The post How to Reduce Camera Shake – 6 Techniques appeared first on Digital Photography School. It was authored by Natalie Norton.
Are you struggling with camera shake? Do your photos turn out blurry whenever you hand-hold the camera?
You’re not alone.
Camera shake is a huge problem. It’s the reason why beginners (and even experienced photographers!) end up with soft, blurry, unwanted photos.
Fortunately, there are a few simple techniques you can use…
…to ensure that your photos never suffer from camera shake again!
So here are six simple techniques for avoiding camera shake and achieving crisp, delicious images – no matter what.
Let’s dive right in, starting with the very first technique:
1. Tuck your elbows in
This technique is simple, yet it really works.
Just pull your elbows in toward your body and let them rest against your chest.
(You can press your elbows firmly into your chest for even greater stability.)
Like this:
It will give your arms a rock-solid foundation to work with so that your hands are utterly motionless.
And when you press the shutter button, you’ll have no camera shake to speak of.
Another quick tip:
Once you have your elbows tucked in, exhale completely before hitting the shutter.
Why?
Because even the slightest movement can cause unwanted shake, especially as you increase your shutter speed.
2. Raise your left shoulder
If you’re a right-eyed photographer, then you’ll need to shift to your left eye to use this technique. If you’re a left-eyed photographer, then you won’t need to change a thing!
Here’s what you do:
Raise your left shoulder high. Then brace your left elbow against your ribcage.
For further stability, you can pull your right elbow into your chest (as discussed in the previous technique).
Also, make sure you exhale completely before pressing the shutter button to avoid introducing additional camera shake.
3. Create a tripod with your knee
If you’re taking a photo low to the ground…
Or you don’t mind getting a little dirty…
Then this is the camera shake reduction technique for you!
And it’s pretty darn easy to pull off.
Simply sit down.
Bring your knee up.
Then rest your elbow on it, like this:
Again, bring in that other elbow for greater support.
You’re essentially creating your own tripod – so you have solid support wherever you go.
4. Lie down on the ground
In general, this is the most effective way to avoid camera shake without a tripod.
All you do is lie flat and let the lens sit directly on the ground.
To prevent any downward tilt of the camera, you can put a hand underneath the lens barrel or lens hood.
(If that doesn’t do the trick, you can always create a fist.)
In the first image, you’ll notice that I placed my hand flat against the cement and balanced the lens on top to give myself some height:
In the second image, I created a fist with my hand to give myself even more room to shoot.
Of course, this technique isn’t always feasible. If your subject is high off the ground, you’re probably not going to want to shoot from such a low angle.
(Imagine doing an engagement session while lying flat against the ground!)
Plus, lying on the ground can be uncomfortable, especially if you’re shooting on cement, in mud, in water, etc.
So work with this technique when you can, but don’t be afraid to use one of the other options on the list if need be.
5. The machine gun hold
This next technique is sometimes referred to as the machine gun hold, because you hold your camera like, well, a machine gun.
Personally, I don’t use this technique much. I find it awkward and difficult to maintain for more than a second or two.
But just because it doesn’t work for me doesn’t mean it won’t work for you. So give it a try and see what you think!
Here’s what you do:
Hold your camera to your eye with your right hand. Then raise your left elbow until your lens barrel can rest on it comfortably.
For added stability, place your left hand on your right bicep.
Like this:
6. Cradle your camera
Here’s your final technique for reducing camera shake:
Cradle your camera!
Like this:
As you can see, I crouched down and placed my left elbow on my knee.
Then I created a sort of cradle for the lens between my shoulder and my wrist.
It’s a pretty solid hold. Unfortunately, it’s tough to change positions once you’re cradling your lens, so the hold works best if you’re shooting an unmoving subject (e.g., a model during a portrait session).
Six techniques to reduce camera shake: conclusion
Well, there you have it!
You now know six simple techniques for reducing – or eliminating – camera shake.
And I can assure you that they work well; they’re the exact techniques that I myself use to avoid “The Shake.”
Now over to you:
Which of these techniques is your favorite? Have you tried any of them? Share your thoughts on camera shake – and camera shake reduction techniques – in the comments below!
Get more daily tips like this one by subscribing to Digital Photography School.
The post How to Reduce Camera Shake – 6 Techniques appeared first on Digital Photography School. It was authored by Natalie Norton.
The post Nikon’s Future: A Flagship Z Camera, 8K Video, and Affordable Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Nikon will be releasing “a flagship Nikon Z-series mirrorless camera…within the year,” said Keiji Oishi, a Department Manager of Nikon’s Imaging Business Unit. The camera “is being developed with the goal of surpassing the D6.”
This comes from a recently published DPReview interview with Oishi, which touches on the past, present, and future of Nikon’s camera business, including new cameras, lenses, Nikon’s mirrorless sales success, and the pursuit of 8K recording.
The development of a flagship mirrorless model is welcome news for Nikon fans; it firmly reinforces Nikon’s commitment to growth and innovation in the face of supply struggles and questions about the company’s viability.
While Oishi didn’t offer many details on Nikon’s upcoming flagship camera, he did claim it “will respond to the advanced needs of professionals” and will “debut a newly developed, high-resolution stacked CMOS sensor.” The term “high-resolution” is a relative one, but this could signal Nikon’s intent to compete with the upcoming Sony a1, an all-around powerhouse packing a 50 MP sensor, class-leading autofocus, and 8K/30p recording.
In other words: Nikon’s flagship model may look to satisfy more than just professional sports photographers. Were the camera to pack 45+ megapixels while offering fast autofocus and shooting speeds in the spirit of the D6, it’d be capable of capturing sports, events, portraits, and even pro-level landscapes.
As for video:
Oishi claims that Nikon’s engineers “are considering powerful video features such as 8K that respond to the needs of all kinds of content creators and professionals.”
So while 8K video isn’t a guarantee, it’ll likely find its way into the upcoming flagship model. With the 2020 arrival of the Canon EOS R5 and the days-away release of the Sony a1, Nikon will soon be the only leading camera manufacturer without an 8K hybrid camera. And while Nikon is ostensibly a stills-centric brand, the 8K bandwagon is one that it won’t want to miss.
So when can we expect this high-resolution, high-performance, 8K powerhouse?
Given the lack of recent leaks, don’t hope for anything before summer 2021, and fall or winter is a realistic possibility. But we’ll definitely see the camera before the year is out, assuming all goes to plan.
A few other interesting tidbits from the interview:
Nikon aims to produce lenses “with a focus on more compactness and affordability” in the hopes of “mak[ing]…lenses more accessible to more people.” This will come alongside an effort to offer an expanded lineup of APS-C Z-mount cameras.
(Currently, Nikon only offers a single APS-C Z-mount model, the Z50.)
Nikon camera sales have “defied expectations” these last few months, especially with the launch of the Z6 II and the Z7 II. As Oishi explains, “In the last quarter, we reported record mirrorless sales, which was helped by strong performance of the Z7 II and Z6 II. We observed strong sales of new products, both mirrorless cameras and lenses.”
Oishi thinks the hot Z6 II and Z7 II sales come from DSLR holdouts; he states that “many loyal Nikon users [were] waiting on the second generation of the Z series,” and that, thanks to “the improvements we put into the second generation,” Nikon DSLR shooters have finally bought into the Z system.
This is all excellent news for Nikon fans, and while the company still has a long way to go, it’s clearly taking steps in the right direction.
Now over to you:
What do you think about Nikon’s upcoming flagship mirrorless camera? Where do you see Nikon headed over the next few years? And what affordable lenses would you like Nikon to produce? Share your thoughts in the comments below!
The post Nikon’s Future: A Flagship Z Camera, 8K Video, and Affordable Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post Getting Landscapes Sharp: Hyperfocal Distances and Aperture Selection appeared first on Digital Photography School. It was authored by Elliot Hook.
Want to know how to master depth of field and hyperfocal distance – so you can capture consistently sharp landscape photos?
You’ve come to the right place.
Because in this article, I’m going to tell you everything you need to know about hyperfocal distance.
And by the time you’ve finished, you’ll be able to confidently use it in your own landscape photography.
Let’s get started.
Keeping your landscape photos sharp: depth of field
Great landscape photos generally have all of their key elements sharp.
This includes foreground objects that are just meters from your camera, as well as background elements that are kilometers away.
In this scene, it was important to capture everything in sharp focus – from the frozen puddle in the foreground to the hills in the background.
So how do you achieve such perfect front-to-back sharpness?
By ensuring that your depth of field is large enough to render everything of interest suitably sharp.
Let me explain:
When you focus on an individual point within your landscape, you are creating a plane of focus that lies parallel to the sensor.
Everything in front of and behind that plane is technically not in focus. But there is a region within which objects will appear acceptably sharp – even though they’re not in focus!
That region is the depth of field.
Put another way, the depth of field is the range of acceptable sharpness within a scene, moving outward from the point of focus.
For instance, in the graphic below, the camera is focused on a rock:
A theoretical example showing the depth of field for a given focal length, aperture, and point of focus.
So the plane of focus sits parallel to the sensor at that rock, and the limits of acceptable sharpness that form the edges of the depth of field lie in front of and behind that plane.
If you were to fire the shutter button on that camera, you’d get a photo with a sharp rock. The front of the first tree would be sharp, and the rest of the trees would fade into softness.
Make sense?
Factors affecting depth of field
Thus far, I’ve talked about depth of field as if it were a fixed property.
But it’s not. Your depth of field can change depending on three key factors:
Focal length
Aperture
The distance between the camera and the point of focus.
Let’s take a closer look at how each of these elements affects depth of field, starting with:
Focal Length
A short focal length (e.g., 20mm) will give you a greater depth of field than a long focal length (e.g., 400mm).
So while it’s easy to keep an entire scene in focus with a wide-angle lens, you’ll struggle to do the same with a long telephoto.
Of course, changing your focal length will alter your field of view and therefore your composition, so you should rarely adjust your focal length to change the depth of field. Instead, select your focal length, frame your composition, and then use the next factor on this list to achieve the perfect depth of field:
Aperture
A narrower aperture, such as f/16, will produce a deep depth of field. A wider aperture, such as f/2.8, will give you a shallow depth of field.
So if you’re after an ultra-sharp, deep-depth-of-field shot, you’ll want to use a narrow aperture.
But be careful; extremely narrow apertures are subject to an optical effect called diffraction, which will degrade image sharpness. So while you should absolutely use aperture to adjust the depth of field, be on the lookout for blur.
Distance to the point of focus
If your focal point is close to the camera, then you’ll get a shallower depth of field. If your focal point is far from the camera, you’ll get a deeper depth of field. So if you shoot a distant subject, it’ll be much easier to get the entire scene sharp!
In other words:
To increase the depth of field, you can either choose a more distant subject…
…or you can back up to frame a wider shot.
Note that these three factors work together to determine the depth of field.
No one factor is important than any of the others; instead, they’re three variables in the depth of field equation.
So if you want a deep depth of field, you could use a narrow aperture or move farther away from your subject or use a wide-angle lens.
(You could also do all three of these things for an ultra-deep depth of field.)
And if you want a shallow depth of field, you could use a wide aperture or move closer to your subject or use a telephoto lens.
Keeping the entire scene sharp with hyperfocal distance
If you’re dead-set on capturing a scene with front-to-back sharpness, then you’ll need to understand another key concept:
Hyperfocal distance.
Hyperfocal distance is the point of focus that maximizes your depth of field.
In fact, by focusing at the hyperfocal distance, you can often ensure that the entire scene is sharp, from your nearest foreground subject to the most distant background element.
Look at the graphic below:
By focusing at the hyperfocal distance, the entire scene will fall within the depth of field.
Do you see how the area from the point (or plane) of focus onward is sharp?
That’s what the hyperfocal distance will do for you.
And it’s the reason landscape photographers love using the hyperfocal distance.
Because by selecting a narrow aperture, and by moving the point of focus to the hyperfocal distance, you can render the entire scene in focus – for a stunning result!
(By the way, when focusing at the hyperfocal distance, the near acceptable sharpness limit is half of the hyperfocal distance.)
Now, you’re probably wondering:
How do you determine the hyperfocal distance when out shooting?
Technically, you can do a mental calculation, but this can get pretty complex. So I’d recommend you use a hyperfocal distance chart or calculator (there are plenty of apps for this, such as PhotoPills).
Eventually, you’ll be able to intuitively identify hyperfocal distances for common apertures and focal lengths – so you won’t even need to use an app!
Aperture selection and the dangers of diffraction
As you should now be aware, a narrow aperture deepens the depth of field.
So if you want your entire scene sharp, you generally need a narrow aperture.
Unfortunately, choosing your aperture isn’t as simple as dialing in f/22. Thanks to diffraction, if you set such a narrow aperture, you may get the entire scene in focus – but still end up with a blurry image.
For example, the image below shows a comparison of the same scene, shot at f/8 (left) and f/16 (right):
The frosty fern leaf is an important part of the foreground interest here. And though both images look perfectly sharp when resized and compressed for browser viewing, the 100% crop for each image below shows a significant difference in detail:
The sharpness of the fern leaf at f/8 (left) versus f/16 (right). The image was captured with greater sharpness via a wider aperture of f/8 – though I took care to focus on the hyperfocal distance.
Do you see how the image on the right (taken at f/16) is blurrier than the image on the left (taken at f/8)?
That’s diffraction at work.
And note that, for the scene in question, both apertures resulted in a depth of field that extends from before the fern leaf to infinity.
(In other words: The blurriness has nothing to do with depth of field.)
Diffraction becomes an issue in all lenses as the aperture gets smaller, though it is more pronounced on inexpensive lenses. Typically, the sweet spot, in terms of lens performance, is somewhere between f/8 and f/11.
So when selecting your aperture, you’ll want to keep your lens as close to the sweet spot as possible, while also ensuring sufficient depth of field.
Getting landscapes sharp: conclusion
Now that you’ve finished this article, you can hopefully see that it’s worth understanding hyperfocal distance, aperture selection, and how they affect each other.
So make sure you find a nice hyperfocal distance app.
And remember to avoid tiny apertures (because they cause diffraction).
That way, you can get consistently sharp landscape shots!
Now over to you:
Do you struggle to keep your landscape photos looking sharp? Do you think an insufficient depth of field is the culprit?Or is it diffraction? Share your thoughts in the comments below!
The post Getting Landscapes Sharp: Hyperfocal Distances and Aperture Selection appeared first on Digital Photography School. It was authored by Elliot Hook.
The post 9 Pet Photography Tips appeared first on Digital Photography School. It was authored by Guest Contributor.
If you’re looking to capture some stunning pet photography, then you’ve come to the right place.
Because while pets are unbelievably cute, taking pictures of your best friend isn’t easy.
Pets, unlike humans, do not understand what we are trying to do. They won’t just pose for the camera!
That’s where this article comes in handy.
I’m going to give you nine simple tips for pet photography…
…that will get you taking beautiful pet photos in minutes!
Let’s dive right in.
1. Use natural light
When doing pet photography, always use natural light.
Why?
For one, flash can cause the red-eye effect, which looks, well, bad.
Plus, flash bursts can scare animals.
That’s why I recommend shooting outside (go out when it’s cloudy for some soft diffused light).
You can also try shooting indoors, but make sure you’re in a well-lit room (ideally one with a large window).
2. Keep the eyes sharp
Sharp eyes are always important in portrait photography – and pet photography is no different!
As they say, “The eyes are the window to the soul.” And your pet’s eyes can be very expressive.
So make sure to focus on your pet’s eyes. Keep them tack sharp.
(If you’re working with a shallow depth of field and can only get one eye in focus, make sure it’s the one closer to the camera!)
These days, some cameras offer eye AF for animals. With eye AF activated, your camera will identify your pet’s eyes – and nail focus consistently! So if your camera does offer this feature, I highly recommend you try it out.
3. Go to your pet
It is very important that your pet feels comfortable and at ease.
So instead of forcing your pet to come to you…
…go to them.
Most importantly, get down on your pet’s level. Sit on the floor or lie on your belly and remember to shoot from your pet’s eye level or below.
We all know how a dog looks when viewed from above; this is the way we always see them.
Instead, show us how your pet sees the world!
4. Highlight your pet’s character
You know your pet better than anyone else, and a successful picture is one that conveys the character of its subject.
So try to display your pet’s character in your photos.
If you have a lazy cat, show them yawning. If your animal is of the playful type, show them in action performing their favorite trick.
Really, the opportunities are endless! Just ask yourself: What is special about my pet?
And then try to communicate that in your next photo!
5. Go macro
Macro pet photography is intimate and often stunning.
And it’s not tough to do, either.
Simply use a macro lens, a telephoto lens, or some type of close-focusing camera.
Then fill the frame with your pet’s face and fur!
You’ll soon find that close-up shots make some of the best pet portraits!
6. Surprise your pet
One of the most difficult aspects of pet photography is keeping your pet still.
(Especially if you have a pretty energetic pet…)
So here’s an easy trick:
First, let your pet play quietly.
Then, once you have your camera set up and ready, give a quick whistle.
This will surprise your pet. With luck, you’ll have a few seconds to capture them in a nice, alert posture!
7. Time your session carefully
If you want to capture some formal-looking pet photography, then “schedule” your photoshoot when your animal is somewhat sleepy.
You might shoot after your pet has woken up from a nap. Or you might shoot late in the day, when your pet is tired and lacks energy.
That way, it will be much easier to capture a sharp shot.
Of course, if you want a more dynamic series of shots, then grab your camera at a time when your pet is especially active!
8. Be patient
Pet photography requires a lot of patience.
Dogs, cats, and other pets can be pretty excitable – but if you’re patient enough, your furry friend will end up relaxing.
And that’s when you can get some of your best shots!
In fact, you might consider starting your photoshoot with action images.
Then, as your pet calms down, you can capture intimate close-ups, cute poses, and more.
9. Experiment
Here’s your final pet photography tip:
Experiment!
Because while the advice in this article will certainly get you some great shots…
…there’s always room to try new things!
So take your time and enjoy the session. Don’t be afraid to test different approaches, angles, and compositions.
Shoot a lot; you can worry about the results later!
Pet photography tips: Final words
Hopefully, you now feel well-equipped to capture some stunning pet photos!
By getting low, being patient, carefully timing your session, and more, you can practically guarantee gorgeous results.
Now over to you:
What pets do you like to photograph? Share your favorite pet photography in the comments below!
This guest post on pet photography was submitted by Antoine Khater at All Day I Dream About Photography.Read more unique photography and retouching tips on Antoine’s website or subscribe to his RSS feed.
Table of contents
Pet Photography
GENERAL
9 Pet Photography Tips
1. Use natural light
2. Keep the eyes sharp
3. Go to your pet
4. Highlight your pet’s character
5. Go macro
6. Surprise your pet
7. Time your session carefully
8. Be patient
9. Experiment
Pet photography tips: Final words
1. Use natural light
2. Keep the eyes sharp
3. Go to your pet
4. Highlight your pet’s character
5. Go macro
6. Surprise your pet
7. Time your session carefully
8. Be patient
9. Experiment
Pet photography tips: Final words
9 Tips for Taking Better Photos of Cats
Beginner's Guide to Photographing Horses
Why Taking Pictures of Your Pets Will Help Make You a Better Photographer
How to get the Money Shot in Pet Photography
What Are Your Pet Photography Peeves?
PREPARATION
6 Tips for Working with Unruly Animals in Pet Photography
LIGHTING
Tips for Great Lighting for Pet Photography
GEAR
4 of the Best Lenses for Creative Dog Photography
Pros and Cons of Photographing Dogs with a Prime Lens
CREATIVE TECHNIQUES
Five Tips for Creative Pet Photography
10 Amazing Camera Hacks for Better Dog Photography
POST-PROCESSING
Fixing Animal Eyes in Lightroom
BUSINESS
Five Things You Need to Know Before Starting a Pet Photography Business
ADVANCED GUIDES
6 Tips for Photographing Dogs in Action
How to Shoot Animal Portraits
How to Photograph Agility Events and Other Dog Sports
var dpsTopics = {
id: 1244,
titles: [{“id”:”use-natural-light”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”1. Use natural light”},{“id”:”keep-the-eyes-sharp”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”2. Keep the eyes sharp”},{“id”:”go-to-your-pet”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”3. Go to your pet”},{“id”:”highlight-your-pets-character”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”4. Highlight your pet’s character”},{“id”:”go-macro”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”5. Go macro”},{“id”:”surprise-your-pet”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”6. Surprise your pet”},{“id”:”time-your-session-carefully”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”7. Time your session carefully”},{“id”:”be-patient”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”8. Be patient”},{“id”:”experiment”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”9. Experiment”},{“id”:”pet-photography-tips-final-words”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”Pet photography tips: Final words”},{“id”:”use-natural-light”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”1. Use natural light”},{“id”:”keep-the-eyes-sharp”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”2. Keep the eyes sharp”},{“id”:”go-to-your-pet”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”3. Go to your pet”},{“id”:”highlight-your-pets-character”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”4. Highlight your pet’s character”},{“id”:”go-macro”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”5. Go macro”},{“id”:”surprise-your-pet”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”6. Surprise your pet”},{“id”:”time-your-session-carefully”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”7. Time your session carefully”},{“id”:”be-patient”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”8. Be patient”},{“id”:”experiment”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”9. Experiment”},{“id”:”pet-photography-tips-final-words”,”permalink”:”https:\/\/digital-photography-school.com\/9-pet-photography-tips\/”,”title”:”Pet photography tips: Final words”}] };
The post 9 Pet Photography Tips appeared first on Digital Photography School. It was authored by Guest Contributor.
The post Weekly Photo Challenge – Cars appeared first on Digital Photography School. It was authored by Sime.
We’ve had ‘transport’ but I thought maybe this week we’ll look at cars specifically!
We have SO many tips for photographing cars, and I’ve gathered a search for you (Click Here) and I also want to share a link to a friend of mine’s website, Larry Chen, he’s a Canon Explorer of Light and an amazing car photographer (Click Here) for some inspiration.
Don’t forget, you can go back and try ALL of our CHALLENGES over HERE!
Your Cuban Ride
Quick Car Photography tips? Here’s a list of seven that might help you.
Think about details and angles that you don’t often see or think about, perhaps you could try panning for a different looking photo?
You can upload your photo here (comments down below) or over in our Facebook Group.
Share on Instagram or Twitter and use the hashtag #dPSCars so we can see them!
How do I upload my photo to the comments?
Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.
The post Weekly Photo Challenge – Cars appeared first on Digital Photography School. It was authored by Sime.
The post Canon to Announce a New Camera and “Many, Many Lenses” appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon will soon be announcing “more lenses at once than ever before,” according to the often-reliable Canon Rumors.
This information comes from an unnamed source “with a stellar track record.”
According to CR’s source, “Canon is going to make a ‘massive splash with a new camera and many, many lenses.’” And while the source – and Canon Rumors – offered no information as to which lenses and camera this will be, we can certainly speculate, based on the Canon RF lens roadmap and leaked information on upcoming Canon mirrorless models.
So what gear can we expect from Canon? And when can we expect it?
Regarding lenses:
Canon’s leaked roadmap is pretty sizable, featuring a whopping 15 lenses to be released over the next couple of years:
Canon TS-R 14mm f/4L
Canon TS-R 24mm f/3.5L
Canon RF 10-24mm f/4L USM
Canon RF 14-35mm f/4L IS USM
Canon RF 18-45mm f/4-5.6 IS STM
Canon RF 100-400mm f/5-6-7.1 IS USM
Canon RF 35mm f/1.2L USM
Canon RF 135mm f/1.4L USM
Canon RF 24mm f/1.8 IS STM Macro
Canon RF 100mm f/2.8L Macro IS USM
Canon RF 400mm f/2.8L IS USM
Canon RF 500mm f/4L IS USM
Canon RF 600mm f/4L IS USM
Canon RF 800mm f/5.6L IS USM
Canon RF 1200mm f/8L IS USM
As you can see, Canon’s new lenses cater to wide-angle landscape shooters and sports/wildlife super-telephoto photographers, with a few fast primes sprinkled in.
I could certainly see Canon announcing most or all of the super-telephoto glass in one breath, especially if their release coincides with the announcement of Canon’s flagship, sports-focused mirrorless camera, the highly-anticipated EOS R1.
And previously, Canon Rumors did claim that the EOS R1 will “show its face in 2021” – and that the R1 will likely be teased prior to the 2021 Tokyo Olympics.
So does Canon’s “massive splash” announcement refer to a summer reveal of the EOS R1 plus a series of super telephotos? This seems plausible; releasing sports- and wildlife-focused super-telephoto lenses alongside Canon’s highest-performance mirrorless model to date certainly makes sense, though hopefully Canon will include a couple of non-specialist lenses to keep other users satisfied.
Another camera possibility is an EOS R5s, rumored to pack 90+ megapixels into a 35mm sensor, or an APS-C RF-mount EOS R7, designed as a mirrorless successor to Canon’s popular 7D lineup.
Regardless, I do think a summer 2021 announcement date is likely, especially given Canon’s current “supply chain and manufacturing issues.”
So if you’re a Canon shooter looking for additional lenses, or you’re a non-Canon shooter considering a switch to Canon, make sure you keep an eye out for more information!
Now over to you:
Which Canon RF lenses do you think will be announced? And which camera? Share your thoughts in the comments below!
The post Canon to Announce a New Camera and “Many, Many Lenses” appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Inspiration comes in many forms for photographers, such as light falling on an object, the time of year, look on a person’s face and others. Below is our list of 100 inspirational photography quotes along with images and links to their authors. We hope this large list inspires you and makes you take a moment to reflect on your photography. Continue Reading Photodoto
Comments Off on 100 Famous Short Inspirational Photography Quotes
The post 13 Creative Food Photography Ideas (For Unique Results!) appeared first on Digital Photography School. It was authored by Simon Bond.
If you’re looking for creative food photography ideas, then you’ve come to the right place.
Because in this article, I’m going to give you 13 fun ideas to take your food photography to the next level.
So if you’re ready to move beyond basic food photos, and if you want to start creating compelling artistic images with your food…
…then let’s dive right in!
Food photos can have a message and a concept.
1. Try different points of view
Here’s a simple yet effective food photography idea:
Change your perspective.
You see, most people view their food from a sitting position. And that’s how many casual food photographers approach their food.
But if you adjust your angle, you’ll capture food in a very different way.
Here are some perspectives you could try:
Bird’s-eye view: Aim your camera directly down at the food from above.
Plate level: Get down on the same level as your plate and photograph across it.
Wider scene: It’s tempting to focus only on the food. Instead, use a wider lens to show the scene around the food (plus the food itself, of course!).
The bird’s-eye view angle is an effective one! Here, some food styling adds to the overall look.
2. Experiment with the white balance
Food is often photographed with an off-camera flash, which opens up a lot of creative possibilities.
One trick:
Put a gel on your flash (such as a blue gel or an orange gel). Then adjust the white balance of your camera to compensate for this color shift. Finally, fire your flash at the subject (while aiming to keep the background untouched by artificial light).
If you’ve done your work carefully, you’ll end up with a colorful background (a color opposite that of the flash gel), but neutral food!
3. Use a food artist
Getting someone to professionally style your food before shooting will give your photos a more creative feel.
As a photographer, you’ll be leaning on the creativity of your stylist here; your job will be to compose and light your image in a professional way.
Detail photos can create an unusual narrative. This is a close-up of a Korean kimbap slice.
4. Try out some light painting
Food photography is, in essence, a form of still life (though one that needs to be carried out while the food still looks fresh!).
As with most still life photography, you can use light painting to give your images a more dynamic look.
Here’s how it works:
First, set up your food and determine your composition.
Set your exposure, making sure the shutter speed lasts 10 seconds or more.
Then fire off a shot and use some form of light to “paint” your food.
(Anything that emits light could be used, from a smartphone to a programmable LED light stick.)
If all goes well, you’ll end up with a very pro-looking image!
Light painting with food photography is fun! I used a smartphone to create an artistic background.
5. Think about the background
If your photograph includes a background, you’ll need to use it in an aesthetically pleasing way.
Because the background matters – almost as much as the foreground, in fact!
Fortunately, there are a few easy strategies you can use to create a stunning backdrop:
Bokeh: Use a large aperture, focus on your main subject, and blur the background. Add some lights in the background for beautiful bokeh light balls.
Plain: Stick colorful paper or a painting behind your subject for a more standard, plain look.
Show a scene: Include the wider scene to give your food some context. (This could even include the restaurant where the food has been served!)
A large aperture blurs the background into beautiful bokeh.
6. Reflect your food
Here’s a creative food photography idea that makes for very modern, sleek images:
Reflect your food in glass for a double image.
Simply set up your food on a glass panel. Then lower your camera angle until you get a nice reflection in the glass.
You’ll want to make sure your food is well-lit – but be sure to avoid obvious balls of light bouncing off the surface of your glass.
Here, a cake is reflected on a sheet of glass.
7. Tell the story
Cooking and preparing food is a process.
So every dish goes through a journey before it gets plated and put on a table.
Try to document that journey! Look to take photos of food at various points along the way to the table, so you can create a complete picture of the food.
Here are a few times when you might want to photograph food:
When it’s growing. Food needs to be produced, and photographing it during this phase can help you tell a story, especially if you’re creating a series of images.
When it’s sold. A visit to the market is a fantastic opportunity for food photography because vendors often display their food in an interesting way.
When it’s cooked. If possible, photograph the chef as they prepare the food. Pro tip: If you can capture the chef adding the finishing touches to a dish, you’ll get an especially satisfyingshot.
On the table. The majority of food photos are of the plated meal. There’s nothing wrong with photographing food at this point; just aim to use some of these ideas to capture more creatively plated food photos.
A chef creates a fresh spring roll with rice paper (and he’s framed by rice paper, too!).
8. Create some detail photos
Get out that macro lens, and get in close to your food!
First, this will offer some interesting, never-before-seen perspectives.
Plus, focusing on the detail or shape of food just makes for some very cool photography!
Try focusing on a single item of food. Then switch it up, and capture lots of the same food repeating throughout your photo.
An off-camera flash captures the steam coming off the noodles.
9. Frame your food
Food photographers rarely frame food with important contextual elements.
But if you can find ways to create an interesting frame, you’ll end up with a much stronger composition.
For instance, you might try surrounding the main food item with items that relate to it, as I did in the photo below:
Here, the strawberries frame the main subject and add narrative to the photo.
Or you can use plates or cutlery to frame the food.
Really, the sky is the limit!
10. Try lensball food photography
Lensball photography is a fun technique that uses a crystal ball to create unique photos. Like this:
A lensball can provide a different perspective for food photos.
And they’re easy to use, too!
Just place your lensball close to the food…
…and you’ll get a very cool result.
11. Shoot food floating in midair
If you want to get a bit wild with your food photography, then try some midair shots!
For instance, you might show a banana floating off the ground, or a carrot suspended against a dark backdrop.
And if you want to take this a step further, you can try cutting up the food – so you get a set of suspended food slices smack-dab in the middle of your photo.
Of course, you’ll need to build some type of stand for your food (or use a technique like this one here), and you’ll need Photoshop to complete the effect.
But if you’re willing to put in the work, the results will be worth it!
12. Create a splash!
You can use water (or other liquids) to give your food a fresh feel – especially if you’re willing to get the food wet.
Now, there are a couple of different approaches to this. Both use flash to get that moment of capture.
Splash: Drop liquid-like milk, water, or juice onto food to create a splash.
Food into water: Drop food into a tank of water. Then photograph the food as it creates bubbles and splashes. Of course, this works best with fruit and vegetables; cake will likely be a bit messy!
13. Freeze your food
Here’s your final creative food photography idea:
Put your food in a tub of water, then stick it in the freezer.
Check back in a bit, and you’ll have a block of ice – with the food encased inside it!
Take out the block and photograph through the ice. You’ll end up with some unique images, like this one:
I froze these fish in a block of ice.
While you can try this technique on many different types of food, I like to use it for fish photography. It can even look like the fish are swimming in the water!
Creative food photography ideas: final words
Now that you’ve finished this article, you know plenty of creative food photography ideas.
And you’re well on your way to capturing some unique photos.
So take your camera, find some food, and have fun!
Now over to you:
What food do you plan to photograph? Which of these creative ideas do you plan to use first? Share your thoughts (and images!) in the comments below.
The post 13 Creative Food Photography Ideas (For Unique Results!) appeared first on Digital Photography School. It was authored by Simon Bond.
The post Capture One 21 Review: Dehaze, Speed Edit, and More appeared first on Digital Photography School. It was authored by Carl Spring.
In this comprehensive Capture One 21 review, I’m going to take you through everything you need to know about Capture One’s latest editing software.
In fact, as a beta tester for the newest release, I’ve spent plenty of time working with Capture One 21 behind the scenes (and I have used Capture One as my main editing software going all the way back to version 12!).
So let’s take a closer look at this software program – and determine whether it’s the perfect editor for you.
Starting with…
What’s new in Capture One 21?
The list of new features is a little lighter than in other major upgrades.
It includes:
A new import design
Dehaze
Speed Edit
ProStandard profiles
General speed upgrades and bug fixes
New tooltips and hints
The familiar Capture One layout with a few new additions. Are these enough to make it worth the upgrade?
Dehaze
Capture One’s new Dehaze tool is a welcome addition for landscape photographers. Dehaze has been in Lightroom for some time now, and it’s nice to finally see it in Capture One.
Basically, the Dehaze tool is there to reduce the amount of atmospheric haze in images and improve the saturation in low-contrast photos.
Dehaze is most commonly associated with removing fog or smog from an image, but you can also increase the haze – an effect that can add atmosphere. The tool can also be applied selectively via layers. To my eye, it seems to work quite well, but I’m a non-landscape shooter and have little to compare it to.
Now, I have seen this tool used to dodge and burn portraits, and it can subtly enhance faces if used sparingly.
However, while the Dehaze tool is good (and many claim it’s better than Lightroom’s), it’s not really the tool that landscape photographers desperately wanted. And for those of you who are not landscape photographers (like me), it’s a tool you will rarely use.
As a non-landscape photographer, I will rarely use the Dehaze tool. I had to search through my archive for a landscape shot.
Speed Edit
Wow! Just wow! Capture One 21’s new Speed Edit feature is really good. I am a huge Loupedeck fan, but I may be moving away from it for editing in Capture One. The Speed Edit tool really is the next best thing.
In basic terms, Speed Edit is a set of keyboard shortcuts you use with your mouse to edit images. Simply hold down the key associated with the edit, then drag the mouse to make the adjustment.
The process works incredibly well in practice and, within a few minutes, becomes second nature. The ability to edit images in a full-screen layout with no distractions is amazing. The only thing you will see is an unobtrusive slider at the bottom of the screen showing which edit you are carrying out.
Capture One 21 comes with the most common Speed Edit keys mapped for you, but these can be customized to suit your preferences. You can also adjust the sensitivity of your mouse. This can be changed easily, so if you are looking to get a set of rough edits done, you may want to leave the sensitivity quite low. Then, when you go back to complete final edits, you can fine-tune the sensitivity for precise control of the sliders.
The main editing tools come with corresponding keys, but you can easily change these and add other shortcuts.
The adjustments you can make to an image with Speed Edit are:
Exposure
High Dynamic Range
White Balance
Dehaze
Clarity
Levels
Vignetting
Sharpening
Lens Correction
You can also use these shortcuts to quickly and easily alter the size, opacity, and hardness of brushes. I’ve heard some people comparing Speed Edit to PC gaming, and while I’m not a gamer, it feels natural to use the keyboard and mouse in harmony like this while editing.
Speed Edit is a serious timesaver and brilliantly implemented. It will save a lot of people a lot of time when editing – especially if you edit hundreds of files at once. Also, the ability to edit without toolbars allows you to focus solely on the image.
The Speed Edit tool allows you to edit your images with no visual distractions, and it works perfectly in practice.
ProStandard profiles
This feature is currently only available for a selection of the most popular cameras, but Capture One is working on profiles for more cameras, and ProStandard looks like it will be the default profile for new cameras going forward.
Capture One states that these “ProStandard” profiles have been completely reworked to give much greater color accuracy while protecting hues and color shifts. For people doing work such as product photography or reproduction of artworks, this is a massive improvement.
But for those who are not in need of such accuracy, do the ProStandard profiles really make a difference?
The answer is yes – but it is subtle.
When I compared some files shot on a Canon 5D Mark IV, the unedited photo simply looked better with the ProStandard profile applied. Colors seemed a little richer and more lifelike, and it felt like a better starting point.
However, the difference is not night and day. So while ProStandard profiles are nice, they’re not an essential feature for most photographers.
One of these is the standard profile, and one is ProStandard. Can you tell which is which?
Import and speed improvements
The Capture One import process had a facelift.
It is now easier to pick and unpick selects before you import images into the system, and while I haven’t run tests, the actual import feels much faster.
Improvements continue under the hood. Capture One feels snappier. It’s hard to quantify this, but it’s something I noticed, and no doubt a lot of long-term Capture One users will, too.
The import is improved in Capture One 21. It’s faster overall, though many will not notice or need this.
Enhanced tooltips
When a software company lists new and improved tooltips and tutorials as a key feature, it really does make you question how significant the new version is.
Yes, the tooltips are improved, but they aren’t really needed past the first few weeks of using the software.
Then again, I am a long-term Capture One user. So I spent some time thinking about those who are coming across from Lightroom or other software, and here’s what I concluded:
The tooltips and tutorials will be useful while you get accustomed to the software. The tutorials are short, meaning you don’t have to wait too long before you can dive back into your edit. And the tutorials are well done. The tooltips, while annoying for longer-term users (you can switch them off!), will help you get to grips with Capture One 21 – so that mastering the software will not take you that long.
As a seasoned user, I forget that tips like this can be really useful when learning software.
Is Capture One 21 worth it?
Capture One marketed their software release with an approach of buy now, discover later. They ran a series of online events showcasing new features, each time promising there was much more to come.
However, there wasn’t much more to come, and many customers who either purchased or upgraded came out en masse to make their voices heard. Feedback was decidedly mixed, and many were not very happy with the new feature set.
And I’ll be honest:
It really doesn’t feel like a full-blown release to me.
A saving grace for the Capture One team is that they have upgraded Capture One 20 to run on the latest Mac OS X. This is a welcome gesture, one that will make the decision of whether to upgrade easier for many.
Capture One is working on an Apple silicon adaption, but this is not yet ready (though I’m sure it will be here sooner rather than later). Again, this is only useful for some users but worth pointing out, especially if you are tempted by one of the new Macs that Apple has already released or is bringing out in 2021.
I hope there is a large update within a few months that adds ProStandard profiles for many more cameras, and maybe even some more tools that make this version more of a must-have.
The fact that cameras like the Nikon Z7 II will only be supported in version 21 means that some users will have no choice but to upgrade, although I feel some may be headed back to Lightroom.
There was also a price increase that doesn’t sit well with me. At the time of launch, Capture One for Sony, Nikon, and Fujifilm cost $ 129, but the price was quickly boosted to $ 199 (and the price to upgrade increased, as well). Photographers (especially professionals) have had an awful 12 months, business-wise. While this price increase may bring in some extra cash in the short term, it feels like the Capture One team failing to read the room. The way this release has been so aggressively marketed will, in my opinion, see many moving back to Lightroom.
However, Capture One is still my choice of editing software, so would I recommend you upgrade?
I love how Capture One makes my images look. For new users, there is an obvious conclusion; for those upgrading, it’s a little different.
For new users
I always tell those who use Lightroom to try Capture One. And when doing a Capture One 21 review, it’s easy to get caught up thinking about upgrades for existing users.
However, Capture One 21 is the best version of this software yet. So for those who are exploring software alternatives, I would strongly suggest taking a look. Especially those of you who have cameras compatible with the ProStandard profiles.
If you shoot with one camera brand, you can even get a brand-specific version of Capture One 21, which will save you money.
Here’s the bottom line:
RAW processing is where Capture One excels, and this release proves no different. Capture One images simply look better compared to Lightroom. I still feel Capture One is the best RAW editor out there.
For existing users
The new tools in Capture One 21 feel aimed at a specific niche of photographers. The Dehaze tool has no real appeal to someone like me who rarely shoots landscapes. Yes, it is fun to experiment with Dehaze on portraits, but I will use this tool infrequently at best. And I’m sure this is true for any non-landscape photographer.
The ProStandard profiles are nice, but not yet available for many cameras. And the need for incredibly accurate colors caters to a select group of photographers.
The new tool I love is Speed Edit. It’s beautifully executed and removes the need for a workflow tool such as a Loupedeck for many users. The ability to edit images in full screen without distraction is simply amazing. For those (like myself) who shoot weddings or events, this tool will be a huge timesaver.
Lastly, there is the new importer. It’s nice, but honestly, most won’t notice the difference. And those who need the speed will continue to use Photo Mechanic.
So my Capture One 21 review boils down to this:
Which new tools will you use? And do they justify the price increase? Personally, I am not able to justify the upgrade price just for the Speed Edit tool. Like many other photographers, my work has been drastically affected in the past 12 months, and I cannot justify the price of the upgrade right now. I am sure many other working professionals are in the same boat.
That said, for a small section of photographers, the upgrade is a no-brainer. Capture One 21 is the fastest version of the program, and it has features some will welcome with open arms. If you are yet to try Capture One, you really should test it out and see what all the fuss is about.
However, I will wait for Capture One 22.
You can download a 30-day trial of Capture One 21 on the Capture One website.
The post Capture One 21 Review: Dehaze, Speed Edit, and More appeared first on Digital Photography School. It was authored by Carl Spring.
The post The Rule of Odds in Photography (An Easy Trick for Better Compositions) appeared first on Digital Photography School. It was authored by Rick Ohnsman.
When you create a photograph, you’re hoping to manipulate the mind of your viewer.
While photos are simple, two-dimensional representations of reality, you – as the photographer – hope to let the viewer see what you saw, feel what you felt, and experience the world as you did.
And that’s what the rule of odds in photography is all about:
Tapping into the brain of the viewer to create a more pleasing composition.
So if you’d like to make better photos, read on!
The choice of three tulips for this shot was very purposeful. I tapped into the rule of odds!
What is the rule of odds in photography?
The rule of odds states that, whenever possible, a composition should have an odd number of objects, not an even number of objects. So an image should have three flowers rather than two, and five people rather than four.
Why?
The rule of odds taps into the brain’s propensity to create order.
You see, when viewing a group of objects, we unconsciously want to group them in pairs.
But when we’re faced with three, five, or seven objects in a photograph…
…we have a group that can’t be easily organized.
With an odd number of objects, one may become dominant. At the very least, the viewer will look longer at the image, moving between the individual elements.
That is the power of the rule of odds in photography:
It creates a composition that makes the viewer’s brain work a little harder and look a little longer.
Three repeating shapes play to the rule of odds. You can line them up…
…or arrange them to form an implied triangle, as with these three flowers.
Three, five, or seven objects can work well.
Once you move beyond these single-digit numbers, we tend to treat all of the objects as a group – even if they’re odd.
Five objects also adhere to the rule of odds!
Creating compositions with the rule of odds
Certain genres of photography give you, the photographer, complete power over your composition.
So you can arrange and compose your scene to include an odd number of subjects.
You can also arrange the odd number of subjects in pleasing ways; for instance, you can include strong compositional elements such as lines and triangles. In fact, these compositional tools are one more way to tap into the viewer’s brain as it works to find lines and patterns.
Often in still life compositions, we have the ability to arrange our subjects, choosing what, where, and how many objects are placed.
And that makes it easy to apply the rule of odds, as I did in the photo below:
When you set up a still life photo, you have full control over what to include and exclude. Here, the lantern, gloved hand, and pickaxe are the three key elements in this composition, so it follows the rule of odds.
Of course, it’s not enough to think only about the number of objects. You still need to think about natural pairs, because while a cup, a saucer, and a spoon might make a pleasing composition, a cup, a saucer, and a screwdriver would likely puzzle your viewer – even though it follows the rule of odds!
It was no accident that I chose a stem of flowers with three roses. And note the three objects in this light-painted still life: the violin, the sheet music, and the flowers.
Flowers can make great subjects for tapping into the rule of odds. If you are arranging the flowers in the scene yourself, think about using a group of three or five rather than an even number.
If you’re shooting flowers in nature, perhaps you can frame your shot to include an odd number of subjects. (You could also clone out a flower afterward.)
This was a matter of framing the shot to include just these three flowers.
In this case, I framed the shot to only include three leaves.
This triple-trunked tree was a perfect rule of odds subject.
The rule of odds for other subjects
Out in nature, perhaps shooting landscapes, you usually don’t have the option of moving around subjects.
Instead, spend time exploring your scene – and find compositions that take advantage of the rule of odds in photography.
When shooting outdoors, see what you can do to create compositions with an odd number of major objects, be it mountain peaks, trees, rocks, or clouds.
Note that you can still apply the rule during post-processing; if you have four elements instead of three, you can always clone one out, as I did in the image below:
The three posts worked well for this rule of odds shot, but four birds were on the front post. No problem; just clone one out! Do you agree that three is better than four?
Whether you’re composing in the field or editing on your computer, the rule will usually still apply. An odd number of objects will create a stronger image.
There was a whole flock of gulls perched on this fence, but cropping down to just these three let me follow the rule of odds.
This shot was mostly about the great reflections in the water, but the three geese worked with the rule of odds and enhanced the story.
Three or five? The top shot was the original composition. There are six rocks, but because two of them are closely grouped, you could consider them five objects. Still, I think the cropped version – with just three rocks – is better.
When you can’t move objects, such as in landscape photography, you can still take advantage of the rule of odds. Just keep it in mind when composing your shot.
The simpler shot at the right has just three objects. It works better than the shot at the left with four.
The same goes for architectural photography. Here, the five-in-a-row repetition works well.
We’re used to a first, second, and third place winner in sporting events. So not only did the rule of odds improve the composition, but it also helped tell a story!
The original shot contained six kayak racers. I cloned one out to drop the count to five.
Exceptions to the rule
Do photography for a while, and you’ll hear all kinds of “rules” – the rule of thirds, the reciprocal rule, the left-to-right rule, and all manner of other compositional and camera operation rules.
Of course, there are always exceptions to the rules. And there are times when it’s good to break the rules for an even better composition.
So when should you break the rule of odds?
First, when photographing people, you shouldn’t always stick to the rule. If you’re shooting a couple, then it wouldn’t make sense to have a third person (and this, in fact, would lend a new meaning to the rule of “odds”).
Of course, should that couple have a child, great; the group of three would make a nice rule of odds composition. Then, if the couple were to have another child, you’ll have to find a different way to pose them that works around the rule of odds.
Here’s another time to break the rule of odds:
If you’re taking a photo of Mount Rushmore. Who are you going to leave out to adhere to the rule of odds?
Therefore, the rule of odds should be like the rule of thirds. Use it when it works to enhance your composition, but don’t feel constrained by it if your subject just doesn’t permit its use.
It was just luck that this group consisted of five guys, but it was helpful for composing the shot.
Triple threat. There just happened to be three individuals in this group, and who was I to argue?
The odd one
Perhaps you’ve heard the song on Sesame Street, “One of these things is not like the others.” It’s a little game the show uses to teach children observational thinking.
Well, you can play a similar game with the mind of a viewer.
Simply seek out scenes and compositions where something in the image is odd, different, out of place, or doesn’t match.
Such images can be powerful. They engage the mind of your viewer, drawing attention to the odd object and making your viewer look a little longer at your photo.
Which of these things is not like the others? The nonconformist tree makes for a more interesting image.
Does the power of an “odd one out” image have anything to do with the number of objects in your photo? It might, or it might not. Perhaps it doesn’t conform to the standard definition of the rule of odds.
Still, it’s a powerful technique, and a great way to make captivating photos that engage your viewer.
Where does your eye immediately go in this shot? Yeah, I confess that I colored the one flower pink – but the point is that the odd one out immediately becomes the focus of attention.
The rule of odds in photography: Final words
When someone tells you your photos are odd, take that as a compliment!
Seriously, they aren’t likely to say that, but if you can find ways to embrace the rule of odds in photography, you will have another trick in your bag.
Not only is it hip to be square, but it’s also cool to be odd!
Now over to you:
What do you think of the rule of odds? Will you try it out in your compositions? Do you have any rule of odds photos that you’re proud of? Share your thoughts and images in the comments below!
What is the rule of odds?
The rule of odds states that an odd number of objects in a photograph (3,5,7, etc.) will be more engaging to the viewer than an even number of objects.
In what kind of photography is the rule of odds most easily used?
Probably still life photography, where you have full control over the number of objects in your shot and how they are arranged.
Can I use the rule of odds in landscape photography?
Yes, you often can! Even when you can’t move objects in your scene, you can carefully compose and frame your image to capitalize on an odd number of subjects. Sometimes, you can also crop your image in editing or add/remove objects to create an odd number of subjects.
What is the “odd one out” method of composition?
A good technique can be to look for things that break the norm or “stand out” because they’re different from the rest of a photo. Such objects will immediately draw the viewer’s eye and become the focal point in your photo. Think of a red flower in a field of yellow ones, a fork in a line of spoons, and maybe a baby chick in a carton of eleven eggs, and you’ll get the idea.
The post The Rule of Odds in Photography (An Easy Trick for Better Compositions) appeared first on Digital Photography School. It was authored by Rick Ohnsman.
You must be logged in to post a comment.