The post Dare to be Different With Your Photos appeared first on Digital Photography School. It was authored by Rick Ohnsman.
It’s estimated that over two billion photos are uploaded to the internet every day. We are deluged with images. So if you’re a photographer looking to stand out from the crowd, then going to the same iconic locations, framing up and shooting the same compositions, and looking to emulate the great images you might find from skilled photographers is not what you should do.
You need to dare to be different with your photography – by making the shot in a way people haven’t seen before. If the reaction you want is “Wow!” rather than “Meh,” you need to mix it up.
Not a bad photo of the Grand Prismatic Spring in Yellowstone National Park, but how different is my shot than the tens of thousands of other shots made from the same vantage point?
Where’d you shoot that?
I belong to a camera club, and we routinely show our images for review and critique. Something I hear too often when a great photo is displayed is, “Where’d you shoot that?”
I guess it’s a fair question. But I’m always concerned that the person asking it is thinking: If I go there, get the same light, perhaps use the same camera settings, and shoot from the same spot, I could make a great photo, too!”
But why would you want to be a copycat?
Sure, we all like to go to the iconic spots, but why not try to make a shot that is different and uniquely yours, one that stands out from the crowd?
No doubt millions of photos have been taken of this iconic location, so kudos to friend and fellow photographer Harold Hall, who found a unique perspective for this familiar New York City landmark.
To be seen, don’t be one of the “herd.”
Go where others don’t
I just got back from a trip to Yellowstone National Park. While I was there, I wanted to see the Grand Prismatic Spring, a very iconic spot and a natural wonder well worth seeing.
Upon reaching the overlook, I had to wait to even get to the edge as dozens of tourists took turns at the rail, shooting with their cellphone cameras, posing for selfies, even asking photographers like me, who were carrying obviously more sophisticated camera gear, if we’d snap their group photo with their cellphone.
Here’s a different abstract take at the Grand Prismatic Spring, and a shot more likely to be uniquely mine. Dare to be different with your photography.
I get it: They wanted a photographic souvenir of being at the Grand Prismatic Spring, a shot they could post on social media to share with their friends.
That’s fine, but what about you? Are you a serious photographer looking to make artistic photographs? Or are you a tourist looking for a snapshot?
Sure, I wanted to see the Grand Prismatic Spring. And yes, I took my camera and made a shot.
In fact, I’ve photographed next to other photographers at similar iconic locations. How could you not photograph the Statue of Liberty in New York, the Golden Gate Bridge in San Francisco, the Eiffel Tower in Paris, Mesa Arch in Canyonlands National Park, or the Sydney Opera House in Australia (the list goes on)?
So hit the iconic spots, make the usual shot, and check it off your bucket list.
But then find ways to change things up. Go to the lesser-known spots and make some photographs others won’t have considered – images that are uniquely yours.
But how do you make shots that don’t look like the tens of thousands taken by others?
Let’s explore that.
Lots of photos have been done of the Oceanside Pier in southern California, so I tried to make my shot different by shooting a long, 30-second exposure during the blue hour.
I was literally shoulder-to-shoulder with maybe a hundred other photographers while waiting for a sunset that never showed at the Bass Harbor Lighthouse in Acadia National Park in Maine. I tried to be a little different with a six-second exposure to blur the clouds and waves. Canon 6D | Canon EF 17-40mm f/4L USM | 6s | f/11 | ISO 200
Seek a new perspective
Amateur photographers almost never use tripods. So they often raise their camera to their eye and shoot from a standing position.
Hence, the great majority of their shots are from a five- to six-foot, eye-level height, even when the subject suggests that something else might be better.
A shot of a small child is typically made looking down on the subject, as is a picture of a flower or some other shorter subject. If shooting with a standard digital camera, the great majority of images will be in landscape mode; if shooting with a phone, most shots will be in portrait mode. Little – if any – thought is given to rotating the camera to best suit the subject. The subject will typically be placed dead-center in the frame, so that if the photo is a portrait, then there is an excessive amount of headroom. This type of photographer has never heard of the rule of thirds.
Another iconic location with a couple dozen other photographers shooting at the Grand Fountain Geyser in Yellowstone National Park. Always look for how you can make your image dramatic and different than what the other photographers will make.
We expect student photographers to be a little better, right? They might shoot with a tripod. Yet I have been to plenty of photo workshops where the photographers are lined up like gunners in a firing squad, cameras on tripods but at that same eye-level height, all trained on the same iconic subject. How much different will their shots be? Maybe they ought to just buy a postcard in the gift shop.
“Sometimes, to stand out, you need to sit down.”
Anthony T. Hincks
I’m not sure of the context in which Mr. Hincks was speaking when he authored this quote. But appropriating it so that it applies to photographers, you need to consider various perspectives to better suit your subject and create images that bring new interpretations and compositions. Get up, get down, shoot from a bird’s-eye perspective or a worm’s-eye perspective. Shoot through objects that create natural frames. Try some point-of-view (POV) shots.
There are lots of things to try in order to explore new looks and create interest, excitement, and mood in your photos.
As a photographer, I expect you are more of a visual learner, so here are some shots to help communicate these concepts:
Get down to the ground and get a “worms-eye view” for a perspective the average photographer shooting from eye-level won’t get. The shot on the left is with an LG V30 cellphone.
For the image of the Snow Cone in Craters of the Moon National Park on the left, a cellphone camera was placed on the lava. For the shot on the right, the camera was directly on the stage at “foot level.”
Look down. Sometimes the shot is right at your feet.
Look up. Sometimes the shot is straight overhead.
A high vantage point allowed me to capture much of the long train in the first shot. The low angle for the Union Pacific 844 steam train (in the second shot) emphasized its immense power.
To get this unique angle when photographing the hot air balloons ascending from Ann Morrison Park in Boise, Idaho, you had to be in one of them. My photographer son Mark Ohnsman was, and he got this great shot.
Another way to get high-angle aerial shots is by shooting out the window of a commercial flight. I got these images with my LG V30 cellphone. The shot on the left was made somewhere over the Nevada desert; the shot on the right was made during the final approach to the Boise, Idaho airport.
Drone photography is yet another way to get a high vantage point. This could have been made with a drone (if I had one), but instead was done off a cliff near Cape Arago State Park in Oregon.
When shooting flowers or low vegetation, sometimes you want to get down in it. Get low with your camera and make shots others won’t get from an eye-level perspective.
The “near-far” look is done with a wide-angle lens and a small aperture so that objects from a few feet away to infinity are all in focus. Sometimes, focus stacking might be needed to ensure front-to-back sharpness. The technique produces images with great depth. Photo at left by Rick Ohnsman; photo at right by Dan Mottaz.
For getting low while keeping your camera steady, a tripod with no center column, a tripod (left) with a replaceable short center column, or something like the Gorillapod (right) is the ticket.
Think about “natural framing,” where you use things in the scene that frame your image as a way to make your shot different than what others might get.
Another way to make unique images others won’t get, and also to explore the wonders of an unseen world, is to try close-up and macro photography.
Work a scene, shooting wide, medium, and close-up shots. Digital film is cheap, so never take a “one-and-done” approach to your photography. I made the first shot here on Sand Beach in Acadia National Park. A little while later, I noticed and photographed the interesting patterns in the sand.
Explore various focal lengths and crops when making portraits. From left to right: close-up, medium-wide, medium, and ultra-close-up.
A great way to ensure your photos will be uniquely yours is to embrace abstract photography. There is no end to the possible subjects.
A picture is worth 1000 words, they say. What does your photo say? Try making photos that tell a story; this will better involve your viewer in the image.
Remember to turn your camera to a vertical (portrait) position if the subject dictates it. You’d be surprised at the amateurs who never consider this.
Diagonal lines add drama. When shooting cars, I like to employ a “Dutch tilt.” See if you can discover scenes where tilting the camera will make your images more unique and interesting.
When the weather gets bad, the photos get good. There’s nothing like some fog to add mood to a shot. If you want unique and compelling photos that are different from the rest of the crowd, brave the elements and get out when the weather keeps fair-weather photographers inside.
Morning fog and steam from nearby thermal springs made for the perfect moody shot in Yellowstone National Park.
Dare to be different when editing. This is the same shot of water drops on a lupine leaf, but as a monochrome positive on the left and a negative image on the right.
You can shoot differently when you know your editing options. Here, multiple images taken of the trees at the Boardman, Oregon tree farm were made at various focus points and then focus-stacked with Helicon Focus. Such depth of field would not have been possible in a single shot.
Sometimes, the way to make photos that are uniquely yours is to see common things in different ways. The key, as with all photography, is to look for the light.
Dare to be different with your photos: the next step
People might call me names, but as a photographer, there’s one name I hope never applies:Snapshooter. I consider a snapshooter to be the photographer who sees something that catches their attention, raises the camera to their eye, and takes a snapshot. That is the person who gives no thought to composition, angle, perspective, subject, storytelling, or concept. They don’t understand camera controls, exposure, depth of field, or ways to use the camera as a tool to communicate their vision. They probably don’t even grasp the concept of a vision. They don’t take the time to consider what they might do to make their photographs better or different. Can they even communicate what they are trying to say with their images?
But that’s not you, right? You have come to a place called the Digital Photography School, presumably as a person looking to learn how to make better images.
So I challenge you: Dare to be different with your photos. Make photographs that are intentionally creative, unique, tell a story, and show the viewer something in a way they may not have seen it before.
“You walk like others? You talk like others? You think like others? Then the world doesn’t need you, because others are already abundant in the world! Be original!”
Mehmet Murat ildan
The post Dare to be Different With Your Photos appeared first on Digital Photography School. It was authored by Rick Ohnsman.
The post Darktable: Is This Free Lightroom Alternative Right for You? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
When most people think about software for managing and editing their photographs, the most prominent program that comes to mind is Adobe Lightroom.
And while there are other options, such as Capture One and Apple Photos, there’s another program worth considering:
Darktable.
Darktable is an open-source alternative to the mainstream options, and while it might not have every single feature of its counterparts, it does have one enormous advantage: it’s free. That alone makes it worth checking out, but is it the right solution for you?
Read on to find out.
The Darktable interface will seem familiar to users of Lightroom and Capture One.
What is Darktable?
Darktable might be a new name for you, but it has been around since 2009 and has been steadily growing in popularity ever since. In an era where software costs are skyrocketing and more programs are moving to a subscription model, Darktable’s approach seems almost quaint.
Anyone can use Darktable for free – with no worries about contracts, upgrades, or missing features. This alone makes it a highly compelling editing solution, and certainly one worth considering for photographers without an unlimited budget.
There are some important tradeoffs with Darktable, especially if you are used to using Lightroom or another commercial program. Keep your expectations in check, and remember that the phrase “You get what you pay for” is popular for a reason.
That’s not to say you should ignore Darktable, but just be aware of what you are getting into.
Darktable is great, if you can live with some of its quirks.
Darktable overview
At its core, Darktable is similar to other programs you might already use. It’s a non-destructive image editor (it can handle RAW, JPEG, and many other formats) with a bevy of tools and options to edit your images.
Darktable has two central modes:
Lighttable and Darkroom.
These function much like the Library and Develop modules in Lightroom. Darktable lets you import, categorize, sort, rate, flag, and tag images just like most other programs. Even the name Darktable is a play on the word Lightroom.
That said, there is a bit of a learning curve to Darktable because the features it offers are so overwhelming. Some new users are put off by this at first, but it doesn’t take much time to pick up the basics and start editing.
One additional thing worth noting:
I have found Darktable to be noticeably slower than Lightroom. Edits are shown in real time, but there is just a bit of lag as you drag sliders and change values. It’s not a dealbreaker, but something to be aware of.
Many of the editing tools in Darktable are highly detailed and quite powerful.
In order to find out if Darktable is right for you, it’s helpful to understand precisely how its two main components, Lighttable and Darkroom, function.
Lighttable
In a broad sense, the Lighttable mode is similar to Lightroom’s Library module. You use Lighttable for importing images as well as tagging, rating, sorting, and general organizing.
The Import dialog lets you select files or a folder of images from your computer that is then loaded into the application. You can select multiple files and perform batch operations such as adding keywords, assigning color labels, and even applying GPX files for location data.
The sheer number of options is a bit overwhelming at first, but like any program, the more you use it the more it makes sense. Much of the Lighttable interface will be familiar to longtime Lightroom users, though the program does not strive for 1:1 feature parity. Instead, Darktable presents a logical series of actions and options designed to help photographers manage and import images.
Note also that the Export panel is in the Lighttable module, which is one way in which Darktable differentiates itself from Lightroom and other programs. In the screenshot below, you can see some of the many options available for exporting, which gives you a sense of the sheer depth offered by Darktable:
You can customize many different elements of the export process.
While things seem great up to this point, I do need to temper your expectations a bit. My biggest issue with Darktable is evident just from using the Lighttable module: overall responsiveness is not great. Scrolling through images, selecting pictures, editing metadata information, and other simple operations take far longer than other programs. Not that Lightroom and Capture One are speed demons – but comparing them to Darktable is like comparing a Ferrari to a Toyota Corolla. The latter will get the job done, but the former will do it way faster.
That’s not necessarily the only peg to hang your editing hat on, though. While speed is important, it’s not everything, and many quibbles with Darktable are mitigated by its price.
After all, despite my issues with Darktable’s user interface and lack of polish, it’s impossible to overlook the cost. I am still kind of amazed that all these features are in a free program that continues to be actively developed. For frugal photographers, it would be difficult not to recommend Darktable, and for everyone else, it just helps to have some patience.
Lighttable allows you to assign color labels, star ratings, flags, and more.
One note for more technical users: Darktable doesn’t operate with a catalog like Lightroom.
Instead, the program stores all metadata in sidecar XMP files that reside next to your images on your computer. That means any information, such as keywords, star ratings, color tags, and edits, can be transferred along with your images just by copying the XMP files.
Some people find this more freeing than the catalog system in Lightroom, and while I have never had any issues with a catalog system, I do see the benefits of this approach.
Darkroom
While the Lighttable module is used for sorting and organizing your images, Darkroom is designed for the type of in-depth editing you would expect from a program that caters to the most demanding photo editors.
In fact, in terms of sheer editing prowess, Darktable blows Lightroom clear out of the water.
The Darkroom interface is where you edit your photos, much like the Develop module in Lightroom.
On the left side of the Darkroom interface, you will find elements that operate similarly to Lightroom and other editors. Darkroom contains a history panel, a system for managing duplicate images, a snapshot browser, and more. Across the bottom is a series of thumbnails for selecting images. The right side shows a histogram and a series of modules for editing things such as white balance, tone curves, sharpness, lens imperfections, and more.
The final two words of the previous paragraph hide the true strength of Darkroom: the sheer quantity of editing options available is absolutely stunning. Whereas Lightroom has nine modules to choose from, Darktable has dozens. So many, in fact, that most of them aren’t even shown by default and are instead kept tucked away under a module called “More Modules.”
If the default set of modules isn’t enough for you, there are plenty more to choose from.
Beneath the histogram are icons that let you choose from a default set of modules most photographers find particularly useful: Basic, Tone, Color, Correction, and Effects. Click any of these to load modules that correspond to that type of edit.
For instance, click the Basic Group icon to access modules such as Base Curve, Tone Equalizer, Crop and Rotate, Exposure, and White Balance. You can also create your own custom set of editing modules and use the “Search Module” feature to locate a particular module just by typing its name.
Below the histogram is a row of icons that let you switch between sets of commonly-used editing modules. The search bar helps you find a particular editing module quickly.
Click any of the module titles to open its editing parameters, and you will see a familiar set of sliders and numerical values. The key difference with Darktable is the sheer quantity of sliders, values, and editing options at your disposal.
For instance, the Color Balance module contains sliders such as Input Saturation, Output Saturation, Contrast Fulcrum, and Contrast. In addition, there are three separate values (Factor, Hue, and Saturation) for Shadows, Midtones, and Highlights.
Darktable offers fine-grained control over many aspects of photo editing.
Compare this to the options in Lightroom, and you’ll quickly see that Darktable clearly pulls ahead in terms of editing efficacy. And Color Balance is just one of the editing modules available to you. Some of the modules are so technical that Darktable lets you adjust their parameters but actively discourages you from doing so:
Some editing options are so specialized that Darktable warns you against using them. However, these tools are a boon for editors who want the maximum amount of control over their images.
Another powerful feature in Darktable is its implementation of custom masks. Most of the editing options can be combined with masks that can be accessed in the Mask Manager on the left side.
This lets you use common shapes, such as a brush or a circle, to create masks. However, Darktable goes one step further by letting you draw custom masks. This is helpful for anyone whose editing has been stymied by the comparatively limited options available in Lightroom.
You can create masks of all shapes and sizes in Darktable, which are useful for applying edits in specific image locations.
Again, I need to temper expectations. Performing many of the editing maneuvers is an exercise in patience, even on a newer computer. Drawing a mask, moving a slider, or even cropping an image often involves precious seconds of wait time, which can really add up when going through hundreds of images.
There is also no mobile support, meaning photographers who rely on tablets or phones as essential components of their editing workflow will be left out in the cold.
Proceed with caution
At this point, you might be ready to cancel all your editing software subscriptions and jump on the Darktable bandwagon.
But before you take the leap, I need to offer a few words of caution. This article is not meant to be a review of Darktable, but rather a tool to help you decide if this program is right for you. And while there is no doubt that Darktable can handle any image editing tasks you throw at it, including more advanced options such as tethered shooting, slideshows, and printing, there are a host of drawbacks, as well.
As much as I want to like Darktable, I just can’t get around its overall sluggishness and lack of polish. Implementing edits is slow, and drawing custom masks can be a patience-draining exercise. Odd interface quirks abound, like truncated slider names and weird thumbnail resizing when switching in and out of the Lighttable mode.
Glitches like this show up far more than I’d prefer. Here, the Lighttable interface is unusable until all the thumbnails can be properly re-loaded by the program.
The sheer level of complexity can also be a significant detriment. It takes a great deal of experimentation, trial and error, and online searching to figure out all the tools at your disposal. While this is true of any image editing program, the relatively small Darktable user base means that there just aren’t as many resources available to aspiring users compared to Lightroom and others.
Is Darktable right for you?
The best person to answer that question is you, and since Darktable is free for anyone to download, I recommend you give it a shot and see what you think.
However, if you want a bit more guidance, the following information might help.
I recommend Darktable for:
Photographers on a budget who still want powerful editing software
Highly technical editors who enjoy really digging into the editing process and don’t mind some software quirks
Users who are unsatisfied with current offerings from Adobe, Capture One, and others, and want to try something different
I do not recommend Darktable for some people, including:
Photographers who value speed and efficiency in their workflow
Editors who want robust software that gets regular, substantive updates to fix bugs and add new features
Casual users who value simplicity and user-friendliness over sheer editing power
Mobile-centric photographers who prefer solutions that work on phones and tablets
For many photographers, Darktable is the best-kept secret in image editing.
Where you fall along this spectrum is up to you to decide. You can’t lose anything just by downloading Darktable and taking it for a test drive.
You might very well be surprised by what it can do for you!
You can download the latest version of Darktable here.
The post Darktable: Is This Free Lightroom Alternative Right for You? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
The post A Beginners Guide to Capturing Motion in Your Photography appeared first on Digital Photography School. It was authored by Darren Rowse.
Emily Hancock, a professional Hampshire Photographer, submitted the following tutorial on capturing motion in photography.
(Image by T.MoE)
Photographs, by definition, capture and immortalize a small slice of life. There isn’t an easy way for the viewer to infer what happens before or after that moment. However, there are images that need to communicate motion.
For example, you may want to capture a dog running, a train barreling down the tracks, or trees blowing in the wind. Each of these scenes can come alive within your photographs if you learn how to convey motion properly.
Today, I’ll describe how you can use different shutter speeds and panning to capture motion in your photography. I’ll also explain a potential issue you might experience when photographing moving subjects – along with tips to resolve it.
Let’s get started!
Reasons to capture motion
Beginning photographers have likely seen captivating photographs that capture motion. There are several ways to achieve these photos, and each has a slightly different goal.
You see, sometimes there is a need to blur certain elements in the image while focusing sharply on a few subjects in the foreground. Other times, you may want to freeze or blur everything. The direction you take depends on your objective for your photograph.
A lot of photographers capture motion simply to convey that an object is moving. But there are also other reasons to do this. Movement can communicate mood. Trees rustling in the wind suggests serenity, while throngs of people on a busy city block implies hurried activity.
You can also use motion to eliminate elements in a scene that may serve as distractions to the viewer. For example, you may want to photograph a person standing on a sidewalk corner as cars move behind them. By blurring everything but your primary subject (i.e., the man on the corner), you can eliminate potential distractions and focus the viewer’s attention.
Two primary techniques for capturing motion in photography
The shutter speed you use while photographing a scene plays a key role in capturing motion in your image.
The faster the shutter speed, the sharper the focus on your subject. On the other hand, a slower shutter speed will blur a moving object. There are two main approaches here (though I’ll discuss a couple of alternatives in a moment).
1. Blurred subject with the background in focus
Photo by paulaloe
Let’s assume you’re photographing a speeding train against a wall of trees in the background. You can blur the train while leaving the trees in focus. Doing so would instantly communicate to the viewer that the train is moving quickly.
To accomplish this, you would use a slow shutter speed.
(It’s also important to use a tripod. That way, your camera remains steady.)
You’ll often see this technique used in nighttime photographs with car headlights cutting through the image.
2. Blurred background with the subject in focus
This second technique keeps your subject in sharp focus while the background is blurred.
Using our train example, the train would be in focus and the wall of trees would be blurred, thereby conveying the train’s movement.
Similar to the first method, you’ll need to use a slow shutter speed. However, instead of using a tripod, you’ll be panning your camera along the directional path of your subject.
But what actually is panning?
Panning explained
Photo by fabbriciuse
Most beginning photographers are trained to “secure” their cameras. That is, beginners are taught that the camera should remain as still as possible for certain types of shots.
By contrast, panning requires that you move your camera with your subject. Specifically, you’ll be matching your subject’s rate of movement and the direction in which it is traveling.
In our bike example, assume the man on the bike is moving from east to west. In that case, you’ll need to pan your camera in the same east-to-west direction, matching the speed of the bike. The best results occur when you have a clear view of the moving object and ample room to swivel your camera along a parallel axis.
Panning effectively can be difficult. You can practice and perfect your technique by photographing athletes who move quickly (for example, basketball players). Try to capture their facial expressions while blurring everything in the background. It will take some time to get it right, but once you do, the technique can be a valuable addition to your repertoire.
Other techniques to capture motion
Besides the two main techniques described above, you can also freeze the entire scene or blur everything.
Freezing the entire scene can give your photographs a unique look, especially if the objects strongly imply movement. For example, consider a bird flying in front of a waterfall. Both imply motion to the viewer. Freezing the entire scene captures all that motion and can produce a breathtaking image. You should use a shutter speed of at least 1/1000s for that type of shot.
Photo by llimllib
Blurring everything produces the best results when the scene offers bright, contrasting colors or varying tones. In most cases, capturing motion in this manner is done purely for artistic purposes.
Another effective method for capturing motion within your images is “chrono photography.”
Photo by monkeyc
Using the continuous shooting feature on your camera, you can capture a series of shots and join them together in the post-processing stage to create the effect shown above. A tripod is essential when attempting to shoot motion using this method.
Image by Jolantis
Determine the proper shutter speed
A lot of novice photographers ask what the proper shutter speed is, given their objective.
But every situation is unique. One speed doesn’t suit all circumstances. To identify the right shutter speed, you’ll need to ask yourself a few questions:
How fast is your subject moving?
How much distance exists between the camera and the subject?
How much motion do you want your photograph to convey to the viewer?
The faster the shutter speed, the more frozen and crisply-defined your subject will be. Most cameras today will allow you to freeze a scene using 1/8000s or faster.
That being said, the numbers only serve as a rough guideline. You’ll need to experiment with different shutter speeds in a variety of situations.
Potential issue: excess light
Here’s a potential issue you may encounter when trying to capture motion in photography:
When you slow your shutter speed to blur elements in your image, there’s a chance that too much light will enter and impact your photograph (which will result in overexposure).
This is a common problem, but there are a couple of ways to resolve it:
First, check the aperture on your camera. The wider it is, the more likely excess light will enter. Try adjusting the settings to reduce its size.
Second, review your ISO setting. When the ISO is high, the image sensor in your camera may be overly sensitive to light. This can create a too-bright image, as well as unwanted noise, so consider dropping your ISO.
Mastering the art of motion capture
Becoming proficient at capturing motion in photography requires practice and experience. You’ll need to spend time learning how different shutter speeds impact the quality of your images. Even if you’re just setting your camera on its tripod, timing a perfect shot of a fast-moving object can be difficult.
In the end, capturing motion in your photography is part technique and part art. Fortunately, with practice, you can master it!
The post A Beginners Guide to Capturing Motion in Your Photography appeared first on Digital Photography School. It was authored by Darren Rowse.
Nothing rattles the photography community faster than talking about lens protectors. Some swear by it, while others wouldn’t touch it with a 10-foot pole. What is the rage about, and what is the approach you should take with lens protectors? We will discuss all of them in this article. What is a Lens Protector Lens protectors are pieces of glass Continue Reading
The post This is Why You Need a Camera Lens Protector appeared first on Photodoto.
The post Canon’s Exciting New RF Lenses: The 70-200mm f/4 and 50mm f/1.8 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Last Tuesday, Canon announced two new RF lenses:
The Canon 70-200mm f/4L IS USM and the Canon 50mm f/1.8 STM.
The Canon RF 50mm f/1.8 STM
Both of these lenses will ship in the first half of December, though they’re currently available for preorder ($ 1599 USD for the 70-200mm f/4L IS and $ 199.99 USD for the 50mm f/1.8).
The new lenses will undoubtedly appeal to the many Canon photographers who have already embraced the EOS R system, especially those who are looking for cheaper alternatives to the existing RF 70-200mm f/2.8 IS and the RF 50mm f/1.2.
The Canon 70-200mm f/4L IS
In fact, the 70-200mm f/4 and the 50mm f/1.8 have already garnered something of a reputation, thanks to their top-notch EF equivalents. The EF 70-200mm f/4L IS, for instance, is a high-quality, reasonably-priced option for landscape photographers, amateur portrait photographers, and more – while the EF 50mm f/1.8 STM is just about the handiest Canon lens you can own, combining optical prowess with affordability and compactness.
And while the RF 70-200mm and the RF 50mm f/1.8 won’t be quite as cheap as their EF counterparts, they’re certainly cheap enough to draw Canon photographers of all stripes, including a mix of professionals and hobbyists (for the 70-200mm f/4), as well as amateurs (for the 50mm f/1.8).
Plus, Canon has added several significant upgrades to these RF lenses. The 70-200mm f/4L IS, for instance, will offer up to 5 stops of image stabilization, which expands to 7.5 stops when combined with in-body image stabilization. It’s also Canon’s “shortest and lightest 70-200mm f/4 zoom lens to date,” making it an even more compelling option for landscape photographers who hike for hours on end.
As for the RF 50mm f/1.8:
You get the ultra-useful 50mm focal length for just $ 200 USD, not to mention the Canon RF lens control ring (which you can use to tweak camera settings on the fly). And the lens will be both compact and light – in other words, perfect for a casual photographer, or even a street photographer, looking to fire off shots without attracting much attention.
So if you’re after an affordable, high-quality lens with a wide maximum aperture and great ergonomics, check out the Canon RF 50mm f/1.8 STM, which is available for preorder for just under $ 200 USD.
Alternatively, if you’re hoping to capture gorgeous landscapes, portraits, or even outdoor event photos without breaking the bank, you can preorder the Canon 70-200mm f/4L IS USM here for $ 1599 USD.
The post Canon’s Exciting New RF Lenses: The 70-200mm f/4 and 50mm f/1.8 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post 5 Tips for Photographing Wildlife in Low Light Conditions appeared first on Digital Photography School. It was authored by Will Nicholls.
NOTE: Check out our Ultimate Guide to Nature and Outdoor Photography.
Most wildlife is active during dawn or dusk, and photographing animals in low light can be frustrating when you’re pushing your equipment to the limit. Even if you’re shooting on the latest and greatest DSLR camera, you’re still going to reach a point where the light is too low to use the ideal settings. It’s at this point that you need to start calling on your skill and technique to improve your success rate.
Here are a few tricks that I use in my own wildlife photography to get better, more usable images in low light.
1. Choose the perfect aperture and shutter speed for low light
When shooting in low light, you should use the widest aperture you can (i.e., the lowest f-number) to let in the most light possible.
If you’re using expensive telephoto lenses, then you’ll probably have a maximum aperture of f/4 or even f/2.8. However, the majority of midrange and budget telephoto lenses have a maximum aperture of about f/5.6 or f/6.3. Still, keep the aperture as wide as possible to give yourself the optimum baseline.
With regard to the shutter speed, the rule most people learn is to use a speed of at least 1 over the focal length of your lens. For example, a 400mm lens would need a shutter speed of at least 1/400s to eliminate camera shake effectively. However, this rule often isn’t possible in low light conditions. So you’re going to need to break it!
Drop your shutter speed as much as you can while still keeping the image sharp. You can go much slower than you think. 1/100s is totally plausible.
To prevent camera shake, enable any image stabilization technology offered by your lens. It’s important to use a tripod, too, as it’ll keep things steady.
This bear photo was taken at 1/30s, f/4, and ISO 8000.
Try panning
Once your shutter speed starts to get really slow, then you’ll almost definitely introduce motion blur from the subject moving. But if your subject is walking or running along, you can pan your camera along with it.
With practice, you can move your camera at the same rate as the animal and freeze its body – even with a slow shutter speed. You will get a blurred background, but it’s actually a rather cool effect (see the bear photo above!).
2. Don’t be afraid to boost your ISO
ISO might be the most feared setting among photographers. However, it shouldn’t make you tremble! I meet many photographers who don’t move the ISO above 400, even if their cameras are more than capable of handling the increase.
Sure, higher ISOs introduce noise into your photo, but a noisy image is better than a blurred one.
Test out your camera and see how far you can feasibly increase the ISO before shots become unusable. You can also remove noise in post-production, so you can sometimes salvage a too-noisy image.
The image below was taken at ISO 5000, but you’d be forgiven for thinking the value was much, much lower. The camera in question was a Nikon D4, which has notoriously good ISO capabilities. But this is an extreme example, and at ISO 5000 there was still noise. Even lower-level DSLR cameras can still be pushed to ISO 1600 or so while achieving fairly good quality images.
An eagle photo taken at 1/100s, f/4, and ISO 5000.
Be brave and increase your ISO when you need a faster shutter speed. It’ll help you keep shooting as the light gets lower, meaning you’ll have more time to wait for wildlife!
3. Be careful when using a zoom lens
Zoom lenses sometimes use a variable maximum aperture.
What does this mean?
Zoomed out, you may have an aperture of f/4 – but as you zoom in, this can increase to something like f/6.3. If your lens has a constant aperture throughout, then you don’t need to worry. But if it doesn’t, then be conscious of the fact that you’ll have less light reaching the sensor when you’re zoomed in.
When your lens is limited by a variable maximum aperture, think about zooming out and taking a more atmospheric or environmental image. You’ll have a larger aperture to play with, and you may be able to achieve a more usable shot than if you zoom in all the way with less light.
If your lens has a variable aperture, try zooming out to utilize the widest option and take environmental images that don’t focus only on the animal.
4. Utilize burst mode
Don’t forget that you have a burst mode. If you’re worried about blurry images, fire off as many frames as possible. This will increase your chances of ending up with a usable shot.
You see, slower shutter speeds mean more chance for both camera blur and motion blur. If an animal moves its head, your shot may well be ruined. But if you’ve been shooting multiple images at once (via burst mode!), then chances are that you’ll get another shot, taken a fraction of a second later, that isn’t blurred.
Burst mode is honestly one of the most useful things you can do when photographing wildlife in low light. It really helps to get usable photos and works like magic alongside the other techniques in this article.
5. Don’t underexpose
It can be tempting to underexpose your photo, knowing that you can brighten it later. While this may give you a quicker shutter speed, the photo will likely need significant brightening in post-production. And lightening an already-dark scene will introduce a lot of digital noise.
This photo was taken at 1/60s, f/4, and ISO 5000.
Instead, try to keep your exposure as balanced as possible. If you can keep your histogram happy, then you’ll have a smoother ride through the editing process. The worst thing would be to take an underexposed shot, only to find out later that it’s unusable because brightening it up ruins it.
I prefer to risk blur but fire multiple frames than to take an underexposed, sharp shot. Maybe that’s just me, but the technique frequently works in my favor.
Photographing wildlife in low light: conclusion
No matter how good you are at photography or how good your gear is, you’re going to have times when your shots are ruined by low light. That’s just part of the game – but, with luck, you will manage to capture strong low light shots some of the time.
With practice, you’ll learn when there’s no point battling against depleting light levels. And a combination of the techniques I’ve shared here should keep you in action for longer.
Do you have any other low light tips to add? Please share them in the comments below!
FURTHER READING: Check out our new Ultimate Guide to Nature and Outdoor Photography.
The post 5 Tips for Photographing Wildlife in Low Light Conditions appeared first on Digital Photography School. It was authored by Will Nicholls.
The post 6 Ways of Using Reflector to Take Better Portraits appeared first on Digital Photography School. It was authored by Dennis Drenner.
I’ve been making my living as a photographer for over 20 years, and I have accumulated thousands of dollars of gear in the process. I have the latest Canon DSLRs, a full complement of lenses, strobes, light stands, gels, filters, softboxes, tripods, and even some video and audio gear.
But the one thing that often makes the biggest difference in the quality of my portraits is a simple $ 20 reflector. I never leave home without one, and neither should you.
When shooting outdoor portraits, the first thing many photographers think about is the background – but first and foremost, the pros consider the quality of the light. They know, for example, that a portrait with nasty overhead lighting is not going to work, no matter how cool the background.
A reflector can help you salvage bad light, and turn okay light into something magical. You can use your reflector from below to fill in shadows, or from above to block distracting light. You can bounce the sun from a silver reflector to create a main light, or you can use a reflector with a black side to create deeper shadows. You can even sit on your reflector to keep your pants clean when shooting outside, or pop it open dramatically to dazzle young children.
Most of the photos in this article were shot with a 5-in-1 reflector you can buy for less than $ 20 USD. 5-in-1 refers to the fact that the reflector and cover can combine to give you five different options: white, silver, gold, and black sides, as well as a diffuser.
Here are six tips to help you use a reflector to transform your photos.
1. Use a reflector for fill light
The most traditional use of a reflector is to simply reflect light into the shadows. I took my wife, Karen, out into our local park to demonstrate this.
In the photo on the left (above), Karen is photographed in nice soft light, but there are still pretty deep shadows under her eyes and chin. In the photo on the right, however, she is holding a reflector at her waist. The shadows on her face are noticeably lighter and there is a subtle catchlight (a reflection of the reflector) in her eyes. If she were an older person with more textured skin, the contrast would be even more dramatic.
Of course, you may not always want to fill in the shadows in this way, but if you are trying to flatter someone it almost always helps.
You don’t even need an official photo reflector. Anything that reflects light will work. In a pinch, I’ve used everything from old newspapers to a nearby person wearing a white shirt.
2. Use a reflector as the main light source
This is one of my go-to reflector moves, and it’s an easy way to wow your friends and family.
You position your subject with the light hitting them from behind, then use a reflector to bounce the light back into their face. You will get nice soft light on your subject’s face, with a dramatic rim light on the back of their head. The only trick is positioning yourself so the light doesn’t go straight into your lens and create lens flare (unless you like that look, of course).
In the photo above, the sun is hitting the left side of my subject’s face and arm. The light from a reflector is bouncing some of the sun back to light up her face.
You may also notice the shallow depth of field in the photo above. If you are lighting with a reflector, you can jack up your shutter speed as much as you like to allow for a wide aperture (this photo was shot at 1/1250s at f/2.0 with a 50mm lens). If you were using flash to create this same effect, you would have to lower your shutter speed (to 1/250s or whatever matches your camera’s sync speed) to sync with the flash, requiring a narrow aperture and a greater depth of field (which will kill the whole look).
Yes, yes, some of you are no doubt thinking, “What about high-speed sync?” Well, yes, that could give you the same effect if you had the right equipment (and know how to pull it off). Or, you know, you could just use an old newspaper as a reflector.
For the example above, I positioned Karen against a tree and had her cousin, Claudia, reflect a spot of sunlight on her from about 10 feet away. At this distance, the light from the reflector looks more like it is coming from a grid spot or snoot (hard light) – in other words, it’s a focused and dramatic beam (notice the fall-off of light on her legs). It’s a cool look that you can recreate with a reflector, a few feet of aluminum foil, or your bathroom mirror. Your friends will be wowed and ask what fancy gear you used for the shot (and your family will ask what happened to the bathroom mirror).
For a slight variation on this technique, we moved the reflector slightly behind the subject (relative to the camera) to create a dramatic rim light on the face in a profile shot (see below).
3. Use a reflector to block light
Sometimes you’ll find yourself in beautiful, shady light under a tree, except for that pesky sunbeam that finds its way through the leaves to light up your subject’s left ear. When this happens, turn your reflector into a light blocker (sometimes called a flag or gobo).
A few years ago, I was doing a maternity portrait in a local park when a newspaper photographer snapped my picture while I was using my reflector as a gobo (shown in the image below). If you look at the reflector, you can see the bright spots of sunlight that it’s blocking (imagine how those spots would have ruined the final image if we didn’t block them!).
4. Use a black reflector to create more dramatic shadows
Sometimes, you actually want to deepen the shadows. I use this technique all the time in my headshot studio. Below is a photo of me with a white background. In the first shot, I have a silver reflector opposite the main light, sending light back towards my left cheek. In the second shot, the reflector has a black cover on it, gobbling up reflected light to leave a dark shadow on the cheek.
Except for the small change of literally flipping the reflector from one side to the other, the lighting setup is identical, but the effect is pretty dramatic. (For you studio lighting enthusiasts out there, my key light here is a large softbox, and there are two bare heads pointing at the background to make sure it is a nice, bright white).
This is the same technique used in the famous Steve Jobs portrait where he has his hand on his chin. In addition to creating a little drama, you can also use this technique to give someone a photographic face-lift by trimming pounds from the dark side of their face and under their chin.
5. Who holds the reflector?
You may be saying to yourself, “But I don’t have an assistant! Who’s going to hold the reflector for me?” I usually don’t have an assistant, either, but there is often someone nearby who is more than happy to help, be it a family member, passerby, intern, wedding guest, etc. Sometimes, you can even have the subject of the photo hold the reflector themselves. Of course, if you’re in the studio, or outside on a day without too much wind, you can just pop your reflector onto a light stand (like in the studio shots of me above).
In the photo below, I was shooting wedding portraits on a beach in the Florida Keys. My reflector assistant that day was one of the bridesmaids, who truly enjoyed helping her friends out with their portraits.
6. Reflectors in the environment
Once you get the hang of reflectors, you’ll probably start noticing reflected light everywhere. Ever see a white building getting blasted by the sun? Well, that’s nothing but a giant reflector! Depending on what’s around it, you may have found yourself a giant studio with no rental fee.
Mind you, anything that reflects enough light can work as a reflector. A brick building, a large truck, or a flock of seagulls flying by at just the right moment – it all works!
Using a reflector: final notes
Although they may not be as sexy as strobe kits, reflectors can often yield similar or superior results for your portraits and are cheaper and easier to use. I will leave you with a few more example photos, shot using nothing more than a reflector.
In the child portraits below, note that there is light behind the kids in both cases, but there is still beautiful light on their faces. Same goes for the athlete portraits.
As a final image, I leave you with a group of wedding guests who were so enamored of my reflector that they wanted a picture with it. Hopefully, you will soon have similar feelings toward your own reflector!
Do you have any additional reflector tips to add? Please share them in the comments below!
The post 6 Ways of Using Reflector to Take Better Portraits appeared first on Digital Photography School. It was authored by Dennis Drenner.
The post Weekly Photography Challenge – Dark & Moody appeared first on Digital Photography School. It was authored by Sime.
I spotted a fun theme on the Tamron Australia Facebook page and we’re going to play along because it’s a fun looking theme!! “Dark & Moody” and it can be interpreted in so many different ways! Tag your photos #dPSDarkNMoody
We had darkness a little while back, focussing (boom boom) on shadows, but this theme is more to do with a dark and moody scene, a dark cloudy sky, a gritty lane, a scene lit with moody light – open to interpretation! Make sure you tag your photographs with #dPSDarkNMoody and we’ll feature a selection of images from the month on our blog!
Missed a Weekly Challenge? Catch Up or do them all again here!
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 #DPSDarkNMoody 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 – Dark & Moody appeared first on Digital Photography School. It was authored by Sime.
The post NiSi Filter System Review (For Fujifilm X100 Cameras) appeared first on Digital Photography School. It was authored by Matt Murray.
The Fujifilm X100 camera line has consistently appeared in lists of the best compact cameras over the last decade. This is not surprising; the series boasts a sharp 23mm f/2 Fujinon lens, great ergonomics, and a ton of cool features.
The series started with the original X100 in 2010, but is now in its fifth iteration with the launch of the Fujifilm X100V in February 2020.
One of the best compact camera options of the last decade: the Fujifilm X100 series.
As a “take everywhere” camera, the X100 line has many advantages. But perhaps one of the drawbacks is that there isn’t a lot you can add to it to increase its versatility.
Or is there?
In this article, I take a look at the NiSi filter system for Fujifilm X100-series cameras.
So if you’re ready for a thorough NiSi filter system review, let’s get started.
Fujifilm X100-series accessories
Until recently, the only thing you could add to an X100-series camera that truly added to its versatility was one of Fujifilm’s teleconverters.
The fixed 23mm lens has a 35mm full-frame equivalent field of view. Adding the TCL-X100 teleconverter, this changes to a 50mm equivalent, whereas the WCL-X100 widens your field of view to 28mm.
Although the optical quality is excellent, the teleconverters are relatively heavy and quite pricey. If only there was something lighter and cheaper yet with excellent optical quality that would add to the X100 camera experience…
Enter the NiSi filter system for X100-series cameras.
The Fujifilm X100F shown alongside the NiSi filter system.
NiSi filters
As a long-time user of the X100 series, I was excited to see NiSi recently launch a filter system for this camera lineup.
NiSi has a great reputation among landscape and cityscape photographers, because their filters are made from high-definition optical glass and offer true-to-life color reproduction.
The waves were gently lapping against this old jetty, but with the NiSi ND8 filter attached to my Fujifilm X100F, a 5-second exposure was enough to smooth the ripples out.
I’ve been using the NiSi 100mm system for the last few years with my Fujifilm X-T3 and Fujifilm X-T2. And I have been impressed with the results.
So, as a long-time user of the X100 series, I couldn’t wait to try out this new NiSi filter system.
NiSi filter system for Fujifilm X100-series cameras
For this NiSi filter system review, I tested the filters designed for Fujifilm X100-series cameras on my Fujifilm X100F.
Here’s what’s included in the kit:
NiSi 3-stop medium-edge graduated filter
NiSi HD polarizer filter
NiSi ND8 3-stop neutral density filter
NiSi Natural Night filter
NiSi X100 filter holder
Filter carrying case
There is also a slightly cheaper starter kit that contains only two filters: the medium-edge graduated ND filter and the polarizer. I’m not sure why you would opt for the starter kit when, for a small additional cost, you can get two extra, very useful filters.
The NiSi filter system for the X100 series.
First impressions
My first impression of the kit was very positive: the quality and design of both the packaging and the filters is impressive.
The filters come in a light gray filter case, which has a tough shell and looks to be hard-wearing. Inside, each filter is wrapped individually in tissue paper. The filter case has several divider tabs inside, one for each filter as well as the filter holder.
The filters come wrapped in tissue paper.
My next thought was to marvel at how tiny the kit was, so much smaller than my 100mm NiSi filters. Of course, when you think about how big the lens is on the X100, it makes perfect sense for the set to be so small.
The filter set is as light as a feather and very compact. If weight matters to you, you’ll barely notice this new bit of kit in your bag.
Build quality
The build quality of the kit is excellent. The filter holder is constructed with aluminum alloy (the same material used in the popular NiSi V6 100mm filter kit). The filters themselves are made of high quality, precision-annealed optical glass, which is a point of difference as some other companies use resin.
Installation and usability
Getting your X100-series camera ready to use the filters is super easy.
First, unscrew the front ring on your camera’s lens. If you’ve never used a lens hood or teleconverter on your X100-series camera before, you may even be surprised to know there is a ring that comes off the front of the camera.
When this ring is taken off, it reveals a thread mount. The next step is to screw the NiSi filter holder onto the lens. Now you’re all ready to go!
For this image of Brisbane at night, I stacked the NiSi ND8 filter along with the NiSi Natural Night filter.
Using the filters
Once the filter holder is in place, take a filter out of the pouch and slide it carefully into the filter slot closest to the lens.
Note that the holder has two slots so you can add another filter to the holder if you wish.
Quite often, I found myself using filters in combination; for example, at dusk I was using the 3-stop ND filter to get longer exposure times for ferry trails on the Brisbane River, along with the Natural Night filter to correct the color of the light. In very bright conditions, I often used the graduated ND filter along with the polarizer filter.
My X100F with two Nisi filters attached, mounted on my rather large Manfrotto tripod.
The filter holder rotates 360 degrees, which is very handy for when you need to use the graduated ND filter in either horizontal or vertical orientation. Of course, for the other three filters, the orientation doesn’t matter.
NiSi 3-stop medium-edge graduated ND filter
The NiSi 3-stop medium-edge graduated ND filter is a fantastic piece of kit to have in your camera bag.
As with all graduated neutral density filters, it helps to darken specific areas of an image such as bright skies. But as a graduated filter, it allows normal exposure in other parts of the image.
The filter is quite long in comparison to the length of the filter holder, allowing you to move the filter up and down in the holder to control its exact placement.
An early morning scene with a bright, overexposed sky. For this image, I positioned the dark part of the graduated ND filter at the top of the image to darken the bright sky.
NiSi HD Polarizer
The NiSi HD Polarizer reduces reflections and glare by filtering out light that has become polarized due to reflection from non-metallic surfaces.
This comes in handy when you want to remove glare on the water or reflections when shooting through glass. The filter provides good color and saturation in scenes.
I enjoyed using the polarizer, though the effect is less noticeable compared to the other filters.
Early morning in Queensland; no polarizing filter. The same scene with the NiSi Polarizing filter. The effect is subtle, but to me the colors look slightly better and less washed out.
ND8 filter
The NiSi ND8 filter is a neutral density filter that gives a 3-stop exposure reduction. This allows you to photograph with slower shutter speeds or wider apertures than would usually be possible.
A neutral density filter is perfect for being able to show movement in your images. For example, you can use the NiSi ND8 to shoot traffic trails or flowing water.
This filter is probably the most fun and most dramatic filter to use in the kit. It’s fantastic to create long exposures using this filter; you can then see the effect it has on moving elements in your photos.
Here’s an extreme example of the ND8 filter in use. The longer exposure time makes the sea looks perfectly smooth!
Natural Night filter
The NiSi Natural Night filter is the perfect companion for night photography. When shooting cityscapes, many factors affect the color of the light; these include mercury vapor, sodium, and low-CRI streetlights. The glow from these light sources prevents your camera from seeing the sky properly and can negatively affect your images.
The NiSi Natural Night filter blocks out the most common wavelengths of light pollution, leaving you with a more natural-looking night image.
Here’s an image taken without the NiSi Natural Night filter:
Story Bridge and Howard Smith Wharves in Brisbane without the NiSi Natural Night filter.
And here’s the same composition, captured once the NiSi Natural Night filter had been added:
What a difference! Story Bridge and Howard Smith Wharves in Brisbane with the NiSi Natural Night filter.
NiSi filter system review: Conclusion
I’ve really enjoyed using the NiSi filter system for the Fujifilm X100 lineup.
The filters are a fantastic addition for anyone shooting with this series of cameras. They add another layer of versatility without compromising the compact nature of your setup.
Until recently, the only way to add to the versatility of the king of compact cameras was by purchasing a pricey (and heavy) teleconverter. But with this kit, you have multiple creative options to use depending on the conditions.
Boasting excellent build quality, the professional kit contains four useful filters. They are small, light, and come beautifully packaged in their own tough case.
The professional filter set is also fantastic value for money, widely available for around $ 65 USD. The starter kit, with two fewer filters, is available for around $ 49 USD.
In fact, I can’t recommend this filter set highly enough.
So now that you’ve finished this NiSi filter system review, the question is not, “Why would you buy the system?”
It’s rather: “Why wouldn’t you buy it?”
You can grab the NiSi filter system here.
The post NiSi Filter System Review (For Fujifilm X100 Cameras) appeared first on Digital Photography School. It was authored by Matt Murray.
The importance of post-processing and editing in photos and videos cannot be overemphasized. For every great photograph, great view, lighting, and aesthetics, there is a precise amount of effort that was put in place to achieve that result that has become a focus of all eyes. A bulk of these efforts come into play in the post-processing aspect, editing in Continue Reading
The post The Top Best Photo and Video Tools for Beginners appeared first on Photodoto.
