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How to Shoot Images for Book Covers: The Essential Guide

28 Jan

The post How to Shoot Images for Book Covers: The Essential Guide appeared first on Digital Photography School. It was authored by Charlie Moss.

how to shoot images for book covers

There’s lots of information out there about making money shooting stock images. However, the most successful stock photographers have a secret – they’re shooting niche content for specialist agencies! There are lots of different specialist fields that you might consider, but in this blog post, I’ll walk you through how to shoot images for book covers.

Let’s get started.

How to break into the book cover industry

There are several specialist book cover stock agencies that exist purely to match clients with photographers and illustrators. These agencies can be a great way to get into shooting book covers.

However, book cover stock agencies do require a good portfolio as part of your application. If you don’t already have a portfolio suitable for a book cover agency and you want to get started right away, you can try networking with potential clients on social media – Instagram is a great place to connect with other creatives.

Think about format and layout

One of the most important things to think about when it comes to shooting book cover images is the aspect ratio. Book covers are almost always produced in a vertical format, so landscape images generally won’t be of interest to book cover designers.

shoot images for book covers examples
Left: Canon EOS 5D Mark II| Canon EF 100mm f/2.8 Macro USM | 100mm | 1/125s | f/8.0 | ISO 100 | Window Light + Reflector
Right: Canon EOS 5D Mark II| Canon EF 70-200mm f/2.8 IS II USM | 70mm | 1/640s | f/2.8 | ISO 800 | Available Light

Books can be printed in all different sizes, meaning that no single aspect ratio is the best for shooting cover photos. Therefore, book cover designers will usually need to crop images to make them fit on a cover.

Keep this need to crop in mind when you shoot images for book covers, and make sure you don’t place any interesting parts of the subject or composition near the edge of the frame. This will give a designer more options when using your images in different book cover layouts.

Leave some blank space

When you shoot images for book covers, you can’t just think about the photo. You also need to leave room for the title of the book and the author. In other words, there should be at least one place in your book cover shot that is plain enough to place text.

book cover layout examples
Left: Fujifilm X-T20 | Fujifilm XF 35mm f/1.4 R | 35mm | 1/280s | f/1.4 | ISO 200 | Window Light
Right: Fujifilm X-T20 | Fujifilm XF 35mm f/1.4 R | 35mm | 1/3500s | f/1.4 | ISO 200 | Available Light

You can achieve these plain sections by using simple colors, by shooting areas with less detail, or by using a shallow depth of field to blur backgrounds and foregrounds.

There’s no rule dictating where book cover designers must put the title and author text. However, it’s good practice to shoot several variations of each image, including compositions that leave room in the middle of the photo, as well as compositions that leave room at the top and bottom.

Plan your images out

If you’re finding it hard to shoot compositions that allow for text placement, then go old school and get out your sketchbook.

Take a pen and paper, draw some empty rectangles, and start imagining all the different places a designer might put the title and name of the author. You can then start to imagine how and where you might leave blank space.

book cover sketches
These are a set of sketches based on the bestseller listings of a popular bookseller. The boxes show the text location on the cover of each book.

To take your shots to the next level, think about the props you’d like to use in your photos and how they might fit into the sketches you just made.

Playing around in a sketchbook can really improve your images and save you lots of time.

Finding inspiration

If you’re trying to come up with ideas for potential book cover images, I highly recommend browsing through a bookstore. You don’t have to do this in person; there are plenty of opportunities to browse book covers on the internet, as well!

You’ll quickly get a feel for the different styles of cover images across various genres.

shoot images for book covers
Left: Fujifilm X-T20 | Fujifilm XF 35mm f/1.4 R | 35mm | 1/450s | f/2.0 | ISO 200 | Window Light + Reflector
Right: Fujifilm X-T20 | Fujifilm XF 35mm f/1.4 R | 35mm | 1/640s | f/1.4 | ISO 200 | Window Light + Reflector

It’s also a good idea to follow the social media feeds of publishers in your favorite genres. Many publishers regularly post pictures of upcoming books, which will give you a sense of industry trends.

If you’re an author, but not a photographer

So you’re a self-published author who wants to do the design work for your book yourself? That’s great, and all of the tips above still apply. However, you might find some of our beginner’s articles helpful; these will help you understand the creative potential of your camera.

It’s also important to be realistic when shooting images for your book cover; photography isn’t instinctive for everyone, and the best photographs are usually the result of years of hard work and practice.

However, if you put your mind to it and you learn the basics, there really is no reason why you shouldn’t shoot photos for your own book cover. Though it’s always worth asking a few trusted friends for their opinion when it comes to the final layout – especially if you have friends who buy and read a lot of books!

How to shoot images for book covers: Conclusion

Whether you want to diversify your photography business and start shooting images for a book cover agency, or you simply want to create your own book cover for your self-published book, the tips above should get you started. Follow traditional rules of composition, make space for titles and other text, and seek out inspiration in your genre.

Ultimately, if you’re looking to start shooting images for book covers, the best advice is to jump right in. Put together a portfolio, then get it out there for people to see. Ask around to determine which stock agencies work best for photographers you know, and see if you can get your pictures on a new bestseller!

The post How to Shoot Images for Book Covers: The Essential Guide appeared first on Digital Photography School. It was authored by Charlie Moss.


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Vanishing Point in Photoshop: The Essential Guide

27 Jan

The post Vanishing Point in Photoshop: The Essential Guide appeared first on Digital Photography School. It was authored by Ana Mireles.

The essential guide to Vanishing Point in Photoshop

Have you ever used Vanishing Point in Photoshop? If you’re only using the Transform tools to give perspective to image elements, you’re missing out on a fantastic opportunity.

The Vanishing Point filter is often overlooked; most photographers believe it’s only useful in a 3D workspace.

But here’s the truth:

Vanishing Point is actually a hugely useful tool, one that I absolutely recommend you learn how to use.

In this article, I’ll explain what the Vanishing Point filter is – and how you can use it to simplify and improve your photography.

Let’s get started!

What is Vanishing Point in Photoshop?

Vanishing Point grid in Photoshop

Vanishing Point is a Photoshop filter that allows objects and edits in your image to be scaled and oriented according to the image’s perspective.

You can find Vanishing Point under the Filter menu (simply click Filter, then Vanishing Point).

Once you’ve selected the Vanishing Point filter, Photoshop opens a special workspace for all your in-perspective edits.

Why is Vanishing Point important?

A vanishing point is what gives depth to an image.

For example, if you photograph a wall parallel to your camera’s sensor, the wall (and the overall image) should look flat.

But if you instead photograph the wall at an angle and you capture the way it vanishes toward a point in the distance, the wall – and the scene – appears three-dimensional.

Perspective and Vanishing Point

Take a look at the arrows in the image above.

The wall is flat, with no depth.

But the railing moves toward the horizon, where (if it continued to stretch onward) it would vanish.

The Vanishing Point filter allows you to make adjustments to your photos in perspective, so that you achieve a realistic final result that perfectly mirrors the scene’s perspective.

(Do you see how the arrow stretching along the railing appears to fade into the scene? That’s because I added it with Vanishing Point!)

Working with Vanishing Point: The basics

When you launch the Vanishing Point filter, you might be wondering what to do and how to use it.

It looks similar to the normal Photoshop interface, but where do you start?

Here are the answers to some of the most common Vanishing Point questions:

How do you create a perspective plane?

Click the Create Plane Tool at the top of the toolbar on the left.

Then click on the corners of the plane you want to create.

(Here, you need to carefully follow in-perspective elements.)

Photoshop will immediately add your plane to the image, like this:

Create a Vanishing Point in Photoshop

Now, when the lines that form the plane are blue, it means everything is working well. Yellow or red lines mean that Photoshop doesn’t accept the plane you’re tracing.

Once you’ve created a plane, try moving the corner points until you get it right. You can zoom in if you need to be more precise.

Everything you paste and everything you edit inside that plane (while you’re in the Vanishing Point workspace) will be put into that perspective.

How do you save a perspective plane?

When you’re done working inside Vanishing Point, click OK (in the top right) to accept the changes. This will add the perspective plane as part of your file.

If you save and close your image, the perspective plane will be saved, too. When you open your file again, you can launch the Vanishing Point filter, and the perspective plane(s) that you created will be present and editable.

How do you delete a perspective plane?

To delete a plane, simply select it, then press the Backspace key.

To select your plane, just click on it using the Edit Plane Tool. You’ll know your plane is selected if you can see the edge nodes around it.

Can you create more than one plane?

Yes, you can create multiple planes. And these can be separate or connected.

If you want to create a separate second plane, just finish working on your first plane, then click another part of the image and start afresh.

If you want to have your two planes connected, you need to tear the second plane off from the first. To do this, press the Ctrl/Cmd key and drag one of the edge nodes to create the next plane.

By default, the second plane will be at a 90-degree angle from the first. If this is not the way you want it, you can use the Angle controller you’ll find in the toolbar at the top of the Vanishing Point window:

Connecting perspective planes

How do you use Vanishing Point in Photoshop to paste objects in perspective?

First, make sure the object you want to add in perspective is present on a layer. Select the object (you can use Ctrl/Cmd + A to select all), then hit Ctrl/Cmd + C to copy it to your clipboard.

Once you have the object on your clipboard, add a new blank layer above the background image. This is because anything you do inside the Vanishing Point workspace will be applied to the layer that is selected when you actually open the filter.

Next, open the Vanishing Point filter and create a perspective plane that follows the perspective you want to give to the new element.

Once this is done, paste the new element into the Vanishing Point workspace by pressing Ctrl/Cmd + V. It will be pasted as a floating selection without perspective, but that’s okay.

Paste using Vanishing Point in Photoshop

Feel free to scale or modify the object. Then, once you’re satisfied with its shape and size, click on it and drag it inside the plane.

You’ll notice that the object will change shape and size according to its position in the plane. It will get smaller as it gets farther away from the camera, and bigger as it gets closer to the camera.

Place objects in perspective

That’s it – now you can click OK to get back to the normal workspace. You’ll find the pasted element (in perspective) on the new layer. You can then use the Layer Style options to add shadows and create more realistic composites.

You can use this paste-in-perspective technique to showcase your photos on a billboard, create graffiti on a wall, or apply logos to product packaging photographs.

Advanced tips and techniques for working with Vanishing Point

Pasting elements in perspective is one of the most common uses for the Vanishing Point filter in Photoshop.

However, there are some other cool things you can do with the feature, including:

Painting in Vanishing Point

Paint in Vanishing Point in Photoshop

Inside the Vanishing Point workspace, you’ll find a Brush tool. With it, you can paint, write, or draw in perspective.

Therefore, the brushstrokes will get smaller as they move farther away from the viewer (to simulate depth).

You can choose the size of the brush, the hardness, and the color. Unfortunately, you can’t use brushes you’ve loaded into the normal workspace.

Cloning in Vanishing Point

You can also clone with the Vanishing Point filter. This is very useful, because the Clone Stamp tool will follow the angle and the size of the perspective plane.

Choose the size and hardness of your Stamp Tool in the top toolbar. Make sure that Heal is turned off.

Then source the pixels that you want to clone. To do this, hold the Alt/Option key and click on the target pixels (note that you must click somewhere inside the perspective plane).

Finally, clone the pixels onto a different part of the perspective plane.

You can clone the same way you’d use the regular Clone Stamp tool. However, the results will be very different.

Look at the composite below, which shows an original image, the image modified with standard Clone Stamp methods, and the image modified with the Stamp Tool in Vanishing Point.

Clone in Vanishing Point in Photoshop

When I sourced the pixels from the top of the brick wall using the regular Clone Stamp tool, the bricks had a different angle; when I cloned them from the side, they had a different size.

However, when I used the Vanishing Point Stamp Tool, I was able to add pixels in-perspective.

You can also use the Vanishing Point Stamp Tool as a Healing Brush by turning on the Heal option in the top toolbar.

Using the Marquee Tool in Vanishing Point

The Marquee Tool is the only selection instrument available inside the Vanishing Point workspace.

It’s very straightforward to use; just click and drag around the area that you want to select.

If you have two connected planes, the selection will “bend” to follow the perspective in both planes.

Select and Duplicate in Vanishing Point in Photoshop

This is extremely useful if you want to duplicate elements that run through two planes. Look at the example above – I just selected an area, copied it, and pasted it again. It behaved according to the perspective of the plane, which allowed me to keep any depth and make the entire duplication job look more natural.

For better blending, you can feather the selection, just as you would in the regular workspace.

How to use Vanishing Point in Photoshop: Conclusion

Vanishing Point in Photoshop can make your work easier and faster when you’re dealing with perspective.

So make sure to give it a try!

Now it’s your turn:

What do you think of Vanishing Point? Is it a tool you plan to use in the future? Share your thoughts, questions, and tips in the comments below!

The post Vanishing Point in Photoshop: The Essential Guide appeared first on Digital Photography School. It was authored by Ana Mireles.


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6 Reasons Why Photography Matters

27 Jan

The post 6 Reasons Why Photography Matters appeared first on Digital Photography School. It was authored by Guest Contributor.

6 reasons why photography matters

Why does photography matter?

It’s a question that we all ask at one time or another. After all, why do we keep waking up at 4:00 AM to photograph the sunrise, when we could be warm and comfortable lying in bed? Why do we spend long hours tweaking our compositions and learning about photography fundamentals when we could be watching television or out with friends?

And some days, when we have no creativity at all and pressing the shutter button seems like the hardest thing in the world, we continue to persevere – but why? What is it about photography that’s so compelling?

What motivates us to keep going?

In this article, I’m going to share six reasons why I think photography matters. Hopefully, these ideas will help you find clarity and motivation – and will encourage you to capture images, even when it feels like everything is pointless and you should put down the camera forever.

Let’s get started.

1. Our photographs tell us what is important to us

When you ask people what possessions they would rescue from their burning house, one of the most frequent answers is a photograph album or a computer with all their digital images.

Interesting, isn’t it? We would grab photos over valuable jewelry, even in moments of panic.

This impulse to save our recorded memories is a powerful force, one that tells us much about the role of photography in our lives – and speaks to our constant desire to distill our most precious moments into images.

Why photography matters tree with spotlight

We preserve the important events and people in our lives. The ceremonies of birth and birthdays, marriages and anniversaries, holidays and new houses are all recorded because they matter.

Photographs are our personal story, a timeline of our lives filled with faces and places that we love. They are our story, which we can then share with others.

Ultimately, the thousands of images we take come together to form a narrative of our lives.

2. Photographs are part of our legacy

I remember sitting on a train as it passed a playground where children were standing at attention for the annual school photograph. In the front row sat the teachers, and behind them, hundreds of children were neatly preened and uniformed. For the briefest second, the entire assembly was motionless. We passed just as the photographer clicked the shutter.

Then, as if in slow motion, the huge group scattered as children escaped their enforced immobility. The neat rows dissolved and broke down into individuals who were kicking balls or huddled with friends.

None of those children realized that the photograph was probably going to outlive them. A couple of generations later, the school photo might resurface among old papers in an attic, and someone would search for their grandfather among the fresh, young faces.

Photographs matter because they freeze moments of our lives that pass unremarkably and which seem to have little importance to us at the time. The significance of a photo might not even be ours – instead, it might be for others who search for the person we once were or the places we once knew.

Each photo can be a small piece of a jigsaw that completes the larger picture of our lives.

misty mountains

3. Photographs allow us to share and to communicate

Images are much more than a simple record. Photography speaks to the best and most generous part of our human nature – the desire to share what we find beautiful and interesting with others.

You only have to look at the multitude of photo-sharing sites to see this impulse at work, where millions of people share their personal, passionate, and sometimes quirky take on the world around them.

In other words, our images can share our lives with strangers. How powerful is that?

mountain landscape

4. Photography makes us artists

Photography allows us to express ourselves through an art form. We notice a beautiful landscape or an old man’s lined face and we want to capture it.

Each of us will have a different specific reason to take a photo, but we all want to create something.

However humdrum our nine-to-five lives may be, the creation of an image makes us an artist. It feels good.

5. Photography is a complex language

Our images can express joy and sorrow, wonder and sympathy. Every human emotion can find a place in photography.

For many years, I never valued my photographs of overcast landscapes, because I believed there was no beauty in a land with muted colors and a leaden sky. I wanted the land to be alive with color and vibrancy.

However, the lack of color in a landscape makes you search for other things that often go unnoticed in bright sunlight. This could be the symmetry of hills or a tree standing out from a forest of thousands.

To expand this further:

I have suffered from depression for most of my adult life, and photography gives me a language to express feelings for which I can find no words. We have a miserably poor vocabulary for mental illness, but photography has allowed me to develop a visual language for some of my most difficult emotions.

foggy mountains

6. Photography has the power to move us

Photographs can grab our attention and speak directly to our emotions. There are plenty of powerful photos – such as Nick Ut’s photograph of a crying Vietnamese girl whose clothes have been burned away by napalm – that can make us feel things.

On a more subtle level, photography teaches us lessons about a whole range of emotions. Grief has the power to wash away the brightness and color of our lives. There is no magic way to restore these. We have to be patient. But while waiting, we can search for the shapes and patterns that are still present in the grayness. They will lead us back to color eventually. During moments of great sorrow in my life, I have used images to express that hope of returning color.

Why photography matters sunbeams in a forest

Photography, at its best, is a powerful language that speaks to our emotions. It allows us to tell our story and shows others our framing of the world around us.

Why photography matters: Conclusion

Hopefully, you now have a better sense of the different reasons people pursue photography – and why photography is important.

Now I’d love to know:

Why do you do photography? What motivates you to keep taking pictures? What is it about photography that inspires you?

Share your thoughts in the comments below!

Declan O’Neill is a professional photographer who lives in the South Island, New Zealand. He travels extensively, capturing the beauty of New Zealand’s extraordinary landscape. The photographs that accompany this article are part of a series entitled “The Anatomy of Melancholy,” which is dedicated to the memory of his sister, Ann, who died from Multiple Systems Atrophy.

The post 6 Reasons Why Photography Matters appeared first on Digital Photography School. It was authored by Guest Contributor.


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Sony to Announce “the One Never Seen” on January 26th

25 Jan

The post Sony to Announce “the One Never Seen” on January 26th appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Sony a9 model

Last week, Sony offered a mysterious announcement, displaying only the words, “The one never seen,” as well as a date, January 26th, 2021, 10 AM EST.

The title of the YouTube countdown reads, “New product announcement on January 26th, 2021.” And the caption simply states to “be ready for the announcement of the new Alpha.”

In other words:

We should have a new Sony Alpha mirrorless model – and our first compelling camera reveal of 2021 – before the week is out. 

But what camera is this new Alpha, the “one never seen”? What model is Sony teasing?

Unfortunately, we have no official knowledge, and Sony will undoubtedly stay silent until 10 AM on January 26th. But the internet has been abuzz with speculation, and plenty of suggestions have been thrown around regarding the identity of the new camera, including:

  • A Sony a9 III
  • A Sony a7 IV
  • A medium format camera

According to SonyAlphaRumors, the new kit is most likely the A9 III, which will potentially offer 8K/30p – hence the “one never seen” designation, because up until this point, Sony has restricted their Alpha models to 4K (with even the video-centric Sony a7S III maxing out at 4K/120p). 

8K capabilities do come with significant resolution requirements. The Canon EOS R5, for instance, sits at 45 MP, and the Sony a9 III may overshoot this by a few megapixels (SonyAlphaRumors suggests a possible 50 MP sensor).

The Sony a9 and a9 II are action photography cameras through and through, offering blazing-fast autofocus and exceptional continuous shooting speeds, but at the cost of resolution. Both cameras sit at an “average” 24 megapixels, so a jump to 8K might even call for a doubling of the current resolution count.

Regardless, a 50-megapixel camera with professional-level action chops will certainly satisfy some photographers, assuming they can afford the (likely exorbitant) price. 

So make sure you check out Sony’s announcement on January 26th at 10 EST. Whatever Sony unveils, it’s bound to be exciting – and only the start of a thrilling 2021!

Now over to you:

What do you think about Sony’s announcement? What camera will the company reveal? Share your thoughts in the comments below!

The post Sony to Announce “the One Never Seen” on January 26th appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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8 Simple Guidelines for Capturing Spectacular Sunrise and Sunset Images

24 Jan

The post 8 Simple Guidelines for Capturing Spectacular Sunrise and Sunset Images appeared first on Digital Photography School. It was authored by Tim Gilbreath.

8 simple tips for stunning sunrise photography and sunset photography

When we are asked to think of popular subjects for landscape photography, images of beautiful sunsets and sunrises immediately come to mind.

What outdoor photographer worth their salt doesn’t have at least a couple of images of the sun dipping below the horizon?

In most people’s minds, sunrise and sunset photography is an easy thing to capture; the beauty and scale of the event itself should carry the photo, with minimal interaction from the photographer.

three birds at sunset

But is this really the case?

Unfortunately, it’s not. Unless you’re relying on luck alone, you’ll need to possess a few seeds of knowledge (eight, in this case!) to get you started capturing that epic sunrise or sunset.

None of these guidelines are difficult to comprehend, and they can all vastly improve your chances of properly capturing one of Mother Nature’s most incredible events.

So let’s jump right in!

1. Scout the location

As tempting as it is to just show up at a convenient location and start shooting, you greatly increase your chances of success by planning your sunrise or sunset photoshoot in advance. The first thing you’ll want to determine is the best location from which to shoot.

Pick a location that is out of the way of road and foot traffic, where you’re unlikely to be disturbed. Go to the location in broad daylight before the shoot, and ensure your view of the horizon will be unobstructed and free of any hazards.

The most important factor after the location is the time of day. Obviously, this will vary depending on whether you’re capturing a sunrise or a sunset.

But start by checking the weather. If your shooting time coincides with an approaching or recently-ended storm, the results can be staggering. Rain and storm clouds can add a dramatic layer of dimension to the scene.

You can also pinpoint the perfect time to shoot with an online tool or smartphone app that will display precise sunrise and sunset times for your location. Many low-cost (and sometimes free) solutions are available, including PhotoPills (for Android and iOS), and The Photographer’s Ephemeris (for Android and iOS).

sunset photography over lake

2. Sunrise or sunset?

If you’re familiar with color temperature, you’ll know that there is a slight difference in the appearance of light at sunset versus sunrise. Early morning light tends to be cooler (higher blue) than light in the late evening, which leans toward warmer color casts consisting of orange and red.

Since there are different color temperatures at work here, you might need to adjust your photos, depending on the look you’re after. You can do this through your camera’s white balance settings, through warming or cooling filters, or via adjustments in post-production – where you’ll need to add or remove warmth to achieve the perfect final photograph.

Be aware that physical filters placed over your lens will degrade image quality slightly, because they’re an additional obstacle for light to pass through, so adjusting color temperature with camera settings or in post-production is often the better choice.

sunflower sunrise photography

3. Plan your shots

Another important step to accomplish before heading out is to plan what you hope to achieve in your sunrise or sunset photo.

Ask yourself:

What look are you going for? Will you capture a definitive subject lit by the sunlight, or will the sunset itself be the star of the show?

Planning beforehand is also a great time to determine any other special considerations, such as whether you’ll be shooting an HDR (high dynamic range) photo.

If you do decide to use an HDR technique, you’ll need to prepare your camera for bracketed exposures to capture the full range of tones in the scene.

But while HDR can be a bit tricky to pull off, it’s a great way to produce some truly dramatic images!

4. Gather the proper gear

You can’t capture the right shot without the right gear, so make sure you have everything ready to go before you head out.

First and foremost, you’ll want to bring your tripod. Sunrises and sunsets are potential low-light situations (depending on the part of the sunset you’re trying to capture), so you’ll need a steady base for your camera.

Second, you’ll want to determine the right lens to use for the shoot. While beautiful landscapes can be captured using a 50mm to 85mm focal length, a wide-angle lens is preferred, including any zoom lenses that can shoot at 40mm or below. If you have a prime lens in the 12mm to 40mm range, you’ll have a better chance of capturing an even sharper image, and using a wide-angle lens will allow you to capture a vast, sweeping portion of the scene.

Do you own and use screw-on filters for your camera?

Although using filters can degrade image quality a bit, some can be useful here. A GND (graduated neutral density) filter, for instance, will darken the upper portion of the sky and keep it well-exposed and dramatic, even without HDR techniques.

A polarizing filter, on the other hand, may actually be a hindrance in these situations, so I recommend you avoid them. 

(Polarizers reduce the amount of light coming in to the sensor, further increasing the required exposure time, which may not be ideal if you’re trying to freeze motion, such as ocean waves.)

lifeguard at sunset

5. Use the right settings

Before you even arrive at your photoshoot destination, you can choose the settings on your camera.

Since you’re shooting a landscape image, you’ll want to use a smaller aperture, such as f/8, f/11, or even higher, to maximize the depth of field and capture sharp detail throughout. If you’re using a tripod, this shouldn’t be a problem.

Although you can shoot in Manual mode, I personally prefer to shoot almost everything in A/Av (Aperture Priority mode). This way, I can lock in my aperture and let the camera choose a proper shutter speed. Since low-light situations like this can confuse the camera and you run the risk of overexposure, you can always use your camera’s exposure compensation settings to drop the brightness a bit.

If possible, you should use a low ISO, such as 100 or 200, to ensure there isn’t a lot of noise in the final shot. This should be very achievable if you’re working with a tripod. However, if you’re hand-holding your shot, you will need to bump the ISO up to get a shutter speed that’s fast enough to avoid a blurry photo.

inlet sunset photography

This is also the time to choose your white balance, and as I mentioned above, you can use this setting to boost (or reduce) the warmth of your shot. If you’re after a warm, orangish image, set your white balance to the Shadow, Cloudy, or Daylight option.

And, of course, always shoot in RAW! To a certain extent, shadows and highlights that are lost in a shot can be recovered in post-processing later – but only if you have a RAW file.

6. Compose for interest

Now that the preparation is over, we get to the fun part! Once you’re on location and are ready to take the shot, you’ll need to consider your composition.

The most common error when shooting sunsets or sunrises is positioning the horizon exactly in the middle of the photo. While this can work, it normally causes a bit too much symmetry and can make the picture uninteresting.

Take a moment to look your scene over. Ask yourself: What part of the sunrise or sunset is the most dramatic? Are there any parts that aren’t that interesting?

Once you’ve done this, simply compose the shot to include more of the most dramatic scenery. If you have an angry, cloudy sky that accentuates the sunlight, let that occupy the upper two-thirds of the scene. If you have an interesting foreground or landscape but a less intriguing sky, let that occupy the bottom two-thirds of the image.

You want to draw the viewer into the composition, then let their eyes drift to the most dramatic part of the image.

sunset photography over trees

7. Waiting for the right shot

If you already have experience shooting landscapes, you know that sometimes waiting is the name of the game. Because of the dynamics of natural lighting, a scene can completely change from one hour to the next – and sometimes even from one minute to the next.

That’s why a sunrise or sunset shoot is the time to be creative! Try different exposure times and play with your exposure compensation settings for different tones. Let the clouds and sun change positions, then reshoot, or try a slightly different angle.

Maybe even include additional subjects in the frame, and shoot them in the foreground against the sunrise or sunset. The longer you’re at the location shooting, the more variety you’ll end up with!

pier close-up at sunset

8. Don’t leave too early

One of the most common tips you’ll hear regarding sunset photography is to stick around after the sun dips below the horizon.

This is certainly good advice, as the entire dynamic of the scene changes after sundown.

grasses at sunset

Specifically, the tones, colors, and hues in the sky often become more saturated and dramatic. You’ll need to compensate for the loss of your main source of light, probably with a tripod – but it’s hard to deny some of the most beautiful images can be shot right after the sun is out of sight.

8 simple guidelines for sunrise and sunset photography: Conclusion

Now that you’ve finished this article, you should be ready to capture some stunning images at sunrise and sunset!

So get up early, stay out late, and create some gorgeous photos.

Now over to you:

Do you have any beautiful sunset or sunrise photography you’d like to share? Post it in the comments below!

The post 8 Simple Guidelines for Capturing Spectacular Sunrise and Sunset Images appeared first on Digital Photography School. It was authored by Tim Gilbreath.


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How to Pose and Angle the Body for Better Portraits

24 Jan

The post How to Pose and Angle the Body for Better Portraits appeared first on Digital Photography School. It was authored by Alexis Arnold.

how to pose and angle the body for better portraits

One of the best ways to make a living with photography is to photograph people. People need photographs of themselves for their businesses, conferences, publications, acting, and more.

Now, when a person comes to you to have their photo taken, they trust you to make them look good. That is really one of the biggest parts of your job as a photographer:

Make your subject look great.

When someone hires you to take their portraits or headshots, it’s important you understand how to pose them and how to angle their body toward the camera. With the right techniques, you will also be able to work more efficiently, which will benefit both you and your client.

After all, most people don’t like to have their photo taken, so you want the process to move along swiftly.

I have compiled clear examples of the slight changes you can make to create a more pleasing portrait. These photos are straight out of the camera; no post-processing or touch-ups have been done. The model in the photographs had professional makeup done before we shot.

(I recommend that you refer your female clients to a makeup artist so they can have their makeup done prior to the shoot. This will make a big difference in the final look.)

Okay, let’s get started.

how to pose subjects for portraits (the edited photo)
This is the final (edited) image given to the client.

Shift their weight

With the first set of images (below), the model on the left is standing straight on (i.e., square to the camera). Her body weight is on both of her feet equally.

But as you can see with the image on the right, a subtle shift in her weight makes a big difference. All the model did was put the majority of her weight on her right leg – and this immediately created a subtle s-curve with her body.

The model is still facing the camera straight on, but already looks slimmer.

subject shifting her weight

Lean forward from the waist

The model is still facing you straight on, but you can now have her lean forward from the waist.

With the photo on the left, the model is leaning away from the camera or backward, and it’s very unflattering. This angle creates a double chin and makes her look heavier. Anytime a client does this, you should correct them right away.

To make the photo better, just have your subject lean slightly forward from their waist (toward you).

As you can see from the photo on the right, when the model leaned forward, she automatically angled her head and shifted her weight. The pose is much more flattering!

subject leaning forward from the waist

Weight on the back leg

Now have the model shift her weight to her back leg.

In the examples below, the model shifts her weight to her left leg and brings her right leg forward. With the image on the left, you can see how, when she leans backward or away from the camera, the pose looks awkward and unnatural.

So when your subject shifts their weight back, have them either stand up straighter or have them add a bit of lean toward you (as seen in the photo on the right).

subject putting weight on back leg when posing for portraits

Cross arms

A very popular pose for business headshots is to have your model cross their arms (shown below). This projects a feeling of confidence and strength.

It can go wrong, however.

In the image on the left, the model angled her head backward. This mistake is more common in women, since they often tilt their head in photos.

Instead, communicate clearly with your subject to bring their chin forward and down slightly. This easy adjustment makes a big difference and is the shot your client will want.

two examples of a subject with the arms crossed

Lean forward again

You can get a very nice close-up headshot with the crossed-arms pose.

The image on the left was shot wider to show you how and where the model has angled her body.

Ask your subject to lean forward from the waist. Most people will think this feels weird, so just let them know that it’ll look great in the final image.

Remember that most people are insecure about how they look, so always take time to reassure them that they look amazing!

Then either zoom in tight with your lens or step in closer to get a beautiful portrait.

subject leaning forward toward the camera

Photograph on both sides of your model’s face

The example below shows the model’s “good side.” We all have one side that is better than the other. However, it is not usually visible to the naked eye, so please be sure to always photograph your model from the left and the right sides.

This is clearly shown with the model below. Her good side is when she angles her face to the right so her left side is more visible (below right). You can see more of her face, her neck looks better, both eyes are visible, the hair falls naturally, and her nose has a more flattering angle.

model posing with a left side and a right side

When repositioning your model, remember to shoot every pose from each side. Until you get good at recognizing your client’s good side just from looking at the image preview on your camera, always shoot from the left and the right.

Sitting poses

Let’s move on to portraits where your client is sitting down. Having your subject in this sitting position places you above them – so you will be shooting at a downward angle, which is very flattering for most people.

Pose your subject on the seat edge

First, have your subject sit on the edge of the chair. You do not want them sitting comfortably where they lean all the way back.

In the left image below, the model is sitting on the edge of the seat, feet on the floor and shoulders square at the camera. Even though the angle isn’t the best, if you crop in tight, you can still create a nice portrait with the focus on the eyes, as seen in the image on the right.

subject posing on a chair

Consider crossing the arms and angling the face

With your subject still sitting in the chair, have them place their elbows on their knees.

Arms can be crossed or not; I suggest you play around with both options. This forces the subject to look up at you, taking away any issues with their neck.

Make the image better by having your subject angle their face slightly to the left or the right, as shown in the right image (below). Remember that these are tight crops, focusing on the eyes and the smile.

subject sitting and leaning forward how to pose subjects for portraits

How to pose and angle the body for better portraits: Conclusion

It’s easy to see how a simple posing adjustment can result in better portraits.

A good rule of thumb to remember:

Have your subject angle one shoulder toward you, and have them place their weight on the back leg. This will immediately make them look slimmer.

Of course, now that you know how to pose for great results, the best way to improve is to get out and practice, practice, practice!

And have fun shooting!

(All images were shot in a studio with a 50mm lens, on a white paper backdrop, with one strobe light.)

Now it’s your turn:

How do you come up with poses when doing portrait photography? Do you have any additional posing advice? Share your thoughts in the comments below!

The post How to Pose and Angle the Body for Better Portraits appeared first on Digital Photography School. It was authored by Alexis Arnold.


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Weekly Photo Challenge – Orange

23 Jan

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

“Orange, oh, that’s easy!” I hear you say, well, let’s see how easy it is and how creative you can get with such a simple theme!

You can see all of our challenges right here, go back and try your hand at ones you’ve missed.

Need some ‘Orange’ inspiration? Have a look here or here! Or use the ‘search’ function at the top of our website.

Tag your photograph #dPSOrange if you share it on social media.

Weekly Photo Challenge – Orange

As ever, take a look below to check out how to upload your image under this blog post, or visit us on our Facebook group, or post your image on socials, @digitalps and use the hashtag #dPSOrange – Sounds good!

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.

Weekly Photography Challenge – Looking Up

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The Best Way to Delete Photos From Your Memory Card

22 Jan

The post The Best Way to Delete Photos From Your Memory Card appeared first on Digital Photography School. It was authored by Meredith Clark.

the best way to delete photos from your memory card

When it comes to photography, we spend most of our time thinking about taking photos – lighting, composition, exposure, and posing. Then, once the photo is taken, we may start to think about post-processing, gently nudging the photo along until it becomes exactly what we’ve pictured in our mind’s eye. Once that’s accomplished, we do it all over again.

portrait of two girls how to delete photos from memory cards

Back in high school and college, I shot film. I can vividly remember running out, and sometimes having to wait weeks until I was able to buy more. Our public high school relied heavily on film donations, and sometimes when there wasn’t any left, our teacher would have us walk around campus with our pointer fingers and thumbs shaped into a rectangle, pretending to take photographs. Now that digital cameras are on the scene and we’re using memory cards in place of film, the number of photographs that we can take in any given week or month is nearly endless.

You may have noticed that I said “nearly” endless, and that’s because memory cards do have a lifespan and will not last indefinitely. That said, there are a few things we can do to maximize the lifespan of our memory cards, including deleting our photos off the memory card in the most efficient manner possible. This isn’t something that’s talked about all that often, but when it comes down to it, it is really simple.

So if you’re looking for the best way to delete photos from your memory cards, read on!

Less desirable ways to delete photos

If your memory card is full, you may be tempted to use one of these methods to delete your photos.

However, I recommend you avoid them if at all possible.

So here are the ways you should not delete your photos:

Getting rid of each photo individually through the camera by using the Delete or Erase button

If you’re in the middle of a shoot and you take a bad photo, you may be tempted to delete it right then and there with the Delete button.

But this is far from ideal. First, it’s always a good idea to check your images on the computer screen before deleting them forever, because you never know; your image may have some redeeming quality, one that you missed on your tiny camera LCD.

Plus, it’s just not the best way to get rid of your images from a card-health perspective, as I’ll explain in a moment.

deleting an image from your memory card directly on the camera LCD screen

Deleting all photos in-camera with the Delete All option

Once you’ve transferred your photos over to your computer, you can always pop the memory card back into your camera and hit the Erase all images on card button.

But again, this isn’t the best way to keep your card healthy.

Erasing all the images on your card via the LCD screen

Deleting via your computer

Here’s a third way to delete photos from your memory card:

Plug the camera or memory card into the computer, then drag all the photos into the Recycle Bin.

Is this a convenient way to delete images?

Absolutely.

But it’s not the most desirable way to get it done.

Deleting images from your computer

Most desirable way to delete photos

If you’re looking to delete photos off your memory card in the quickest, most efficient, least harmful way, then here’s what I recommend:

Delete with your camera’s Format function

In other words:

Transfer your photos to your PC or an external hard drive.

Stick the card back in your camera and head into the menu.

Find the Format option.

And hit OK.

This is my suggested way of deleting photos off your memory card, and I recommend you use it every single time you need to delete photos, without fail.

(It’s what I do!)

formatting memory cards in-camera is the best way to delete photos from your memory cards

Why are some methods better than others?

In the end, all of the above methods work toward the same end, in that they remove the images from your card.

However, the first three deletion methods are actually more taxing to the memory card than using the card’s Format function. I’ve heard it explained like this:

Imagine that your memory card has a shelf-life of 1,000 uses. Let’s say that you go out and take 500 photos; that’s 500 uses of your memory card. You then upload the photos to your computer, and then individually delete each photo using the Delete button on your camera. Deleting each photo individually counts as another 500 uses on your card. So in all, you’ve just spent 1,000 uses of your memory card, leaving you with no uses left on that card.

On the other hand, imagine that you’ve captured your 500 photos, but instead of deleting them with your Delete button, you use your camera’s Format function. Formatting works in a different way than deleting, because it only deletes the directory files rather than the images themselves. This allows the images to be overwritten the next time you take a picture. Therefore, formatting only counts as one use of your memory card, regardless of how many photos you’re deleting.

So in the scenario above, you’d have used only 501 of your memory card’s uses, as opposed to 1,000 when deleting manually. Certainly, memory cards available today will be able to handle far more than 1,000 uses, but the general logic still holds – formatting your card causes less wear and tear on your memory card than other ways of deleting images.

Additionally, because formatting only deletes the directory file instead of the images themselves, images on a card that has been formatted are typically much easier to recover (if needed) than images that are deleted manually, assuming you did not overwrite the formatted images by taking more photos.

Not a bad trick to have up your sleeve in case of emergencies, right?

I’d also like to add that I have personally seen a difference in the amount of corrupted images/cards that I’ve come across since I’ve been formatting cards.

These days, it’s pretty rare that I delete even a single image using any method other than formatting.

How often should you format?

Some people like to wait until their card is totally full and then do their formatting.

Personally, I like to format my card before each new photo session. It just makes sense to start fresh each time, because I can then upload everything on the card to one location and keep my files organized.

But this is really a matter of personal preference, at least as far as I’m concerned.

The one hard and fast suggestion I do have when it comes to formatting is simply to format the card in whichever camera you plan to use it in next. So if you’re going to be shooting with your Nikon body, make sure you’ve first formatted your card with that Nikon body. And if you’re going to be shooting with your Canon body, format with the Canon body before heading out.

Make sense?

How to delete photos from a memory card: Conclusion

Now that you’ve finished this article, you’re well-equipped to delete photos from your memory cards (the right way).

So make sure to always format in-camera.

Your photos and your memory cards will thank you for it!

Now over to you:

How do you typically delete images, and why? Share your thoughts in the comments below!

The post The Best Way to Delete Photos From Your Memory Card appeared first on Digital Photography School. It was authored by Meredith Clark.


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Backlighting in Photography: The Ultimate Guide to Beautiful Backlit Images

21 Jan

The post Backlighting in Photography: The Ultimate Guide to Beautiful Backlit Images appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

backlighting in photography the ultimate guide

When used creatively and intentionally, backlighting can be an incredible tool to take your photography to the next level.

However, the concept of backlighting seems somewhat counterintuitive.

After all, when your subject is backlit, the main source of light is coming from behind, not from the front – and conventional photography wisdom generally says that your subject should be well-lit from the front.

So how can you create backlighting that looks good? How can you capture backlit images that really stun the viewer?

That’s what this article is all about.

Let’s dive right in.

Backlighting spider
Nikon D750 | Nikon 50mm f/1.8G | 50mm | 1/250s | f/4 | ISO 1100

What is backlighting?

In order to understand how to use backlighting, you should know what the term means.

So what actually is backlighting?

The following diagram depicts a standard photography scenario with the main source of light behind the camera.

frontlighting diagram

Using this type of setup, the subject is well-lit, and there is a shadow cast on the wall directly behind the subject. The result is a detailed, evenly-exposed image that conforms to the basic principles of photography.

In contrast, backlighting reverses the subject and the light source.

The light goes behind the subject (and points toward the camera), which causes the shadow behind the subject to vanish. Backlighting results in a photograph where the subject is usually much darker than normal.

Backlighting diagram backlight

Also, placing the light behind the subject often results in a silhouette or glow effect. This makes the final image look different from a normal photograph and can be jarring, at least at first.

But with a little practice, you can use this technique to create images that are unique and stand out from the crowd.

Backlighting in portraits

Backlighting is a tried-and-true portrait photography technique – one that can get you some stunning photos.

How does this work?

It helps to see some actual portrait photos that illustrate the concept of backlighting versus frontlighting. This first image is a fairly standard portrait shot:

maternity frontlit
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 122mm | 1/350s | f/4 | ISO 800

The subjects are lit from the front, and the image is evenly exposed without any harsh shadows. It’s a great photograph, and it meets all the normal criteria for a maternity shot someone would want to put in a frame or a photo book.

Now, let’s look at another photo of this couple, this time shot using backlighting:

Backlighting maternity couple
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 180mm | 1/3000s | f/2.8 | ISO 400

The parents-to-be are shrouded in shadow (which I was able to boost in Lightroom, thanks to the RAW file format), and the woman’s hair is glowing with a brilliant golden halo. The man has a glowing outline around his head, and the entire scene has a slightly mystical quality to it.

This is all due to the creative use of backlighting.

When you light your subjects from behind, you can get images like this, which pack glowing hair, brilliant outlines, and a beautiful background. This type of photo does take practice, but with a little trial and error, you can use backlighting to get similar results.

Here’s a head and shoulders portrait of a young man:

Backlighting senior portrait frontlit
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/250s | f/2.8 | ISO 100

The sunlight is coming from the front, his face is evenly lit, and the background is colorful and easy to see.

Now compare that image to its backlit counterpart:

Backlighting senior portrait
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/180s | f/2.8 | ISO 320

His hair suddenly looks like it’s on fire, and his ears have a bit of a glow. The right side of the background is lush and green, whereas the left side, where the sun is positioned, is almost entirely blown out. Even the man’s shoulders are outlined in gold, and the photo has an energy to it that the frontlit photo just can’t match.

As you can see, knowing how to use backlighting to your advantage can result in portraits that stand out from the pack. It may be a little tricky at first, especially if you’re using natural light instead of studio light.

But with a little practice, you’ll get the hang of backlighting – and you’ll get the type of pleasing reactions from your clients you never knew you were missing.

Backlighting isn’t just for portraits, though! It can be used in a variety of situations for creative, inspiring images, including nature photography:

Backlighting in nature

To illustrate the power of backlighting for nature photography, check out this backlit landscape image:

Backlighting sunrise pine trees
Nikon D7100 | Nikon 35mm f/1.8G | 35mm | 1/3000s | f/4 | ISO 200

Once you start looking for the light, you’ll notice shots like this everywhere. In fact, one of the best ways to learn backlighting is to go out in nature and simply experiment by putting your subjects between the camera and the sun.

Sunrise and sunset are great times to try out backlighting. Look for situations where your subjects are at a bit of a distance; it also helps to have a general idea of where the sun will be at dawn and dusk. Metering with backlight is tricky, so I like to use Aperture Priority to control the depth of field and then dial in exposure compensation to get my shots as light or as dark as I want.

A rule of thumb I like to use in these situations:

Expose for the highlights, then bring up the shadows in Lightroom. Basically, try not to make your photo too bright, because you may end up with clipped highlights (i.e., white, informationless areas that cannot be darkened).

Backlighting sunset wind turbines
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/4000s | f/22 | ISO 100

You can also look for more mundane subjects on which you can practice, like interesting leaves:

backlit leaves
Nikon D7100 | Nikon 50mm f/1.8G | 50mm | 1/1500s | f/2.8 | ISO 100

Remember:

When shooting in nature, the main source of light is the sun, but you don’t have to use direct sunlight. In the image above, the mid-afternoon sun made these leaves glow. The sun isn’t in the frame, but it still lit the leaves from the back and gave me a fun photo opportunity.

I used a similar technique for the image below. You can see how my use of backlighting made this large blade of grass appear almost translucent. The shot was not an accident, and I was only able to capture it by looking for new ways to shoot familiar subjects. In this case, I was only photographing a simple piece of grass!

Backlit grass
Nikon D7100 | Nikon 50mm f/1.8G | 50mm | 1/500s | f/4.8 | ISO 100

Most people would pass by this scene without a second thought, but it just goes to show how backlighting can give new life to even mundane subjects.

Silhouette backlighting

One interesting way to use backlighting is to obscure your subject altogether. This technique is known as silhouette backlighting, and it can be a fun and creative way to showcase people, animals, and other objects.

How does this work?

You create silhouette images by shooting directly into the light source – which completely darkens your subject. The result is a photo that shows a shape or outline instead of a well-exposed subject.

To get the image below, I pointed the camera at my main source of light, then waited for someone to walk by. The fountain itself doesn’t emit light, but instead reflects what comes from the sun – and it was so bright that it completely darkened my subject. The image tells a story, even without seeing any details of the person.

silhouette person fountain
Nikon D7100 | Nikon 85mm f/1.8G | 85mm | 1/1000s| f/4 | ISO 200

I used a similar backlighting technique to get this shot of a young woman in the early morning:

silhouette person sunrise
Nikon D200 | Nikon 50mm f/1.8G | 50mm | 1/6000s | f/4 | ISO 200

I knew where the sun was positioned, so I waited patiently until a person walked into the frame. By putting my subject directly between the camera and the main source of light, I was able to capture a silhouette. The end result is much more interesting than a normal, properly-exposed image taken in broad daylight.

Silhouettes aren’t just for people. You can use silhouette backlighting for a variety of subjects; all it takes is a little creativity and a willingness to try something different.

Some type of Manual mode (either full Manual or Aperture Priority with exposure compensation) is best for these shots. It’ll give you better control over the final image, and you won’t need your camera to make exposure decisions in tricky lighting conditions.

goose fountain
Nikon D750 | Nikon 70-200 f/2.8G ED VR II | 200mm | 1/4000s| f/2.8 | ISO 100

One of my favorite ways to use silhouette backlighting is to create sun stars, like this:

Backlighting sun flare
Nikon D200 | Nikon 50mm f/1.8G | 50mm | 1/400s | f/16 | ISO 200

I start by putting a large building between my camera and the sun.

Then I move around until the sun is poking out from behind a corner of the building. I shoot with a small aperture, usually f/8 to f/11, and I shift the camera position until I get the shot just right.

This technique takes practice, but you can easily get the hang of it in under 15 minutes.

Use Aperture Priority and exposure compensation, and look for ways to use the light that might not have occurred to you before.

Backlighting in photography: Conclusion

If you’ve never experimented with backlighting, then I encourage you to give it a try and see what happens.

You might think shots like the ones in this article are beyond your skills, but all it takes is a bit of practice, a dash of patience, and a willingness to try something different.

Backlighting is a fun, creative technique, and you might just find yourself using it far more than you expected!

Have you ever tried backlighting? What did you think of it? Share your thoughts in the comments below!

The post Backlighting in Photography: The Ultimate Guide to Beautiful Backlit Images appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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Tips for Photographing Newborns: Do It Yourself

21 Jan

The arrival of a newborn into a family is an amazing and exciting (albeit sleep deprived) time. You can find yourself in this blissful bubble of just you and your little family as you adapt to life as parents. Most parents will attest to how precious yet fleeting these days are and its why so many choose to capture them Continue Reading
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