Category: Photography

Tips For Achieving Blurry Backgrounds When You Don’t Have a Fast Lens

The post Tips For Achieving Blurry Backgrounds When You Don’t Have a Fast Lens appeared first on Digital Photography School. It was authored by John McIntire.

Using a shallow depth of field to get blurry backgrounds in your photos is a powerful and popular tool for photographers. Blurring your background in this way makes it easy to obscure details in your scene that don’t add anything to your photographs. This helps to ensure that the focus of your images is your subject, and only your subject.

Using fast lenses with maximum apertures such as f/1.8 or f/2.8 is the easiest way to achieve this blurry background effect.

Using a fast aperture (f/1.8 here) is a surefire way to ensure blurry backgrounds in your images, but what do you do if you don’t have access to a fast lens?
Canon 5D Mark III | Canon EF 85mm f/1.8 | 85mm | 1/1600s | f/1.8 | ISO 100

However, what do you do if you don’t have a fast lens? And what do you do in situations where you are unable to use your lens wide open?

Here, you can see the difference the aperture has on the background. On the left, the aperture is f/8, while on the right, it is f/1.8.

Fortunately, manipulating the aperture settings in-camera is only one way to control how depth of field appears in your images.

This article will show you two ways to help you achieve more background blur when you don’t have access to a fast lens and when you can’t shoot wide open.

1. Get closer to your subject

An easy way to obtain a shallower depth of field for blurry backgrounds is to simply get closer to your subject.

Simply moving your position so that you are closer to the subject is a great way to manipulate depth of field. The closer you get, the shallower the depth of field gets.

Depth of field is determined by multiple factors. Aperture is one, but another important factor is how close the camera is to your subject.

By moving your camera closer to your subject, you will increase the amount of background blur that appears behind your subject.

(Conversely, if you want more depth of field in your image, move farther away from your subject.)

Putting it into practice

With techniques like this, it can be a good idea to do a few exercises so you can see exactly what is going on.

To see this technique in action, find yourself a subject and position them in front of a background. Choose a background that’s a little bit busy (like foliage) so you can see the full effect.

In the leftmost image, I was 12 feet away from the subject. You can see almost all of the details in the background. I slowly moved closer, 2 feet at a time; you should be able to see as the background gets blurrier. The last image was from 4 feet away. (Images are cropped for comparison.)

If you’ve chosen a portrait subject, start from between eight and ten feet away. If you’ve chosen something smaller, decrease that distance as much as you need to have a somewhat reasonable composition.

No matter what lens you have, you should be able to choose an aperture of f/5.6. Dial that in and adjust the other settings until you have a decent exposure. Take a shot.

Step forward a foot and take another. Then move a foot closer again and take a third shot. Do this until you have reached your minimum focusing distance or you are too close to your subject to frame a photo.

Then you can review the images in order. Watch for how the depth of field becomes shallower the closer you are to your subject.

If you use multiple lenses, I encourage you to do this with all of them.

The reverse

Of course, if what you want is more depth of field (i.e., less blurry backgrounds) in your frame, you can always move further away from your subject.

In more depth

If you are technically minded and want to learn more about why and how this works, note that depth of field is governed by the inverse square law, just like many other aspects of photography. These other aspects include light intensity (which governs your exposure) and light fall-off (which governs the shape of the light).

With an in-depth knowledge of the inverse square law and how it works, you would actually be able to calculate exactly where you need to be with a certain focal length and aperture to get an exact result. You will probably never find yourself in a situation where you would need to do this, but it is still possible!

2. Bring your subject farther from the background

The other main way to achieve a shallower depth of field is to put more distance between your subject and the background.

Another easy way to manipulate depth of field for blurry backgrounds is to move your subject away from the background. Both images above were shot at f/8, but the lefthand image was taken 2 feet away from the background. The righthand image was taken 12 feet from the background.

This works the same way as the previous technique, but in this case, you will be moving your subject rather than the camera. If your subject is close to the background, more background detail will be present. To get more blur, simply move your subject forward.

Practice

To see this concept in use, position your subject almost touching a background of your choice; this can be a studio background, some trees, or a wall.

To practice this, have your subject move away from the background in set increments. Make sure you move the same distance back, as well. Here (from top-left to bottom-right), the subject started 2 feet away from the background and ended 12 feet away from the background.

Start at an aperture of f/5.6 and get a decent exposure with your other settings. Take a shot. Now move your subject a foot away from the background. Note that it’s important that you move the same distance backward. If you don’t, then you will have two factors affecting the depth of field in the frame, and it will be impossible to accurately see what is blurring the background.

Take another shot. Move yourself and your subject another foot back and shoot again. Repeat as many times as you want. In practice, how far away you move your subject is dependent on how much blur you want to achieve.

Do you want to retain some detail so that your viewers can recognize the background? Or would you rather obliterate any background details altogether, ensuring that your subject is the only thing for your viewers to focus on?

Real-world use

Now that you have put all of this into practice and you have your sequences of images, you should have a good idea of how the depth of field changes with your distance from the subject and the subject’s distance from the background.

At the end of the day, you do not need a fast lens to achieve blurry backgrounds in your portraits. You are still able to achieve a shallow depth of field with smaller apertures.
Canon 5D Mark III | Canon EF 70-200mm f/4L | 1/200s | f/8 | ISO 800

Not only will you be able to use this knowledge to help you get a shallower depth of field when you can’t shoot wide open, but it will also help you design any desired photos long before you pick up the camera.

For example, you might want an image where your subject is in focus from front to back, but you want the background to be as obscured as possible. Having gone through these exercises, you should be able to approximate what aperture you need to use, how close to the subject you need to be, and how far away the background needs to be. And you should be able to do it in a fairly short amount of time, too!

Achieving blurry backgrounds: final words

Manipulating depth of field to get blurry backgrounds may be a basic technique, but understanding fundamentals like these helps give you a well-rounded set of camera skills that will serve you well in your photography.

The post Tips For Achieving Blurry Backgrounds When You Don’t Have a Fast Lens appeared first on Digital Photography School. It was authored by John McIntire.

Digital Photography School

December 3, 2020
How to Create a Watermark with the Pen Tool in Photoshop
The post How to Create a Watermark with the Pen Tool in Photoshop appeared first on Digital Photography School. It was authored by Ana Mireles.

Did you know that you can create a watermark with the Pen tool? Watermarking images is one of those issues that sparks strong feelings; some people love it and others hate it.

I think the success of a watermark is a matter of knowing when to use it and how to make it.

This article will show you how to create a watermark – using only the Pen tool in Photoshop!

What is a watermark?

A watermark is a digital “signature” that you add to your photographs. It doesn’t have to be a literal signature, though – you can use a logo, your name, or just the copyright symbol.

The purpose of the watermark is either to protect your work or to advertise yourself. But you’ll want to make sure that your watermark isn’t too distracting. Otherwise, you are defeating the point of showing your work online.

What is the Photoshop Pen tool?

The Pen tool is one of the most useful features in Photoshop, yet it’s very underused because it’s mostly associated with making selections.

Since there are many selection tools that have easier learning curves, a lot of people don’t really get to know the Pen tool’s full potential.

While the Pen tool is in fact a very precise tool for making selections, the biggest advantage of the Pen tool is that you can work with paths. From a path, you can make vector masks, strokes, shapes, and even fonts.

Why should you create a watermark with the Pen tool?

There are different ways of creating a watermark in Photoshop. I believe that using Pen tool is the most efficient.

For one, a watermark created with the Pen tool will be vector art. You can enlarge it or shrink it many times and never lose quality.

That way, you can use it for all your needs. Also, paths remain editable for you to come back to and modify any time you want.

Shapes in Photoshop are also vector-based. But with the Pen tool, you have full creative freedom. You can draw anything you want and convert it into a shape or use it to trace a brushstroke.

As you can see, you can combine a series of elements and techniques that will allow you to create the perfect watermark. In the following guide, I’ll be showing you how to do it.

Let’s get started!

How to create a watermark with the Pen tool

To quickly create a watermark, just follow these simple steps:

Step 1: Open a new document

Open Adobe Photoshop and create a new document. The size and resolution are not important because you’ll be working with vectors, so you can always scale it later.

The only thing that you need to remember is to set the Background Contents option as Transparent.

Step 2: Make a sketch

This step is optional, but I find it very helpful. What I like to do is add a new layer (though it’s important that it’s transparent).

With the Brush tool set to a bright color, I start by drawing how I want my watermark to look at the end.

Unless you are a very gifted designer, the drawing won’t look very good. This is what always happens to me, and it’s one of the reasons why using the Pen tool is better than using the Brush tool to ultimately create your watermark.

In any case, doing a rough sketch will give you an idea of the size and proportion of the elements you want to include.

Step 3: Trace a path

I’m going to add a black layer to make the work more visible for you. You can do this, too, if it helps you, but remember to delete it at the end.

Grab the Pen tool from the toolbox on the left or activate it with its keyboard shortcut (the “P” key).

At the top of the screen, you’ll see how the options change. Make sure your Pen tool is set to Path. Then just click to add the first anchor point.

You can move the anchor points to modify the path by holding the Ctrl/Cmd key. You can also adjust the handles by holding the Alt/Option key.

Continue creating anchor points, following the shape that you’d like to create. To curve the path, just drag the anchor point until the handles appear. You can use the handles to adjust the curvature.

If this is your first time using the Pen tool, you can check out this guide. Don’t worry if it doesn’t come out perfect on the first try.

Paths are always editable, so you can correct any mistakes. You can make the entire design in a single path, or make separate ones.

Step 4: Stroke the path

Open the Brush tool and choose the settings that you want for the design that you’re creating. This includes the color, the size, the hardness, and the shape of the brush.

Then open the Paths panel. If it’s not active, you can access it from the menu: Windows > Paths.

Now, right-click on your working path and choose Stroke Path from the menu. Make sure you select Brush in the Tool dropdown menu, then hit OK. This will apply the settings that you have set on your Brush tool.

If you’re not happy with the result, just hit Undo and change the settings on your brush until you’re satisfied.

Disable or lower the opacity of the sketch layer for better visibility.

Step 5: Make shapes

Sometimes, instead of strokes, you need to make shapes. For that, grab the Pen tool and change it from Path to Shape in the Options bar.

Here, you can change the fill or the stroke as you need. It is also possible to create complex designs with a single path by combining or intersecting multiple shapes. This can also be set up in the Options bar.

Step 6: Convert strokes to shapes

If you go to the Layers panel, you’ll notice that the paths you converted to strokes are now rasterized. This means they are using pixels instead of vectors.

To change that, go back to the Paths panel and click on the corresponding path. Then activate the Pen tool and choose Shape:

Step 7: Merge shapes and save

Once you’re done, delete all the rasterized layers, including the one with the sketch and the black background.

If you want, you can save a .PSD copy with all the layers before moving on.

Then select all the shapes, right-click, and choose Merge Shapes.

Then save your document as a .PNG, which will preserve transparency. This is important because other formats will fill the background with white.

Step 8: Watermark your photos

Open any image you want to watermark. Then go to File>Place Embedded. If you’re using Photoshop CS6, it will be called Place.

This will open a browser window. Choose your watermark file and click OK. This will open your watermark in Photoshop.

Resize it and position it to your liking. You can also reduce the opacity if you think the watermark is too distracting.

And that’s it! Remember that you can save this step as a Photoshop action to automate the watermarking process.

Other ways to create a watermark in Photoshop

I hope you enjoyed using the Pen tool to create watermarks. However, this is not the only way to do it. If you want to try different methods, check out any of these amazing tutorials:
- How to Create Your Own Watermark using a Custom Shape in Photoshop
- How to Automate Your Watermarking
- How to Watermark Your Images Using Lightroom and Photoshop CC
- How to Create Custom Brushes in Photoshop and use them for watermarking
The post How to Create a Watermark with the Pen Tool in Photoshop appeared first on Digital Photography School. It was authored by Ana Mireles.

Digital Photography School
December 2, 2020
Introduction to Shutter Speed in Digital Photography
The post Introduction to Shutter Speed in Digital Photography appeared first on Digital Photography School. It was authored by Darren Rowse.

Previously, I introduced the concept of the exposure triangle as a way of thinking about getting off of Auto Mode and exploring the idea of manually adjusting the exposure of your shots.

The three main settings that you can adjust are ISO, aperture, and shutter speed. As we’ve covered aperture and ISO in other articles, today I want to turn your attention to shutter speed.

What is shutter speed?

As I’ve written elsewhere, defined most basically, shutter speed is “the amount of time that the shutter is open.”

In film photography, shutter speed is the length of time that the film is exposed to the scene you’re photographing. Similarly, in digital photography, shutter speed is the length of time that your image sensor “sees” the scene you’re attempting to capture.

Let me attempt to break down the topic of “shutter speed” into some bite-sized pieces that should help digital camera owners trying to get their head around shutter speed:
- Shutter speed is measured in seconds – or, in most cases, fractions of seconds. The bigger the denominator, the faster the speed (i.e., 1/1000s is much faster than 1/30s).
- In most cases, you’ll probably need shutter speeds of 1/60th of a second or faster. This is because anything slower than this is very difficult to use without getting camera shake. Camera shake is when your camera is moving while the shutter is open; it causes blur in your photos.
- If you’re using a slow shutter speed (anything slower than 1/60s), you will need to either use a tripod or some type of image stabilization technology (more and more cameras are coming with this built-in).
- Shutter speeds available on your camera will often double (approximately) with each setting. As a result, you’ll generally have the option to use the following shutter speeds: 1/500s, 1/250s, 1/125s, 1/60s, 1/30s, 1/15s, 1/8s, etc. This doubling is handy to keep in mind, as aperture settings also double the amount of light that is let in. As a result, increasing the shutter speed by one stop and decreasing the aperture by one stop should give you similar exposure levels.
- Some cameras also give you the option for very slow shutter speeds that are not fractions of seconds but are measured in seconds (for example, 1 second, 10 seconds, 30 seconds, etc.). These are used in very low light situations when you’re after special effects and/or when you’re trying to capture a lot of movement in a shot. Some cameras also give you the option to shoot in “B” (or “Bulb”) mode. Bulb mode lets you keep the shutter open for as long as you hold the shutter button down.
- When considering what shutter speed to use in an image, you should always ask yourself whether anything in your scene is moving and how you’d like to capture that movement. If there is movement in your scene, you have the choice of either freezing the movement (so it looks still) or letting the moving object intentionally blur (giving it a sense of movement).
- To freeze movement in an image (like in the shots of the bird above and the surfer below), you’ll want to choose a faster shutter speed. To let the movement blur, you’ll want to choose a slower shutter speed. The actual speeds you should choose will vary depending upon the speed of the subject in your shot and how much you want it to be blurred.
In the bird image above, the shutter speed was 1/1000th of a second, meaning that despite the bird’s fast-flapping wings, they appear to be frozen in a split second of time. The surfing shot below had a fast shutter speed (around 1/4000th of a second), which captured even the splashing drops of water sharply.
- Motion is not always bad. I spoke to one digital camera owner last week who told me that he always used fast shutter speeds and couldn’t understand why anyone would want motion in their images. But there are times when motion is good. For example, when you’re taking a photo of a waterfall or a seascape and want to show how fast the water is flowing, or when you’re taking a shot of a racing car and want to give it a feeling of speed, or when you’re taking a shot of a starscape and want to show how the stars move over a longer period of time. In all of these instances, choosing a longer shutter speed will be the way to go. However, in all of these cases, you will need to use a tripod or you’ll run the risk of ruining the shots by adding camera movement (which results in a different type of blur than motion blur).
For example, in the following waterfall photo, the shutter speed was around 1s, so we see the movement in the water:

In the subway shot below, the shutter speed was around 2s, so the movement of the train is beautifully blurred:
- Focal length and shutter speed – Another thing to consider when choosing your shutter speed is the focal length of the lens you’re using. Longer focal lengths will accentuate the amount of camera shake you have, and so you’ll need to choose a faster shutter speed (unless you have image stabilization in your lens or camera). The rule of thumb here (in situations without image stabilization) is to choose a shutter speed with a denominator that is larger than the focal length of the lens. For example, if you have a lens that is 50mm, a shutter speed of 1/60s is probably okay. But if you have a 200mm lens, you’ll probably want to shoot at around 1/250s or higher.
Shutter speed – bringing it together

Remember that thinking about shutter speed in isolation from the other two elements of the exposure triangle (aperture and ISO) is not really a good idea. As you change your shutter speed, you’ll need to change one or both of the other elements to compensate for it.

For example, if you increase your shutter speed by one stop (for example, from 1/125s to 1/250s), you’re effectively letting half as much light into your camera. To compensate for this, you’ll probably need to increase your aperture by one stop (for example, from f/16 to f/11). The other alternative would be to choose a higher ISO (you might want to move from ISO 100 to ISO 200, for example).

I hope you’ve found this introduction to shutter speed useful. I would highly recommend you also put a little time aside today to learn about the other two important elements of the exposure triangle – aperture and ISO.

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The post Introduction to Shutter Speed in Digital Photography appeared first on Digital Photography School. It was authored by Darren Rowse.

Digital Photography School
December 1, 2020
Photokina Shuts Down Due to “Massive Decline in Markets”

The post Photokina Shuts Down Due to “Massive Decline in Markets” appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Photokina, the world’s most prominent photography trade show, will be closing its doors “until further notice.”

Photokina was first launched in 1950, before quickly becoming a biennial fair for exhibitors – including top imaging companies – to show off their latest photography equipment to the public. The event took place in Cologne, Germany, with vendors and visitors (often in the hundreds of thousands) flocking from around the world to view class-leading photography gear.

But enthusiasm for Photokina waned in recent years, with the rise of social media and smartphone photography relegating more traditional, higher-end photography equipment to the sidelines.

While the Photokina organizers sought to combat these problems by increasing the number of events (Photokina was to become a yearly trade show as of 2018) and by broadening the definition of the event so that less traditional vendors could take part, this did little to address Photokina’s fundamental problem: the overall decline of the camera market.

As the organizers explained in the press release announcing the suspension of Photokina:

In view of the further massive decline in markets for imaging products, Koelnmesse has decided to discontinue organizing Photokina at its Cologne location for the time being…The trend in this industry, with which we have always had a close and trusting partnership, is very painful for us to witness. But we are facing the situation with a clear, honest decision against continuing this event, a decision to which, unfortunately, we have no alternative.

They go on to explain that these problems were present long before the market’s COVID-19 downturn, and that “an event held in 2022 could not have met the expectations of the entire imaging community that those efforts were intended to serve.”

Hence the decision to shut down Photokina for the foreseeable future.

While this news is sad, especially for those who attended Photokina frequently in the past, it’s far from unexpected. As indicated by the initial adjustments to Photokina – changes began back in 2014 – the organizers were struggling to maintain interest. Then the 2019 event was dropped, and the 2020 event, scheduled for this past May, was canceled due to COVID-19.

Technically, Photokina could resume at some point in the future. But barring some sudden reversal to the camera market, Photokina is likely gone for good.

Now over to you:

What do you think about this news regarding Photokina’s suspension? Do you think the trade fair will ever come back? And are you worried about what this says regarding the overall decline of the imaging market? Share your thoughts in the comments!

The post Photokina Shuts Down Due to “Massive Decline in Markets” appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

November 30, 2020

How to Use Leading Lines for Better Compositions

The post How to Use Leading Lines for Better Compositions appeared first on Digital Photography School. It was authored by Anne McKinnell.

Leading lines refer to a compositional technique where the viewer’s attention is drawn to lines that lead to the main subject of the image. A leading line paves an easy path for the eye to follow through different elements of a photo.

Usually, these lines start at the bottom of the frame and guide the eye upward and inward, from the foreground of the image to the background, typically leading toward the main subject.

Where can you find leading lines?

The easiest place to find a leading line is on a road. Roadways are inherently leading because they go somewhere, giving us a feeling of motion. The lines often point so far inward that they reach a vanishing point – the place where two or more lines converge at theoretical infinity.

Leading Lines: Avenue of Oaks, South Carolina, by Anne McKinnell — The leading lines of the road converge to create a sense of infinity.

When leading lines, such as roads, connect the foreground to the background of a scene, they help create depth and dimensionality, which draws the viewer into the image.

Leading lines are all around us in cities and in nature. Your job, as the photographer, is to find them and arrange them in your photograph so that they lead toward something, even if that something is infinity.

Leading Lines: Sunset at Ross Bay, Victoria, British Columbia, by Anne McKinnell — The logs on the beach draw the viewer’s eye into the frame and lead up to the house.

When you’re setting up a shot, take a moment to examine the scene for its prominent lines. Clear your mind, relax your eyes, and notice where you’re naturally drawn to.

Pay special attention to human-made objects such as:

roads
fences
boardwalks
bridges
bricks
anything in a row, such as lamp posts
buildings
doorways
window panes

In nature, pay particular attention to:

rivers
shorelines
waves
sand dunes
trees
tall grass
cliffs
rocks
sunrays

Leading Lines: Boquillas Canyon by Anne McKinnell — The soft leading line of the river’s edge creates depth in the image.

What’s the best way to use leading lines?

Once you’ve identified your strongest lines, consider how you can use them to enhance your composition.

Depending on your intention, you might:

Create depth and perspective by positioning a strong line leading from the foreground to the background
Create a visual journey from one part of your image to another
Place your subject where the lines converge to give the subject more importance in the frame and draw the viewer’s attention directly to it
Make a cyclical composition, with the lines leading the eye in a circular motion and never out of the frame

Arranging the elements in the frame may involve the use of different lenses to change perspective. However, you can accomplish this simply by moving yourself so that the point of view you choose is purposeful.

Leading Lines: Japanese Garden by Anne McKinnell — The leading line of the path takes the eye directly to the maple tree.

How to use leading lines for better compositions: final words

Leading lines are the key compositional element that carries our eye through the photograph. They can be used to tell a story, to place emphasis, and to draw a connection between two objects.

Use leading lines creatively and with expressive purpose to help you tell your unique photographic tale.

The post How to Use Leading Lines for Better Compositions appeared first on Digital Photography School. It was authored by Anne McKinnell.

Digital Photography School

November 29, 2020

Comparing a 24mm Versus 50mm Lens for Photographing People

The post Comparing a 24mm Versus 50mm Lens for Photographing People appeared first on Digital Photography School. It was authored by Meredith Clark.

Image taken with a Canon 60D and a Canon 24mm lens.

How does a 24mm lens compare to a 50mm lens when photographing people? Both are great options, given the low price point, but they do have slightly different strengths when it comes to people photography.

In this article, I’ll show you several different images of the same model, location, and pose, photographed with both a 24mm and a 50mm lens. This will provide a good visual of the difference between the two lenses, and should give you insight as to when you might want to reach for each option.

Equipment used

For continuity, all images in this post were taken with a Canon 60D and either the Canon 24mm f/2.8 or the Canon 50mm f/1.8 lens.

The Canon 60D is an APS-C (cropped-sensor) camera, so you’ll need to multiply the focal length of each of your lenses by 1.6x in order to determine their effective focal length on this camera (though if you use Nikon APS-C cameras, your crop factor is 1.5x).

So on a cropped sensor camera, a 24mm lens functions roughly as a 38mm lens, and a 50mm lens functions as an 80mm lens.

24mm shows off the background

When it comes to photographing people, a 50mm lens emphasizes the subject, whereas a 24mm lens shows the environment.

Image taken with a Canon 60D and a 50mm lens.

That’s why a 50mm lens is great for head and shoulders portraits, while a 24mm lens is great for photographing people in the context of their surroundings. In the above example, you can see that the 50mm lens provided a tight shot of these two sisters, with a blurred background that keeps all the attention on their faces.

However, the context for this session is also important – it took place at a family vineyard, and the clients wanted to be sure that the grapes were visible in the background of some of the images. As you can see above, the grapes weren’t visible in the portrait taken with the 50mm lens, nor would closing down the aperture really give the perspective of the vineyard that my clients were looking for.

So after taking a few portraits with the 50mm, I switched over to my 24mm lens in order to capture a few wider shots.

Image taken with a Canon 60D and a Canon 24mm lens.

The shot above shows the same girls, the same exact location, and a very similar pose. The only real difference is that, with the switch to the 24mm lens, you can see more of the girls and the area around them.

In some instances, you may want to minimize the area around your subject, in which case the 24mm lens would not be ideal. However, in this case, it allowed me to capture images that highlighted both the girls and the vineyard, which was what the clients were after.

Bonus tip: Photographing sibling sets with a 24mm lens also allows you to see the height differences between siblings more easily (thanks to the wider perspective), which is something that a lot of parents really enjoy.

Image taken with a Canon 60D and a 50mm lens.

Think about the background color

Another thing to consider, besides the contents of the background in your images, is the coloring of the background.

In the image above, the deep-colored wood background brings a moodiness to the image that could be appropriate for a musician. However, the interesting thing is that the overall feeling of the image changes quite a bit when you look at it from the 24mm angle of view:

Image taken with a Canon 60D and a 24mm lens.

The second image, though in the same location, feels a lot less moody and dramatic than the first. The lighter stonework around the door brings a sense of balance to the image that just wouldn’t be achieved as well with the 50mm lens in this location.

In my experience, this balance is especially important when it comes to converting images to black and white.

As you can see in the left image, the lighter stonework around the darker door serves as a frame for the subject and naturally draws your eye in toward him.

In addition, the increased contrast and texture provides some of the key ingredients for black and white images, which makes the image on the left more aesthetically pleasing than the image on the right.

24mm vs 50mm: Try using both!

Overall, while there may be instances in which the content or coloring of your background may cause you to reach for one of these lenses over the other, I’m very much in favor of using both of them whenever possible.

Here’s a quick example from my own life to explain why both are so great for their own reasons. I recently photographed my girls in their Halloween costumes. I started with the 50mm lens because it’s my favorite:

Image taken with a Canon 60D and a 50mm lens.

I love this image of both girls – the 50mm lens really lets you see their faces and expressions, and the bokeh of the 50mm f/1.8 helped soften the construction site in the background of the image. However, the closer crop also means that only a small portion of their costumes is visible.

So I switched over to my 24mm lens to take a full-length photo (below) of my little monkey and lion.

Now I can really see them from head to toe. I can see the little fake feet of the monkey costume that freaked out my youngest daughter so much that she begged her sister to switch costumes with her. I can see the height difference between the two of them. I can see the black flats that my oldest daughter is so proud of and wears to any event that she deems remotely “fancy.”

Those are all things that I want to look back on and remember. I love both images for different reasons and am so happy to have them both, thanks to my trusty 24mm and 50mm lenses.

Image taken with a Canon 60D and a 24mm lens.

24mm vs 50mm for photographing people: conclusion

I hope this has given you a good idea of how these two focal lengths compare when photographing people.

Have you tried a 24mm lens? How do you use it? Do you have a 50mm lens and do you use it for people photography? Which lens is your favorite? Please share your comments and images below!

The post Comparing a 24mm Versus 50mm Lens for Photographing People appeared first on Digital Photography School. It was authored by Meredith Clark.

Digital Photography School

November 28, 2020
Weekly Photography Challenge – Wheels

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

They come in many shapes and sizes! ‘Wheels’ on a car, bike, whatever – wheels on their own, detail shots of wheels, there are many ways to approach this challenge – how will you make your photograph, this week, unique? Tag this week is #dPSWheels

Missed a challenge? Go back and do them all! Click Here

The wheels on a motorbike when I was learning to pan.

BMX’ers doing their thing (Bonus point if you say where this was taken in the comments!)

Or your car, on the side of a hill!

Great! Where do I upload my photos?

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

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSWheels to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

Follow us on Instagram?

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

Digital Photography School

November 28, 2020
Two Nikon DSLRs Will Ship Next Year (Plus New F-Mount Lenses)

The post Two Nikon DSLRs Will Ship Next Year (Plus New F-Mount Lenses) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

With major camera companies dedicating themselves more fully to mirrorless technology, it might surprise you to learn that Nikon isn’t giving up on their DSLRs just yet.

Despite the recent launch of the Z6 II and the Z7 II, and despite the handful of Z-mount cameras and lenses in the works, Nikon still plans to debut two DSLRs sometime in 2021, according to an “internal presentation” reported on by Nikon Rumors.

While the internal presentation discussed many items, some of which merely confirmed that which we already knew, the highlights include various interesting tidbits about Nikon mirrorless cameras versus DSLRs; up until now, Nikon DSLRs have actually performed better than their mirrorless counterparts in terms of sales, though Nikon predicts “within 60 days that mirrorless will outsell [the] F-mount.”

But presumably as a consequence of the still-significant DSLR sales, Nikon aims to launch two DSLRs next year, along with “several new F-mount lenses.”

What DSLRs will these be?

A safe bet is that at least one will be a mid-level or entry-level Nikon model, especially because this is one area where Nikon lacks mirrorless counterparts. We might see a Nikon D3600, for instance, which should be a relatively low-priced option aimed at beginners (though bear in mind that it was rumored over a year ago that Nikon was canceling its Nikon D3500 lineup). Alternatively, we might get a more midrange option: a Nikon D7600, which is long overdue and should offer higher-end capabilities, such as fast autofocusing and strong low-light performance.

In fact, these models would correspond pretty closely to two of Canon’s few DSLR releases in the past year or so: the entry-level Canon EOS 850D (also known as the Rebel T8i) and the mid-level Canon 90D.

The second new DSLR is likely a Nikon D850 replacement; this would be a high-resolution professional model, designed for landscape and commercial shooters in particular (but with the potential to work as a wildlife or event camera, as well!).

As for the new lenses, it’s anybody’s guess, but I suspect they’ll cater more toward beginners (assuming the new cameras are entry-level models) and professional sports photography, which is one area where DSLRs are still the overwhelming choice.

Ultimately, I’m not sure Nikon’s DSLR lineup can withstand the next five or so years; it’s very possible these 2021 cameras will be some of the last DSLRs that Nikon releases. Regardless, for DSLR shooters, it’ll be nice to look forward to a couple more cameras and lenses over the coming year!

Now over to you:

What do you think these DSLRs and lenses will be? And do you think they’ll be some of Nikon’s last DSLR products? Share your thoughts in the comments!

The post Two Nikon DSLRs Will Ship Next Year (Plus New F-Mount Lenses) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

November 27, 2020
11 Ways to Overcome Creative Blocks as a Photographer

The post 11 Ways to Overcome Creative Blocks as a Photographer appeared first on Digital Photography School. It was authored by Megan Kennedy.

Creative blocks can happen to everyone, including us photographers.

Fortunately, there are numerous ways to combat that dreaded phenomenon.

So here are 11 ways to overcome creative blocks as a photographer!

Canon 5D Mark II | Canon EF 100-400mm f/4.5-5.6L IS II USM | 1/4000s | f/4.5 | ISO 200

What is a creative block?

The term creative block describes a condition that ranges from having difficulty coming up with new ideas to being completely unable to produce useable creative work.

Some common triggers for creative blocks include timing, stress, boredom, fatigue, fear, and anxiety.

However, there are many simple methods that can help tackle this beast head-on.

1. Get some rest

The creative process (and daily life in general) can take both a mental and physical toll, and one of the key factors that can trigger a creative block is fatigue.

Making time to recuperate is not only good for the creative process, but for mental health overall.

2. Write

The written word is a powerful tool, and one of the many ways to overcome creative blocks. Actively maintaining a notebook full of creative ideas can come in handy in the event of a creative lull. Keeping a journal, blogging consistently, or even doing creative writing can help remove a creative barrier.

Brainstorming is another written exercise that prompts creative thinking. Select an aspect of photography and write down as many associated ideas and phrases as possible within a short amount of time. Often the results can deliver unique new creative perspectives.

3. Listen to music

It’s been scientifically proven that music can help calm activity in the brain, reducing anxiety and restoring emotional balance.

So whether it’s listening while at work, rest, or play, music can aid in restoring creative flow.

Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/40s | f/4.5 | ISO 320

4. Sketch your surroundings

Grab a drawing medium and a sheet of paper (or a tablet, touchscreen computer, etc.) and quickly sketch as much of the surrounding detail as possible for five minutes.

Furniture, cameras, people, shadows, animals, trees, plants, textures…draw anything that makes up the immediate area.

While it may seem simple, making rough sketches encourages mindfulness, utilizes creativity without the pressure of perfection, and reveals the creative possibilities of your surroundings.

5. Have a change of scenery

Even a simple walk in the park has been proven to combat creative block.

After all, new places inspire new thought patterns. A change of scenery is a simple way to get into a more creative mindset.

6. Gear up

One of the ways to overcome creative blocks is to seek out new equipment.

Trying out new gear sounds expensive, but economical accessories like extension tubes, prisms, and filters can have a significant creative influence on photographic practice.

Even old cameras and lenses sourced from thrift stores can present new challenges and opportunities to engage with photography and therefore reinvigorate creativity.

Extension tubes are an economical way to get into macro photography. Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/125s | f/4.0 | ISO 100

7. Be distracted

Embracing distraction seems a little counterproductive, but putting an uncooperative artistic undertaking to one side for a while can be one of the best ways to combat a creative block.

Taking a break to reset and relax is conducive to a more fluid state of mind. Going for a walk, having a shower, and doing some tidying are all good ways to overcome creative blocks.

8. Seek inspiration

Creative minds feed on inspiration. Reading photography books and magazines, listening to podcasts, and researching artists can all chip away at a stubborn creative block.

Plus, due to the current shutdown, many galleries are creating virtual tours of art spaces online – which is a great opportunity to explore art establishments without leaving the comfort of your own home.

9. Photograph something new

It can be easy to get stuck photographing the same thing all the time. And while there is nothing wrong with specializing, adopting a new subject or technique can help get rid of a creative rut.

Photographing something entirely new not only serves as a refresher but can also build on the skills and habits you’ve previously established. For example, a portrait photographer experimenting with landscape photography can uncover new ways to combine the two in environmental portraiture.

While it can be difficult to take on a new project during a creative rut, doing photography outside your comfort zone can lead to significant artistic breakthroughs. By embracing a new format, photographers can expand their creativity and shift a stubborn creative block.

10. Photograph your favorites

Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | 1/50s | f/10 | ISO 400

It may seem like this point contradicts item nine above. Nevertheless, we often forget to photograph the very subjects that made us love photography in the first place.

A lull is a great opportunity to return to photographing a neglected favorite subject, rekindling that passion for creative image-making.

11. Make a visual diary

In a creative lull, a good source of accessible inspirational material is invaluable. Visual diaries are collections of visual materials compiled in a comprehensive journal. Consisting of images, notes, samples, scribbles, diagrams, photographs, etc., visual diaries are a manifestation of a photographer’s creative thought processes.

One of the most popular visual diary formats is a simple spiral-bound art book (usually A4 or A5 in size). However, there are other ways that artists can maintain a visual record of artistic processes.

For instance, Pinterest, Instagram, and other online venues are great ways to keep track of inspirational artistic material. In the event of a creative lull, visual diaries are a great resource to look back on, and they can help plan your next creative step.

Ways to overcome creative blocks: Conclusion

While frustrating, creative blocks can represent a good opportunity to expand on creative practice.

From resting to listening to music to trying a new technique, there are many ways to overcome creative blocks – while building on personal creative processes at the same time.

Now over to you:

Do you have any tips for getting rid of creative blocks? Share them in the comments!

The post 11 Ways to Overcome Creative Blocks as a Photographer appeared first on Digital Photography School. It was authored by Megan Kennedy.

Digital Photography School

November 27, 2020
SLC-0L-05: Lighting’s Gateway Drug

Quick, guess the lighting.

If you said two lights, and use of high-speed sync to get the shallow depth of field, that's a pretty good guess.

If you said zero lights and a rigid high-efficiency reflector, that's an even better — and correct — guess.

When working with an inexperienced assistant — or looking to introduce someone to the world of off-camera lighting — a rigid/high-efficiency reflector is a fantastic and inexpensive place to start.

Read more »
Strobist

November 26, 2020