if there are other subjects to be found in the scene.

9. Use your GND filters

mountain with farm fields — Graduated neutral density filters are a great way to control your exposures.
Canon 7D | Sigma EF 10-20mm f/3.5 | 10mm | f/16 | 0.3s | ISO 100

To help you get good exposures while in the field, don’t forget to pack your graduated neutral density filters. These will allow you to even out your exposures at the time of capture, making it easier to process your images when you get back home.

10. Wait for the light

foggy mountain lake — Here, I waited from 4 AM to 8 AM for the fog to break. If you can, always, *always* try to wait out the weather.
Canon 7D | Sigma EF 10-20mm f/3.5 | 11mm | f/16 | 0.5s | ISO 100

This tip cannot be understated. If you want the best-looking mountain landscape photography images that you can produce, wait for the light to be at its best. If you get on location early and find the composition that you want, don’t be afraid to stay until the light shifts – even if it takes a couple of hours.

Yes, I know it can seem boring, and it’s hard to justify the effort, but please, trust me. It is very much worth the time and effort.

11. Use longer lenses

When you are packing for your trip into the mountains, don’t forget to take your longer lenses with you. Standard-length primes can be great for panoramas, but telephoto lenses can help you pick out smaller details in your scenes.

In other words:

There is a lot of room in landscape photography for lenses aside from the wide angles that dominate the genre.

12. Plan for the light

With the technology available to us, it’s easier than ever to know exactly which direction the light is going to come from on any given day of the year.

So once you know when and where you are going, do your research and figure out where the sun is going to rise or set. Then plan your shots based on that.

13. Plan for the weather

Like planning for the light, it’s also a good idea to plan for the weather. Knowing the weather will help you determine if you need to pack any extra gear like rain covers and waterproof clothing.

Of course, it’s also in the best interest of personal safety to have an idea of when snow or rain might appear. This is even more important if you intend to be on the mountain, especially after golden hour.

14. Don’t avoid bad weather

moody mountain landscape photography — After an entire day of low visibility, the fog broke for a total of five minutes, just long enough for a shot. Don’t avoid bad weather, even if you ultimately fail to get a photo.
Canon 7D | Sigma EF 10-20mm f/3.5 | 20mm | f/16 | 1/30s | ISO 100

While planning for bad weather is good, you don’t always need to stay indoors. Many times, the most interesting photos will come in the worst weather.

In fact, some of the best light I have ever seen has been during a break in a storm; these breaks allow just enough light to make things look like a fairytale.

And if you lock yourself away when the weather is bad, you’ll never get to experience such moments.

15. Be safe

Above all, strive for safety. Mountain landscape photography can be incredibly rewarding, but don’t risk your personal well-being for a great shot.

Watch where you’re going, take weather-appropriate clothing, be aware of the forecast, and tell somebody where you are going to be. And if you’re going to stay out until after blue hour, make sure you know exactly how to get back.

Mountain landscape photography: the end

I hope this article has inspired you to get out and create your own mountain landscape photography.

The next time you’re out shooting mountains, remember these tips – and have fun!

Have you photographed mountains before? Do you have any tips of your own? Share them in the comments below!

What type of lens is best for mountain landscape photography?

All lenses have their uses. Wide-angle lenses are the most popular, but standard and telephoto lenses can work, too.

What’s the best time of day to photograph mountains?

It entirely depends on where the light is hitting the mountain. The golden hours are best as long as the sun isn’t behind your mountain.

How do you show how big a mountain is in a photograph?

You include an element that is easy for the viewer to identify, such as a person. This will give your images a sense of scale.

Why do the mountains in my photographs look so far away?

Wide-angle lenses distort perspective, and this can push everything back in the frame. Use a standard focal length (35mm to 50mm) for a perspective close to the human eye’s. To include more in the frame, consider shooting in a panoramic format.

The post 15 Mountain Landscape Photography Tips for Stunning Images appeared first on Digital Photography School. It was authored by John McIntire.

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Affinity Photo vs Photoshop: Which Photo Editor Is Best in 2021?

15 Apr

The post Affinity Photo vs Photoshop: Which Photo Editor Is Best in 2021? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Which is the better photo editor, Affinity Photo vs Photoshop CC?

Adobe Photoshop was released in 1988 and has become the most widely used digital image editing tool in the world. The program is so popular that its name has become a verb – and Photoshop is now the de facto standard for industry-leading professionals and amateurs alike.

Photoshop has also spawned a host of competitors, including Affinity Photo, a worthy alternative for anyone who wants a full-featured image editor without the expense of Photoshop. But is Affinity Photo now the superior choice? Or are you better off sticking with Adobe’s classic program?

In this article, I’m going to compare Photoshop and Affinity Photo. I’m going to give you the benefits and drawbacks of each program – and you’ll leave knowing which program is right for you.

Affinity Photo vs. Photoshop: overview

When considering Affinity Photo and Photoshop, it’s important to remember that there is no one single correct program for everyone. Both are highly capable photo editors, and either one will serve the needs of most photographers. They each have advantages and drawbacks, as well as very different pricing models, and both work well for many photographers.

So try not to think of this as a binary choice or even a competition. It’s not about which program is better, but which program suits your needs.

Before getting into the weeds of how these programs are different, it’s a good idea to take a look at how they are alike. This helps establish a sense of common ground, or perhaps a starting point, that will make the differences stand out.

Both Affinity Photo and Photoshop offer a layer-based workflow, meaning all edits are non-destructive and can be combined with other edits. Both include RAW converters, which allow you to open and manipulate the lossless file formats used by amateur and professional photographers around the world.

Affinity Photo editing interface — Affinity Photo opens RAW files and lets you manipulate the same properties and parameters as Adobe Camera RAW, the RAW editor used by Photoshop.

Affinity Photo and Photoshop both feature a dizzying array of tools to let you edit images any way you want. You can create detailed selections, use complex layer masking, warp and transform parts of your images, use dozens of filters and adjustments, go back to earlier edits with a history panel, insert and manipulate text…the list goes on.

Comparing the two programs, then, becomes less about looking at a bulleted list of features and more about value. Affinity is significantly cheaper with a one-time price of $ 50 USD. Adobe Photoshop is much more expensive and is available only as part of a Creative Cloud subscription, the cheapest of which is about $ 120/year. And while you certainly get a lot for that yearly fee, Affinity Photo is no slouch.

Affinity Photo vs Photoshop Pricing — Photoshop is available as part of the Adobe CC Photography plan or for a standalone subscription. You can also find it bundled with other, more expensive plans, as well.

Affinity Photo doesn’t have the sheer quantity of features that Photoshop offers, but many of the tools in Photoshop aren’t used by a lot of amateur and semi-professional photographers, so it might not matter to you. For instance, Photoshop has tools for manipulating 3D objects and video, but if you just want to edit static 2D images, that probably isn’t important. Photoshop is also updated more frequently and has some interesting AI-based tools to alter faces and other image elements, but for some people, these aren’t worth the yearly fee.

User interface

Both programs follow a similar design language: tools on the left, options for customizing the selected tool on top, editing panels on the right, and a huge space in the middle of the screen for working on an image. Their tools share many core functions, as well. Both have tools for cropping, brushing, making selections, fixing blemishes, working with text and objects, and more.

Photoshop editing interface — The editing interface in Photoshop (shown here) is similar to the interface in Affinity Photo. They’re not identical, but they’re similar enough that if you’re familiar with one program, you can probably use the other.

The interface is not altogether dissimilar from Lightroom, Luminar, and other photography software. If you are new to Affinity Photo or Adobe Photoshop, it won’t take you long to figure out how to edit and where to find the tools and adjustments you need.

Adobe has a key advantage in terms of user interface design because it has built up so many tools and options over the years. But this is also its Achilles’ Heel and can be seen as a disadvantage, as well. Photoshop’s ever-expanding repertoire has resulted in a program with a staggering learning curve, and even simple options like changing the white balance on an image or refining a selection can lead to inordinate amounts of head-scratching and online searching.

Affinity Photo vs Photoshop Tooltips — Photoshop contains visual tooltips to help new users acclimate themselves to the buttons and options.

This has put Adobe in a bit of a tough spot – one that makes Affinity Photo seem quite attractive by comparison. Adobe must walk a fine line between catering to its professional customers, many of whom have been using Photoshop for years, and catering to new customers who find the growing feature set to be complicated and frustrating. Welcome screens, popups, tooltips, and other helpful hints stem the tide of confusion – but while these do help, it can still be difficult to locate the options you need to get your work done.

By contrast, the simplified nature of Affinity Photo seems downright pedestrian but remains quite powerful. Tools on the left are bright and colorful, and the adjustment panels on the right are a bit more streamlined for common use-case scenarios.

For example, adjusting the white balance is as simple as clicking the White Balance option and adjusting some sliders. In Photoshop there isn’t a White Balance option; you have to apply a Curves adjustment layer or use a filter to achieve the same effect.

white balance in Affinity Photo — Affinity Photo includes familiar adjustments like White Balance that are more complicated to implement in Photoshop.

This theme is prevalent throughout any comparison of Affinity Photo vs. Adobe Photoshop. Affinity Photo has a fresh, modern take on the interface elements that Photoshop invented. If you prefer a cleaner, simpler layout, then Affinity Photo might be the best option for you, but if you crave raw power and a slew of options, you might be better off with Photoshop.

It is worth noting that Affinity Photo also has a few tricks up its sleeve that Photoshop can’t yet match. Namely, speed: Adobe Photoshop is built on decades-old legacy code that makes some simple operations confoundingly slow. Tools like Liquify and even simple transformations are much snappier in Affinity Photo, and while Photoshop has made some great strides in recent years, there’s no denying that aspects of the program still feel slow and outdated.

Workflow tools

While both Affinity Photo and Adobe Photoshop have a huge number of editing tools, each program is at its best when you learn to use those tools to accomplish your work with minimal effort. Photoshop has a bit of an edge here if you want to make complicated, in-depth edits, but Affinity Photo is no slouch either.

For example, most of the items in Photoshop’s toolbar have sub-options with different variations on the same tool. There are three selection tools: Marquee, Lasso, and the Magic Wand. And each of those has its own subset of tools.

Selection Tool comparison — The tools in Photoshop are more comprehensive and contain a greater number of options and customizations compared to Affinity Photo.

From a workflow perspective, this bevy of options can be invaluable. You can get in, make your selections, and get on with your editing. And in that regard, Photoshop gets the nod over Affinity Photo. Once you learn all the options at your disposal and get familiar with the myriad keyboard shortcuts, Photoshop can dramatically cut your editing time. But getting to that point can take a lot of learning and a lot of patience, so some might prefer the relative simplicity – and fewer options – of Affinity Photo.

Both programs have all the standard adjustments you would expect: Brightness/Contrast, Exposure, Invert, and many others. These are applied using layers, and the layers can be blended using virtually the same sets of blend modes, including Darken, Multiply, Color Burn, Difference, Exclusion, Subtract, and so on. Layers can be moved up and down and combined in both programs, and both give you access to dozens of effects that can be applied, as well.

Photoshop layer effects — The Layer Effects panel in Photoshop contains many options for enhancing and editing your images, and it lets you customize the blend modes, as well.

Affinity Photo layer effects — The Layer Effects panel in Affinity Photo is similar but lacks the depth that Photoshop offers. Still, it should suffice for most people.

If you are thinking of transitioning away from Photoshop, there is one important thing to note:

While Affinity Photo does replicate many of the common keystrokes and shortcuts used in Photoshop, they’re not 1:1. You might find yourself pressing familiar keys and using shortcut commands out of habit only to realize that nothing happens, or worse, something happens that you didn’t intend. It can make the transition a bit rocky but might be worth it if it saves you time or money in the long run.

Compatibility

When you work with image editors, compatibility can be an issue. Photoshop’s PSD file format is the gold standard – but not necessarily because it’s the best, and certainly not because it’s the most efficient in terms of file size. Rather, after more than 30 years in this business, Photoshop’s PSDs have simply become the most widely used. PSD files are nondestructive, meaning they contain all the layers, history steps, adjustments, effects, and other elements of an image as it’s being edited.

Affinity Photo has a similar non-destructive file format, AFPHOTO. But as you might expect, it is not well known; it’s simply too new compared to the PSD format. While Affinity Photo can open PSD files and also export its own files in PSD format, Adobe Photoshop can’t do anything with AFPHOTO files. This can end up becoming a time-consuming hassle if you use Affinity Photo but find yourself collaborating or sharing files with Adobe Photoshop users (or vice versa).

Affinity Photo vs Photoshop Export — Affinity Photo can export images in AFPHOTO (as well as nearly a dozen other formats). But Photoshop won’t open Affinity Photo documents and likely never will. Adobe has almost no incentive to do so.

It’s currently Adobe’s playground, and we have to play by their rules for the time being. Adobe doesn’t need to spend time and money making Photoshop compatible with Affinity Photo files, but Affinity needs to work with PSD files if it is to be relevant in the image-editing space. The old saying, “If you can’t beat ’em, join ’em” comes to mind.

So if you go with Affinity Photo because you like the price or appreciate its tools and features, just know your documents won’t always play nice with Photoshop.

Support

Learning any new tool takes time and effort, and this is doubly true for image editors. There are so many options and features in both Affinity Photo and Photoshop; it’s enough to make you want to give up and go with the one-click simplicity of a program like Luminar. Especially if you’re new to digital photography.

Just imagine trying to explain these Photoshop brush options to someone who has never used the program before.

When considering Affinity Photo vs. Photoshop, it’s important to take this into account and make sure you have access to the knowledge and training you need to get your editing done. While Photoshop has too many features to count, it also has over three decades of support behind it. The internet is jam-packed with every kind of Photoshop tutorial you can imagine: websites, forums, social media groups, YouTube tutorials, podcasts, classes, lectures, and Adobe’s own help files and rich knowledge base.

What’s more, since so many people use Photoshop, it’s not hard to find someone who can help you. Most friends, coworkers, and even casual acquaintances who use Photoshop will be happy to show you a few tricks or help you learn how to use the program.

Affinity Photo vs Photoshop Image Border — I knew Photoshop could do a simple border with rounded corners, but I didn’t know the exact steps. A quick video call with my cousin, who uses Photoshop professionally, got me all the information I needed.

This is hardly the case with Affinity Photo. Affinity has its own set of video tutorials, as well as sample images you can import and experiment with to learn the basics. But while these are a good place to start, they’re just not at the same level as what you’ll find in Photoshop.

Tutorials will improve as more people use Affinity. But until then, you might find yourself frustrated when you can’t figure out more advanced features and aren’t able to find the help you need.

Editing and the cloud

As photo editing moves away from the desktop and into the cloud, it’s important that your tools can keep up with your workflow (and that you can adapt them as needed). Many photographers today want to edit images on tablets or even phones and have their pictures available whenever and wherever they want.

Thankfully, both Affinity Photo and Adobe Photoshop are up to the task, but they approach it in different ways.

Affinity Photo has an iPad app, available for a very reasonable fee, that mimics most of the functionality of the desktop version. It can’t do things like batch export, but it reads AFPHOTO files, and edits on the iPad are also available on the desktop version.

However, Affinity does not have a cloud-based infrastructure to support file syncing and storage. This means you have to transfer your images manually or sync them to a service like iCloud – then you must make sure all your files are properly synced again after you edit, lest you lose some of your changes.

Photoshop handles this differently, and it’s all due to the subscription fee you pay to use the program. Since every Photoshop plan comes with some degree of cloud storage from Adobe, it’s possible to have a cloud-based workflow where everything is stored remotely. This means you can load all your PSD files and other assets into your Adobe Creative Cloud storage, edit your images on desktop or mobile, and everything is automatically synced in real time.

Adobe cloud storage — Adobe gives you the option of storing files in the cloud; this is part of your Photoshop subscription.

Neither one of these approaches is necessarily better, but it’s important to determine which you prefer. Affinity Photo’s one-time pricing structure means it can’t support the ongoing costs of cloud servers for its customers. But if you already pay for cloud storage through another platform, then you might prefer Affinity’s approach.

On the other hand, Photoshop’s method is great for a lot of people, especially those who want a cloud-based workflow.

Affinity vs Photoshop: Which editing program is right for you?

At some point, you have to stop reading and just make a decision. There are definitely some good reasons to go with Affinity Photo, and there are some advantages to Photoshop. Here’s my advice if you’re on the fence and not sure which one is right for you:

Get Affinity Photo if you want an inexpensive, full-featured photo-editing program. While it doesn’t have decades of history in the photography community, it has an extensive list of features and workflow tools to suit the needs of almost anyone. Certainly, it’ll handle everything a casual or hobbyist photographer requires, and if you aren’t actively earning money with your images, then a one-time fee of $ 50 makes Affinity the better choice.

example of Affinity Photo artwork — You can create some amazing artwork in Affinity Photo. And if you need inspiration, you can download sample images like this one (which are designed to help you learn the program).

Subscribe to Photoshop if you want a mile-wide set of features developed over several decades, as well as an endless supply of websites, articles, videos, books, and entire courses to help you learn how to use them. There are also many plugins you can get to extend the functionality of the core application; that way, you can tailor Photoshop’s capabilities to your needs. In terms of sheer product ecosystem, Photoshop is the clear winner.

While some have accused Adobe of resting on their laurels now that they have a steady stream of subscription income, that’s not really a fair criticism when it comes to their flagship product, Photoshop. Photoshop continues to add new options for demanding professionals while making the onboarding process easier for beginners. Adobe has also been incorporating artificial intelligence tricks such as allowing you to age (or de-age) human faces, alter smiles, and even change the direction that people are looking.

Neural filter — Adobe’s AI-based Neural Filters let you apply all sorts of strange, interesting adjustments such as changing expressions, smoothing skin, and aging (or de-aging) people.

The heart of the Affinity vs. Photoshop debate comes down to a simple question: What do you want to do to your photos? By identifying your needs first and then looking for a solution, you can be sure that the program you choose will more closely align with your requirements. It might be Affinity, it might be Photoshop, or it could even be something else.

Both Affinity Photo and Adobe Photoshop have free trials, and I recommend going that route before spending any money or getting too invested in one particular application. Download both products, try them, and see what you think. Then you can decide the Affinity Photo vs. Photoshop question for yourself.

Now over to you:

Have you used Affinity Photo and Photoshop? Which program did you prefer? Share your thoughts in the comments below!

The post Affinity Photo vs Photoshop: Which Photo Editor Is Best in 2021? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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How to Become a Real Estate Photographer + is it Worth it?

14 Apr

Real estate photography is often the underdog of the photography world, living under the shadow of the more glamorous photography niches like headshots, portraiture, or landscape. Real estate photography can be not only fun, but also profitable. In this article, we’ll discuss how you can become a real estate photographer and also if it is worth it for you. How Continue Reading
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Triangle Composition in Photography: A Quick Guide (Plus Tips)

13 Apr

The post Triangle Composition in Photography: A Quick Guide (Plus Tips) appeared first on Digital Photography School. It was authored by Megan Kennedy.

Speaking about triangle composition, artist Wassily Kandinsky once said, “The impact of the acute angle of a triangle on a circle produces an effect no less powerful than the finger of God touching the finger of Adam in Michelangelo.”

Recognizing the momentum within a triangular shape, painters have regularly capitalized on the visual drama of triangular structures. But painters aren’t the only ones to utilize triangles; photographers have also made extensive use of the shape to add impact, lead the eye, and emphasize spirited angles unfolding within the photographic frame.

In this article, we’ll take a look at the dynamics of triangles in photographic composition.

What is triangle composition in photography?

Triangle composition relies on the use of triangular shapes or concepts to create a better image.

Triangles can be found everywhere. Signs, architecture, geography, sailboats, food, arrows, aviation, wallpaper, optical illusions (see the Penrose triangle); the list goes on!

Why are triangles useful?

Triangles are useful in composition for many reasons. Perhaps one of the most obvious selling points of triangles is their striking versatility.

For instance, triangles can represent direction and orientation; they can signal stasis or momentum. A triangle that recedes into the horizon creates the impression of perspective and depth. Off-kilter triangles paired with vivid colors create impactful shapes that express energy and dynamism. And depending on whether a triangle is facing left or right, it can represent progress, forward motion, or backtracking (just think of the symbols on a TV remote!).

Triangles in composition can also create order in chaos. That’s why triangles can be helpful in planning a photograph or figuring out why an image works the way it does.

Over time, artists have developed different compositional concepts to help create appealing imagery. The golden triangle is a visualization that divides the frame into four triangles, like this:

A diagram of the golden triangle composition rule

The golden triangle suggests one of three approaches:

Fill one of the triangles with a main subject.
Align some diagonal subject matter with at least one of the diagonal golden triangle lines.
Line up a significant point in the composition with a point of intersection.

A web with the golden triangle composition rule overlay — Canon 5D Mark IV | Canon EF 50mm f/1.8 II with extension tubes | f/2.5 | 1/50s | ISO 100

Triangles found in both the natural and modern landscape can visually unite or disrupt a photograph.

And by incorporating triangles or the golden triangle overlay into a photographic composition, you can control the energy and focus of an image.

Common triangle types

There are several types of triangles you should know:

Self-contained triangles can be found throughout the natural and urban environment. These distinct shapes can command attention and often serve as a key component or structural element within a photograph.

(Interestingly, some triangles do extend beyond the frame, thus becoming more indirect triangular compositions.)

Other triangular formats include triangles with rounded edges, which deliver a softened visual effect.

Triangle composition leaves in the rain — Triangular patterns found in nature.
Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/5 | 1/160s | ISO 100

Implied triangles are more subtle arrangements of subject matter that can generate the impression of a triangle composition. Implied triangles aren’t a single specific triangular subject. Instead, they borrow from different elements in an image to form a triangle-like arrangement.

Out of focus lights arranged in triangle patterns — Implied triangles formed from points of light.
Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/4 | 1/100s | ISO 250

The type and behavior of triangles can significantly impact a photograph.

To create stability or instability within an image, triangles can teeter on a point or rest firmly on a vertical line. Symmetrical triangles can signal equilibrium whereas asymmetrical triangles can represent an object to overcome or act as a symbol of intensification.

A triangle pointing at the sky can represent the peak of a goal or journey toward success. A triangle pointing at the ground can represent direction, a downfall, or a lessening of intensity.

Other triangles can point to specific subjects or even represent the main subject.

Tips for working with triangles

Triangles are intriguing shapes, and working with them doesn’t have to be hard.

Here are a few tips for creating beautiful triangle compositions in photography:

1. Use variety

Triangles come in many shapes and forms. To add variety to your photos, include different triangle sizes, types, and orientations (this will also help you develop an eye for the shape).

triangles on a sidewalk — Triangles can disrupt patterns and direct the viewer.
Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/8 | 1/125s | ISO 100

2. Try the golden triangle rule

As I explained earlier, the golden triangle is a visual device used to help create harmonious compositions.

While the golden triangle takes practice to visualize (see the overlay displayed above), it encourages you to make the most of the available subject matter. The rule also draws attention to areas in a composition that might otherwise be ignored.

3. Rules can be broken

Although triangle composition is an engaging approach to photography, compositional rules can be bent and broken.

The golden triangle serves as a guide or exercise rather than a definitive rule – and can therefore be manipulated or ignored.

And using triangular subject matter in a composition is pretty flexible. For example, rounded points or points that extend off the edge of the photograph can still suggest engaging and cohesive triangle-based compositions.

Triangle composition in photography: final thoughts

Over the centuries, triangles and triangle composition have come to represent strength, vitality, energy, and momentum.

By incorporating triangles (and the golden triangle rule) into your compositions, you can create dynamic, eye-catching photos.

So the next time you’re out with your camera, look for triangles – and create some powerful compositions!

A utility pole with triangle composition — Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/9 | 1/250s | ISO 100

Triangle composition FAQ

What is triangle composition?

Triangle composition is either the incorporation of triangular shapes into photographic work or adherence to the golden triangle compositional rule.

What is the golden triangle?

The golden triangle is a compositional device. By mentally dividing an image into triangular sections, you can arrange elements to create beautiful compositions.

Where can I photograph triangles?

Triangles make up our world in many ways. Triangles can be found in the urban landscape as well as the natural environment. Once you start looking, you’ll find plenty of opportunities to photograph triangles.

How can I use triangle composition?

There are several ways to incorporate triangular compositions into a photograph. The most obvious ways involve photographing triangular shapes themselves and using the golden triangle rule to guide your compositions. You can also use implied triangles to loosely organize subjects in a triangular format.

The post Triangle Composition in Photography: A Quick Guide (Plus Tips) appeared first on Digital Photography School. It was authored by Megan Kennedy.

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Canon to Unveil 3 RF Lenses, but Discontinues 9 EF Lenses

12 Apr

The post Canon to Unveil 3 RF Lenses, but Discontinues 9 EF Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

This past week brought both good news and bad news for Canon fans.

The good news: Later this month, Canon will unveil three new RF lenses, including two pro-level super-telephotos.

The bad news: Canon has discontinued nine EF lenses, with plans to drop at least four more lenses before 2021 is out.

Let’s take a closer look.

Canon unveils new RF lenses

According to Canon Rumors, Canon will likely be announcing three RF-mount lenses before April is out:

Canon RF 100mm f/2.8L IS USM Macro
Canon RF 400mm f/2.8L IS USM
Canon RF 600mm f/4L IS USM

The 400mm f/2.8L and the 600mm f/4L will go a long way toward making Canon’s full-frame mirrorless lineup appealing to professional sports and wildlife shooters, who frequently work with snappy f/2.8 and f/4 super-telephotos. While Canon currently offers a handful of long RF lenses (including the well-reviewed RF 100-500mm f/4.5-7.1L IS USM), the narrow maximum apertures are a dealbreaker for serious action and low-light photography.

The Canon RF 100mm f/2.8L Macro will debut as a mirrorless successor to the popular Canon EF 100mm f/2.8L Macro, an ultra-sharp, close-focusing lens used by macro enthusiasts and professionals alike, plus product photographers and event photographers for key detail shots. Of course, the price remains to be seen (currently, the Canon EF 100mm f/2.8L goes for around $ 1300 USD, though when I bought mine – around five years ago – the price was a more tolerable $ 750 USD). But close-up photographers will undoubtedly appreciate the addition of another powerful lens to the list of macro options.

So if you do wildlife photography, sports photography, or macro photography, keep an eye out for Canon’s announcement later this month.

Canon discontinues a long list of EF lenses

While Canon’s dedication to the new RF lineup is praised by many (myself included), it’s sad to see the flip side: the wasting away of the EF/EF-S lineup.

Here’s the list of EF and EF-S lenses Canon has discontinued in the last month, as tracked by Canon Rumors:

Canon EF 14mm f/2.8L II USM
Canon EF-S 35mm f/2.8 Macro IS STM
Canon EF 135mm f/2L USM
Canon EF 180mm f/3.5L Macro USM
Canon EF-S 10-22mm f/3.5-f/4.5 USM
Canon EF-S 15-85mm f/3.5-5.6 IS USM
Canon EF 24-70mm f/4L IS USM
Canon EF-S 55-250mm f/4-5.6 IS STM
Canon EF 70-300mm f/4-5.6L IS USM

And according to Canon Rumors, these lenses will also be discontinued in 2021:

Canon EF 35mm f/2 IS USM
Canon EF 300mm f/2.8L IS II USM
Canon EF 400mm f/4 DO IS II USM
Canon EF 500mm f/4L IS II USM

While some of these discontinued lenses undoubtedly have RF replacements on the way, others will be forgotten, at least for the foreseeable future. So if any of the above glass interests you, I’d highly recommend you buy while products remain available.

Now over to you:

How do you feel about Canon’s decision to discontinue these lenses? Did you expect such a fast break with the EF lineup? Share your thoughts in the comments below!

The post Canon to Unveil 3 RF Lenses, but Discontinues 9 EF Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Does Your Photo-Editing Program Really Matter? [Video]

11 Apr

The post Does Your Photo-Editing Program Really Matter? [Video] appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

If you’ve ever spent time agonizing over different post-processing programs, trying to determine the perfect software to edit your photos, then this is the video for you.

Expert photographer Mark Denney edits a single image using three different editing programs – Photoshop, Capture One, and Lightroom.

Then he shows you the three results, side by side, for comparison.

Are there differences between the final edits? And which program (if any) does the best job?

Watch and find out. And then, when you’re finished, leave a comment below this article telling us what you thought about the different editors!

The post Does Your Photo-Editing Program Really Matter? [Video] appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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