Category: Photography

Understanding Depth of Field for Beginners
The post Understanding Depth of Field for Beginners appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

You may have heard the term depth of field (DoF), but if you are new to photography you may not yet be taking advantage of how DoF can enhance your photos.

A basic definition of depth of field is: the zone of acceptable sharpness within a photo that will appear in focus. In every picture there is a certain area of your image in front of, and behind the subject that will appear in focus.

This zone will vary from photo to photo. Some images may have very small zones of focus which is called shallow depth of field.

Here’s a series of images with very shallow depth of field.

Others may have a very large zone of focus which is called deep depth of field.

Here’s a collection of images with much deeper depths of field.

Three main factors that will affect how you control the depth of field of your images are: aperture (f-stop), distance from the subject to the camera, and focal length of the lens on your camera. Here are some explanations and answers to other common questions concerning depth of field.

How does aperture control depth of field?

Aperture refers to the access given to light from the lens to the camera sensors. The size of your aperture (the diameter of the hole through which light enters the camera) controls the amount of light entering your lens. Using the aperture (f-stop) of your lens is the simplest way to control your depth of field as you set up your shot.

Large aperture = Small f-number = Shallow (small) depth of field
Small aperture = Larger f-number = Deeper (larger) depth of field

It may be easier to remember this simple concept: The lower your f-number, the smaller your depth of field. Likewise, the higher your f-number, the larger your depth of field. For example, using a setting of f/2.8 will produce a very shallow depth of field while f/11 will produce a deeper DoF.

The image on the left was captured at 250th of a second at f/5.0 which resulted in a very shallow depth of field. Because of this the background is out of focus allowing the subject to stand out. The image on the right was captured at 1/5th of a second at f/32 which created a deep depth of field and a sharper background.

How does distance control depth of field?

The closer your subject is to the camera, the shallower your depth of field becomes. Therefore, moving further away from your subject will deepen your depth of field.

How does the focal length of a lens control depth of field?

Focal Length refers to the capability of a lens to magnify the image of a distant subject. This can get complicated, but the simple answer is that the longer you set your focal length the shallower the depth of field. Example: Your subject is 10 meters (33 feet) away, using a focal length of 50mm at f/4; your depth of field range would be from 7.5 -14.7 meters (24.6-48 feet) for a total DOF of 7.2 meters (23.6 feet). If you zoom into 100mm from the same spot, the depth of field changes to 9.2-10.9m (30.1-35.8′) for a total of 1.7m (5.7′) of depth of field. But if you move to 20m (66′) away from your subject using the 100mm lens, your depth of field is almost the same as it would be at 10 meters using a 50mm lens.

This image of a swan hiding in the tall foliage was captured from about 5m (16′) with a 300mm focal length lens. This combination of focal length and distance created a depth of field of approximately 5cm (2″).

What if I just have a point and shoot camera, or don’t know how to change those settings?

Even with a point and shoot camera, there are ways to control your depth of field. In the Scene Modes menu, look for a symbol of a human head, which is the setting for portraits. This will give you a narrow depth of field. In the same menu there is also a mountain symbol, which is a setting for landscapes, which will give you a deeper depth of field.

If you are a beginner with a DSLR there are some simple ways you can control depth of field and still use and automatic shooting mode. By choosing Aperture Priority mode you can set your aperture to get the depth of field that you want, and the camera will automatically set the shutter speed.

Can I set the depth of field exactly for each situation?

Yes, but because changing your aperture affects your shutter speed, the result may not meet the needs of your image. For instance, if you are trying to increase your depth of field by reducing aperture size you will also need to increase (slow down) your shutter speed which could make your image blurry. Understanding how all these settings work together can increase your control over depth of field.

Is depth of field equally distributed in front and back of my focus point?

No, it’s usually about one third in front and two thirds behind your focal point, but as your focal length increases it becomes more equal.

How will understanding depth of field improve my images?

Managing depth of field is one of the most important tools at your disposal, because having tack sharp images is one of the most important factors to getting that great shot. Knowing how to make the parts of your image you want sharp and the parts you want to be out of focus, is a great artistic tool to create great images.

Getting the right depth of field for your shot can make all the difference.

When should I use a shallow depth of field?

Using a shallow depth of field is a good way to make your subject stand out from its background and is great for portrait photography. Shallow DoF can also be useful in wildlife photography, where you want the subject to stand out from its surroundings. This is also useful because many wildlife photo opportunities are low light situations, and increasing your aperture size will give you more light. Shallow depth of field is also effective for sports photography where many times you want to separate the athlete from the background to bring attention to them. The result of this should also help give you a fast enough shutter speed to freeze the action.

This image captured at 300mm focal length and f/5.6 produced a very shallow depth of field. Because of this, it is important to set your focal point on the subject’s eye. Notice how the bird pops out from the background.

When should I use deeper depth of field?

In landscape photography it is important to get as much of your scene in focus as possible. By using a wide angle lens and a small aperture you will be able maximize your depth of field to get your scene in focus.

This landscape was captured with a 50mm focal length at f/16. The focus point was set at 8 meters, which made everything from 4 meters to infinity in focus.

How can you determine depth of field?

There are several on-line sites that will provide depth of field charts for your camera and lenses. Also, there are a number of apps available for smart phone users that can calculate it for you while you’re in the field. Most cameras have a DoF preview button which will give you a preview as you look through the eye piece. (This is probably the easiest and most under-utilized method.) Using this button may cause your image to appear darker as you view it through the eye piece, but not to worry. Your image will be properly exposed as long as you have the correct exposure settings.

Can depth of field be adjusted to get everything in focus?

Yes, using what is called the hyperfocal distance. When you are focused at the hyperfocal distance, your depth of field will extend from half the distance to your focal point to infinity. Use a DOF calculator to find your hyperfocal distance. If you don’t have a DoF calculator, a good rule of thumb is to focus a third of the way into the scene. Using an aperture of about f/11 or higher with a wide angle lens will maximize your depth of field.

What about depth of field in macro photography?

Because most macro images are produced in low light and with a longer focal length, the depth of field is often very shallow. Adjust your lens to the smallest aperture that the light will allow. It may also be necessary to increase your ISO to allow you to properly expose the image and to maximize your depth of field. Still, in many macro images your DoF may be very minute. With this very narrow focus it becomes necessary to use a tripod, because even the slightest movement of the camera will move your macro subject outside your depth of field.

This 120 mm macro even at f/8 still has a very shallow depth of field.

What is bokeh?

Bokeh (boh-ke) comes from the Japanese word meaning blur. This effect is produced by the out-of-focus areas in your image that are beyond the depth of field. Bokeh commonly refers to the pleasing circle shapes caused by the shape of the lens aperture. Usually created when shooting with your aperture wide open, such as f/2.8, bokeh can also be created with smaller apertures if the background is distant enough.

Learn more about how to get beautiful bokeh in your images here.

Bokeh in this image was created by the distance of the subject to the background, which fell well beyond the depth of field.

To summarize controlling depth of field:

Increase depth of field
- Narrow your aperture (larger f-number)
- Move farther from the subject
- Shorten focal length
Decrease depth of field
- Widen your aperture (smaller f-number)
- Move closer to the subject
- Lengthen your focal length
Take control of your depth of field. Understanding how these adjustments control your it will greatly improve your photography. What questions do you have about depth of field? Please share your photos and comments.

Recommended Reading for Beginner to Intermediate Photographers

If you enjoyed reading this tutorial we’ve put together a series of comprehensive advice for photographers:
- Ultimate Guide to Photography for Beginners
- Ultimate Guide to Landscape Photography
- Ultimate Guide to Taking Portraits and Photographing People
- Ultimate Guide to Nature and Outdoor Photography
- Ultimate Guide to Street Photography
- Ultimate Guide to Getting Started in Lightroom for Beginners
- Ultimate Guide to Fine Art Photography
- Ultimate Guide to Photography Terms and Common Words
The post Understanding Depth of Field for Beginners appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

Digital Photography School
July 28, 2020
Nikon Announces the Full-Frame Z5 With a Sub-$1500 Price

The post Nikon Announces the Full-Frame Z5 With a Sub-$ 1500 Price appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Last week, Nikon officially unveiled the Z5, an addition to the full-frame Z-mount mirrorless lineup that had previously only included the Z6 and the Z7.

While the Z5 doesn’t offer any groundbreaking features on par with Canon’s EOS R5/R6 announcement, the camera offers plenty to love, and will likely fall into place as an affordable full-frame option for those looking to move up from Nikon APS-C bodies.

So what does the Z5 include?

First, a full-frame, 24.3 MP sensor. This resolution is standard for entry-level APS-C and full-frame cameras, but it’s more than enough for all but the most megapixel-hungry of photographers, and generally offers a nice balance between detailed images and low-light capabilities.

Nikon promises a spectacular high-ISO performance, claiming that the Z5 will “excel in low-light situations, making it ideal for shooting everything from low-light events to an all-nighter under the Milky Way.”

As with the Z6 and Z7, you’ll also get in-body image stabilization, which ensures the Z5 is handholdable even in more difficult low-light scenarios or when shooting video, and allows the camera to deliver high-quality landscapes and travel photos even when there’s no tripod at hand.

You also get a 3.6M-dot electronic viewfinder, which should be enough to impress even more demanding shooters, as well as a 3.2-inch rear-LCD with tilting and touchscreen capabilities. Interestingly (and perhaps in response to complaints from Z6/Z7 users), the Z5 will offer dual SD card slots, which provide a level of redundancy required by many professional shooters.

As for autofocus, Nikon promises 273 AF points, which “cover nearly the entire frame,” as well as human and animal eye-detection technology for easy tracking of pet, portrait, and wildlife subjects. This appears identical to the highly-regarded AF system on the Z6, and should provide Z5 shooters with fast focusing and tracking, even in trickier conditions.

Unfortunately, while the Z5 boasts a maximum shutter speed of 1/800s, a significant drawback is the continuous shooting speed, which tops out at 4.5 fps, and makes the Z5 immediately unsuitable for more serious sports and wildlife photographers.

And while the Z5 is compatible with a slew of excellent lenses via the FTZ adapter, the number of native Z lenses is still limited compared to mirrorless competitors such as Sony and Fujifilm.

On the other hand, the Z5 features a weather-sealed body, which is (surprisingly) on the same level as the Z6 and Z7. And regarding video: The Z5 does offer 4K/30p recording, but this comes with a pretty substantial (1.7x) crop, which will undoubtedly make the Z5 less compelling for more serious video shooters.

Bottom line:

The Z5 will be an appealing option for photographers looking to transition to mirrorless, especially given a relatively reasonable ($ 1400 USD) body-only price. But the slow continuous shooting speeds will force fast-paced photographers (e.g., wildlife, sports, and street) to look elsewhere, while the presence of the Z6 (at around $ 1800 USD) will be a compelling alternative for photographers desiring faster (12 fps) shooting speeds.

The Z5 will begin shipping in late August, and is currently available for pre-order here.

Now over to you:

What do you think of the Nikon Z5? What is your favorite and least favorite feature? And is it a model you’d be interested in purchasing? Share your thoughts in the comments!

The post Nikon Announces the Full-Frame Z5 With a Sub-$ 1500 Price appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

July 27, 2020
6 Portrait Lighting Patterns Every Photographer Should Know
The post 6 Portrait Lighting Patterns Every Photographer Should Know appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

In classical portraiture there are several things you need to control and think about to make a flattering portrait of your subjects, including: lighting ratio, lighting pattern, facial view, and angle of view. I suggest you get to know these basics inside out, and as with most things, then you can break the rules. But if you can nail this one thing you’ll be well on your way to great people photos. In this article we’re going to look at lighting pattern: what is it, why it’s important, and how to use it. Perhaps in another future article, if you enjoy this one, I’ll talk about the other aspects of good portraiture.

Lighting pattern I’d define as, how light and shadow play across the face to create different shapes. What shape is the shadow on the face, in simple terms. There are four common portrait lighting patterns, they are:
- Split lighting
- Loop lighting
- Rembrandt lighting
- Butterfly lighting
There are also Broad and Short lighting which are more of a style, and can be used with most of the patterns above. Let’s look at each of them individually.

1. Split Lighting

Split lighting is exactly as the name implies – it splits the face exactly into equal halves with one side being in the light, and the other in shadow. It is often used to create dramatic images for things such as a portrait of a musician or an artist. Split lighting tends to be a more masculine pattern and as such is usually more appropriate or applicable on men than it is for women. Keep in mind however, there are no hard and fast rules, so I suggest you use the information I provide here as a starting point or guideline. Until you learn this and can do it in your sleep, default to the guideline whenever you’re not sure.

To achieve split lighting simply put the light source 90 degrees to the left or right of the subject, and possibly even slightly behind their head. Where you place the light in relation to the subject will depend on the person’s face. Watch how the light falls on them and adjust accordingly. In true split lighting, the eye on the shadow side of the face does pick up light in the eye only. If by rotating their face a bit more light falls on their cheek, it’s possible their face just isn’t ideal for split lighting.

NOTE: any lighting pattern can be created on any facial view (frontal view showing both ears, or ¾ face, or even profile). Just keep in mind that your light source must follow the face to maintain the lighting pattern. If they turn their head the pattern will change. So you can use that to your advantage to easily adjust the patten just by them rotating their head a little.

What the heck is a “catchlight”?

Notice in this photo above that the baby’s eyes have a reflection of the actual light source in them. It shows up as a little white spot, but if we look closer we can actually see the shape of the light I used in this portrait.

See how the bright spot is actually hexagon with a dark centre? That’s the light I used which was a small hexagon shaped soft box on my Canon speedlight.

This is what is known as the “catchlight”. Without the eye of the subject catching this light, the eyes will appear dark, dead and lifeless. You need to ensure that at least one eye has a catchlight to give the subject life. Notice it also lightens the iris and brightens the eye overall. This also adds to the feeling of life and gives them a sparkle.

2. Loop Lighting

Loop lighting is made by creating a small shadow of the subjects noses on their cheeks. To create loop lighting, the light source must be slightly higher than eye level and about 30-45 degrees from the camera (depends on the person, you have to learn how to read people’s faces).

Look at this image to see where the shadows fall, and on their left sides you can see a small shadow of their noses. In loop lighting the shadow of the nose and that of the cheek do NOT touch. Keep the shadow small and slightly downward pointing, but be aware of having your light source too high which will create odd shadows and cause loss of the catchlights. Loop light is probably the most common or popular lighting pattern as it is easy to create and flatters most people.

In this diagram the black backdrop represents the bank of trees behind them. The sun is coming over the trees but they are completely in the shade. A white reflector is used at camera left to bounce light back into the subjects’ faces. The reflector may or may not be in the sun but you can still pick up light even if it’s not. Just play with the angles, by changing the placement of the reflector you can change the lighting pattern. For Loop lighting it will need to be somewhere around 30-45 degrees from the camera. It also needs to be slightly above their eye level so the shadow or loop of their nose angles down towards the corner of the mouth. That is one mistake I often see beginners make with reflectors is to place them down low and angle it up. That lights up the bottom of your subject’s nose and does not create a flattering pattern.

3. Rembrandt Lighting

Rembrandt lighting is so named because the Rembrandt the painter often used this pattern of light in his paintings, as you can see in his self portrait here. Rembrandt lighting is identified by the triangle of light on the cheek. Unlike loop lighting where the shadow of the nose and cheek do not touch, in Rembrandt lighting they do meet which, creates that trapped little triangle of light in the middle. To create proper Rembrandt lighting make sure the eye on the shadow side of the face has light in it and has a catch light, otherwise the eye will be “dead” and not have a nice sparkle. Rembrandt lighting is more dramatic, so like split lighting it creates more mood and a darker feel to your image. Use it appropriately.

To create Rembrandt lighting the subject must turn slightly away from the light. The light must be above the top of their head so that the shadow from their nose falls down towards the cheek. Not every person’s face is ideal for creating Rembrandt lighting. If they have high or prominent cheek bones it will probably work. If they have a small nose or flat bridge of the nose, it may be difficult to achieve. Again, keep in mind you don’t have to make exactly this pattern or another, just so long as the person is flattered, and the mood you want is created – then the lighting is working. If you are using window light and the window goes down to the floor, you may have to block off the bottom portion with a gobo or card, to achieve this type of lighting.

4. Butterfly Lighting

Butterfly lighting is aptly named for the butterfly shaped shadow that is created under the nose by placing the main light source above and directly behind the camera. The photographer is basically shooting underneath the light source for this pattern. It is most often used for glamour style shots and to create shadows under the cheeks and chin. It is also flattering for older subjects as it emphasizes wrinkles less than side lighting.

Butterfly lighting is created by having the light source directly behind the camera and slightly above eye or head level of the subject (depends on the person). It is sometimes supplemented by placing a reflector directly under their chin, with the subject themselves even holding it! This pattern flatters subjects with defined or prominent cheek bones and a slim face. Someone with a round, wide face would look better with loop or even split to slim their face. This pattern is tougher to create using windowlight or a reflector alone. Often a harder light source like the sun or a flash is needed to produce the more defined shadow under the nose.

5. Broad Lighting

Broad lighting is not so much a particular pattern, but a style of lighting. Any of the following patterns of light can be either broad or short: loop, Rembrandt, split.

Broad lighting is when the subject’s face is slightly turned away from centre, and the side of the face which is toward the camera (is broader) is in the light. This produces a larger area of light on the face, and a shadow side which appears smaller. Broad lighting is sometimes used for “high key” portraits. This type of lighting makes a person’s face look broader or wider (hence the name) and can be used on someone with a very slim face to widen it. Most people however want to look slimmer, not wider so this type of lighting would not be appropriate for someone who is heavier or round faced.

To create broad lighting the face is turned away from the light source. Notice how the side of the face that is towards the camera has the most light on it and the shadows are falling on the far side of the face, furthest from the camera. Simply put broad lighting illuminates the largest part of the face showing.

6. Short Lighting

Short lighting is the opposite of broad lighting. As you can see by the example here, short lighting puts the side turned towards the camera (that which appears larger) in more shadow. It is often used for low key, or darker portraits. It puts more of the face in shadow, is more sculpting, add 3D qualities, and is slimming and flattering for most people.

In short lighting, the face is turned towards the light source this time. Notice how the part of the face that is turned away from the camera has the most light on it and the shadows are falling on the near side of the face, closet to the camera. Simply put short lighting has shadows on the largest part of the face showing.

Putting it all together

Once you learn how to recognize and create each of the different lighting patterns you can then start to learn how and when to apply them. By studying your subject’s face you will learn which lighting pattern will be best for them, and for the type of portrait and mood desired. Someone with a very round face that wants to appear slimmer in a grad portrait, will be lit very differently than someone that wants a promo shot for their band that makes them appear mean or angry. Once you know all the patterns, how to recognize and master quality of light, direction of light and ratio (we’ll discuss that in a future article) then you will be well equipped to handle the challenge.

Of course it is much easier to change the lighting pattern if you can move the light source. However if the main light source is the sun, or a window – it’s a bit tougher to do that. So what you will need to do instead of moving the light, is to have the subject rotate in respect to the light to change the direction it falls on them. Or change your camera position. Or change their position. So basically move the things you can move in relation to the light, if you cannot move the light source itself.

Practice Exercise

Corral yourself a subject (as in a real live person, not your dog) and practice creating each of the lighting patterns we just discussed including:
- butterfly lighting
- loop lighting
- Rembrandt lighting
- split lighting
Remember to show both broad lighting and short lighting – for each of the different patterns, where applicable. Don’t worry about any other aspect (ratio, fill light, etc) for now, just concentrate getting the patterns down pat first. Use light from a window, a floor lamp with a bare bulb (take the shade off) or the sun – but try and use a light source that you can see what’s happening (I’d suggest that you do not try using flash until you’ve got more experience, it’s harder to learn with because you can’t see it until after the photo is taken) This also works best to start out with the subject facing the camera directly, no turning except to create the broad and short.

Show us your results please and share any challenges or problems you encountered. I’ll try and help you solve them so you and others can learn from it, and get better for next time.

If you’re on Pinterest – here’s a graphic to save this tutorial.

The post 6 Portrait Lighting Patterns Every Photographer Should Know appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

Digital Photography School
July 25, 2020
Weekly Photography Challenge – Patterns

The post Weekly Photography Challenge – Patterns appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s weekly photography challenge – PATTERNS!

Kate Ausburn

Patterns are everywhere – in nature, in everyday objects around the home and yard. They are in cities – in architecture and roadways. They can be color or black and white. They can be taken with your good camera or your smartphone (as mine are).

Play with post-processing too, if you like.

The choice is yours! I look forward to seeing what you share

Check out some of the articles below that give you tips on this week’s challenge.

Photography with food coloring and milk creates some interesting patterns. Photos by Megan Kennedy.

Pattern photographs by Rick Ohnsman

Tips for photographing PATTERNS

How to Use Pattern and Repetition in Photography Effectively

Tips for Photographing Patterns in Nature

How to Turn Your Images into Kaleidoscope Patterns

How to Use Rhythm and Pattern to Create Stronger Compositions

How to Create Kaleidoscope Patterns from Your Photos

Creative Abstract Photography with Food Coloring and Milk

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

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

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSpatterns2020 to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Patterns appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School

July 25, 2020
Canon: Has The Sleeping Giant Awoken?
The post Canon: Has The Sleeping Giant Awoken? appeared first on Digital Photography School. It was authored by Carl Spring.

The Canon camera and lens lineup is now looking formidable.

The recent Canon launch saw the release of two new cameras, the Canon EOS R5 and Canon EOS R6. We all already knew the specs, and they are huge.

The R5 has all the headlines, 8K internal recording, and 4K 120p. But the R6 shares so much of its DNA, such as 8-stop in-body image stabilization and a blazing autofocus system.

Canon is back. The sleeping giant has awoken.

Canon has always been a name synonymous with photography. Ask a non-photographer to name a camera brand, and they will probably say Canon. Even if they don’t, they will possibly refer to photographers at sporting events with the big, white lenses.

Canon changed the game with the 5D Mark II. But since then, releases have been less groundbreaking and have offered more incremental upgrades. Canon felt like a giant who was happy plodding along because nobody was really challenging it.

Even now, Canon still has a monopoly on camera sales. However, in 2019, Canon’s sale value fell by 11%, whereas Sony saw a 14.5% increase in sale value in the same period. Sony’s sales success came in the form of their high-end mirrorless cameras.

Along came mirrorless

Canon (like Nikon) seemed to almost bury their head in the sand as mirrorless cameras came to overtake the DSLR.

Canon’s release of the EOS R and RP seemed to be a reactive move. A way to get something out so they had a mirrorless camera, rather than a way to remind the industry who’s the boss. This complacency allowed Sony to not only gain a foothold but, in the eyes of many, to become the dominant player.

It was Sony who released the new, exciting products. Sony’s sensors were the cream of the crop. Meanwhile, Canon felt like the old-school company that was sure mirrorless was just a fad. When reality (and the figures) hit them, they were ill-equipped to react. The EOS R felt like a product that was thrown together, rather than a genuine contender to Sony’s mirrorless crown.

It’s not that Canon EOS R is a terrible camera; it isn’t. But the lack of a second card slot (yes, we can argue about the importance of this in the comments), combined with an autofocus system that was nowhere near as competent as Sony’s, meant that many people started to be lured away. Sony pushed the boundaries of technology and became the company the others all had to chase. And it wasn’t just Canon; Nikon’s trajectory felt incredibly similar.

With the research and development of a new camera taking years, Canon’s only plausible response was to begin to put out lenses, which is exactly what they did. This glass was amazing. Canon now had some of the best glass out there for mirrorless, but they simply didn’t have a body that many pros could see themselves using, or one that was as good as what the competition was offering. People began to move away to other systems.

But then the rumblings started.

The R6 does not feature the top-line specs of its bigger brother. But, to quote Han Solo, “She’s got it where it counts, kid.”

They’re coming

Rumors started about Canon working on a new mirrorless. A true 5D replacement.

Then spec leaks began, and it seemed there would be a lot more than simply dual card slots.

8K? No way!

4K 120? Not going to happen (or at least not to a usable standard).

IBIS? 45 Megapixels? There had to be a catch.

It felt like the photo community had become used to Canon doing something to ruin things (Motion JPEG codec, anyone?). These comments showed how far Canon’s reputation had dropped.

Even so, people were excited. Many were hopeful. Could it be happening? Would Canon realize the errors of its recent past and actually release a groundbreaking camera?

As it turns out: Yes, they did. But why release one amazing new camera when you can release two?

8K, yeah, right! Oh, wait, the rumors were true.

The champ is here

When the R5 and R6 were announced, we saw Canon launch themselves back toward being king of the industry. The spec rumors were all true, and despite a launch that felt cringe-worthy at times (it can’t just be me), Canon was taking mirrorless seriously.

This launch felt, to many, like the 5D Mark II did all those years ago.

Now, this praise is based on reading pre-production reviews, and obviously those who were given these models to test are not going to bite the hand that feeds them.

But the R5 and R6 look good. Actually, scratch that; they look amazing.

Amazing IBIS stabilization, those Canon colors, and amazingly fast autofocus that includes impressive face and eye detection.

8K video. (Okay, for most there is absolutely no need for 8K, but like in the megapixel wars, video resolution looks to be going towards the bigger is better mantra). Not only 8K, but internal 8K.

This is before you get to the R6. A camera that appears to share a sensor with the flagship 1DX Mark III and shares IBIS and AF systems with its more expensive bigger brother. 20MP may not wow in the megapixel race, but the potential for low light performance is huge. You only need to look at the revised DxO scores for the 20MP 1DX Mark III for proof of this.

If you were to ask for the perfect camera in 2020, at least some of the specs are featured on this one. For many (me included), it felt like an exciting camera, a game-changing camera, and one that will surely bring anyone who was thinking of switching brands back to the Canon fold.

The professional glass has been here a while. Now the cameras match up to it.

What took you so long?

It didn’t take long for the negativity to start, though.

Canon EOS R5 overheating issues, based on leaked documents and pre-production models, are popping up everywhere. When Peter McKinnon spoke about overheating in his YouTube video, it saw social media explode. The R5 instantly became unusable for video professionals, another example of Canon getting it wrong, etc. That’s before I even mention the 20MP sensor on the R6.

You can understand some of these concerns, but they are not new and really should not be unexpected. 8K means putting a huge amount of information through a tiny camera (with no fans) constantly. To record 53 minutes of 8K raw footage, you will go through one terabyte of storage. That being possible on a camera the size of the R5 is mind-blowing. Yet some people seem to be complaining that you can’t do unlimited recording on it. The fact you can do it at all is a feat of amazing technical expertise.

Canon hate is now strong in some parts. Canon now must appeal to those who moved away to (mainly) Sony. Switching to a different camera system is something that people really don’t do lightly. Those who moved to Sony from Canon are now facing the reality that Canon just gave them what they wanted, but it is too little too late.

It goes deeper than that, though. Those who moved away from Canon, the team they once loved, will always tend to be harsher critics. Not simply because of their newfound loyalty, but also the fact that they had their hearts broken.

That is not in any way to say Sony hasn’t released some amazing cameras. They have, but people will always struggle to cheer for a brand they just left. There are also a lot of big YouTube influencers on Sony’s payroll, which will definitely result in a certain narrative from a portion of the photo community.

Let’s look at the R5 specs

If you were looking for a high-end camera and it did the following, what more would you want?
- 45 Megapixels
- 8K RAW
- 4K/120 fps
- Autofocus in all video modes
- Beautiful high-resolution viewfinder
- Animal, eye, and face detection autofocus that is as good as, if not better than, any current camera
- Up to 8 stops of image stabilization
- 12 fps shooting with the mechanical shutter (20 fps with the electronic shutter)
- 5 GHz WiFi
- Gigabit Ethernet (via the optional grip)
- New sensor with the ability to resolve greater detail than the previous 50-megapixel camera
These are the specs of a camera that is looking to take down all competition in 2020.

You may feel the price tag seems high, but this is a flagship mirrorless camera that has everything most professionals will want in a camera for the next five-plus years.

When fitted with the optional grip, the R5 gets Gigabit Ethernet.

The bigger picture

With this release, Canon now has a formidable line-up of cameras (not to mention lenses) at the top of their range.

Canon 1D X Mark III

An amazing DSLR for sports and news professionals. Yes, it’s 20 megapixels, but for many professionals, that is a perfect number. A true professional workhorse.

Canon EOS R5

An amazing mirrorless option for portrait and wedding photographers. Add in the crazy video specs and you will have the ultimate hybrid camera which will find its way into huge numbers of camera bags.

Canon EOS R6

A low-light powerhouse and another amazing all-rounder. For those who aren’t consistently printing at huge sizes, the lower megapixel count will free up hard drive space and allow older computers to hang on for longer. You also get 4K video that is perfect for the majority of people, so there really is a lot to love here.

Canon’s current lineup easily rivals Sony’s offerings, and really has put Canon back in the position of pushing camera technology to the limit.

But there’s still a lingering question.

Although the megapixel count is lower than some, do not underestimate the R6.

Is there an Achilles’ heel?

Will these cameras live up to the hype?

We will only know for sure when production models make their way into the hands of reviewers and the public. On paper, the cameras look outstanding, but only time will tell. I personally can’t see Canon dropping the ball here.

The more obvious issue so far is also one of the most important: battery life. The giant may be back, but it seems to have spent a lot of energy getting here. The R5 is limited to only 320 shots, much fewer than the 530 shots that the Sony A7R IV can manage.

You can lower the screen refresh rates and get up to 490 shots per charge, but Canon has gone for backward compatibility with the 5D Mark IV and EOS R over pure battery power.

The ability to use older batteries (with fewer shots per charge) will ease the transition of those using the 5D Mark IV, which is a huge target for Canon with this camera. However, battery life is essential for many, and not matching Sony’s battery capabilities is a small misstep.

So is Canon back on top?

The question is:

Are these new cameras enough to win people back to Canon?

And honestly, I don’t think they are. The new cameras are amazing, and don’t doubt that Canon, the sleeping giant of the last few years, has awoken. It seems hungry to flex its muscle and eager to destroy those young upstarts that have been stealing its thunder.

However, time has passed, people have moved on, and while this is an amazing pair of releases that will keep Canon shooters happy, many have already left.

Tired of waiting for the Canon launch that would finally bring them hope, people left for different shores.

And as wonderful as these releases are, I can’t see many turning around and sailing back.

The post Canon: Has The Sleeping Giant Awoken? appeared first on Digital Photography School. It was authored by Carl Spring.

Digital Photography School
July 24, 2020
How to Make the Ordinary Look Extraordinary in Photography

The post How to Make the Ordinary Look Extraordinary in Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

A good subject does not make a good photo, a good photographer does. How can you photograph ordinary things to make them look extraordinary? This is a question I am sure many people are contemplating as they are confined to their homes.

© Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/100 sec., f/7.1, ISO 800

In and around our homes, we are familiar with the environment and what’s in it. These things are ordinary to us, and often we don’t think about photographing them. The exception may be after we buy our first camera. Then everything is interesting to photograph.

I love what British photographer Martin Parr says about his work. He says he aims to make the ordinary look extraordinary. This is a relevant challenge for many photographers who cannot get out and photograph the things you typically point your camera at.

© Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/320 sec., f/7.1, ISO 800

Be creative when you photograph ordinary things

To make the ordinary look extraordinary, you have to think outside the box. Don’t rely on what you normally do. Push beyond the rules and techniques you may typically follow and think about how you can photograph things differently.

Pick the best time of day to photograph some flowers in your garden. Then, tomorrow, photograph the same flowers at a different time – perhaps from a different angle. Compare your results. Don’t limit your thinking to what you’ve learned is the correct time or the right way to photograph flowers. Get yourself out of that mindset.

Observe how the light changes during the day. What’s it like in the morning, midday and in the evening? Challenge yourself to find things to photograph during a time you normally would not because you think the light is no good.

If you’re not used to being at home in the middle of the day, pick up your camera while you take your lunch break. Press yourself to find interesting light somewhere in your home to take some photos.

© Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/160 sec., f/6.3, ISO 800

Choose your favorite things to photograph

The very first photography assignment I completed was simple. I was taking a night school class on black and white photography shortly after purchasing my first camera. The task assigned was to photograph ordinary things. Something that we were familiar with.

We had to take one roll of film. Yes, it was a while ago! The choice was ours to load a 12, 24 or 36 exposure film. I made 36 exposures of my bicycle. I photographed it from every conceivable angle.

I loved riding my bike (and still do), so it was not difficult to photograph 36 times. Each frame was different. Some were close up, others were from further back.

© Kevin Landwer-Johan Nikkormat FTN, Lens 50mm. One of the photos of my bicycle from my first assignment.

Photographing something you love will make it easier because of the connection you have with it. Your mind will imagine the type of photos you can make of it because you love that thing.

When I photographed my bike, I did so all in one session. You could do this too, or spread out the challenge and make a series of photos of your chosen subject(s) over a period of time. I have done this too. For the past 37 years, I have been photographing bicycles.

Ever since that first assignment to photograph ordinary things, I have loved taking pictures of bikes. You never know how a simple assignment might grow on you.

© Kevin Landwer-Johan Nikon D800, Lens 55mm, 1/125 sec., f/8, ISO 800. The bike I currently ride.

Experiment with your subject

Try many different styles of photography. Practice new things. Improve on techniques you are already familiar with.

If you are someone who generally only photographs things once, now is the time to push beyond this. Challenge yourself to photograph ordinary things over and over again. How can you keep making interesting photos of the same stuff? It’s not about the subject or your camera. It’s up to your imagination.

Change the lighting. Move the thing you’re photographing to another place. Use a lens you’d never before consider using for this subject. Press beyond your preconceived ideas of the ‘right’ way to do things. There is no right or wrong way when you are a creative photographer.

Come at your subject from every imaginable angle. The first angle you think to take a photograph from is not always the best. Move around. Lie on the ground. Stand on a chair. Look at your thing from as many interesting angles as you can think of.

© Kevin Landwer-Johan Nikon D800, Lens 35mm, 1/100 sec., f/2.8, ISO 400

Limit your gear choice

Attach one prime lens to your camera and leave it there. Force yourself to use just one focal length on your favorite zoom lens.

By experimenting with one lens you will come to know it better. The more you use this lens, the better feel you will develop for it. Taking photos of the same subject, with the same lens may seem limiting – and it is, in a way – but this limitation will hopefully press you to develop your creative thinking.

Photograph ordinary things using the most basic equipment. This is a sure method to encourage your creative thinking. The best thing you have to rely on is your imagination.

© Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/160 sec., f/6.3, ISO 800

Use your flash

Take the lead from Martin Parr and use your flash more. Either on or off-camera, add flash to photos when you normally would not.

By adding artificial light to what you have chosen to photograph, you will see it in a whole new light. This is a fabulous way to become more proficient with your flash. By using it at times when you typically would not, you will discover new possibilities. It may give you the boldness to use flash more frequently in the future.

Take your time and try using your flash in different ways. Fixed to your camera’s hot shoe, you’ll get very direct, harsh lighting. Tilting the flash head so that it points at the ceiling or a nearby wall, will add a softer light to your subject. Taking your flash off-camera, you can add light from a fresh perspective.

© Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/250 sec., f/7.1, ISO 400

Learn from the Masters

I’ve mentioned Martin Parr a few times in this article. He’s known for his somewhat garish captures of normal, everyday objects. He can photograph ordinary things and make them grab our attention. It’s his way of seeing that he shares with us.

Look at how your favorite famous photographers photograph ordinary things. You will find that many of them do. Irving Penn’s still life images are exquisite. Edward Weston’s photo of a pepper is somewhat iconic. Man Ray came up with all manner of wonderfully experimental images of things from within his environment.

Conclusion

Focus on what is around you. Challenge yourself to take photos of things you normally would never consider worthy of a picture. I am sure you will surprise yourself a few times with what you come up with when you put your mind to it.

Use this time to learn to photograph ordinary things. Inspire yourself out of the rut of thinking that ordinary is boring. Make great photos of ordinary things, or at least have fun trying.

And when you’re done post-processing your photos, share a few of them in the comments below and let us know your thought process behind them. This way, you can encourage others to become more diverse in their creative photography.

The post How to Make the Ordinary Look Extraordinary in Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Digital Photography School

July 23, 2020
The Photography Skill Progression that Stunned Us

The post The Photography Skill Progression that Stunned Us appeared first on Digital Photography School. It was authored by Darren Rowse.

If you’re still stuck on auto mode and struggling with all the settings on your digital camera, this story of photography skill progression is for you. You may wonder, “Just how long does it take to become a better photographer? 3 days? 31 days? Two years?

In this feature of one of our students, the answer was all three.

Today I wanted to share with you the story of Marie Costanza. Marie grew up in Rochester, NY – the home of Kodak. So it’s no surprise she grew up taking photographs with her Kodak Instamatic camera.

Prior to starting our course 31 Days to Becoming a Better Photographer in February 2018, Marie described her experience being at the novice level.

“I was enthusiastic about taking photos and some of my images were decent, but I was not able to explain what I did to cause some of my images to be decent and many of them to be mediocre.”

Marie Costanza

She shared with us a sample of photos she took a few years before doing the course with instructor, Jim Hamel.

Children playing in water – Marie Costanza (before the course)

Birds at the zoo – Marie Costanza (before the course)

Sunset – Marie Costanza (before the course)

She wasted no time getting stuck into the course and extracting value from Jim. Here are the first images she shared with the group, after just 3 days.

And how right Jim was when he said . . .

Nice work. And this is only the beginning.

Jim Hamel

By “Day 7” Marie was experimenting more and starting to get shots like these:

And Jim’s response:

Prior to Jim’s course, I only shot on Automatic mode. I was completely intimidated by Manual and I did not fully understand the relationship among ISO, Shutter Speed or Aperture. I did use Aperture priority occasionally, and I was starting to understand that mode slightly. Jim’s Day 3 lesson was like a revelation for me. Being able to understand how to meter and how to use the Manual Mode opened up a whole new world of photography.

Let’s compare some of her more recent photos with the ones she shared earlier:

Children Playing in Water – Marie Costanza (Before and After the course)

Birds – Marie Costanza (Before and After the course)

Sunset – Marie Costanza (Before and After the course)

But by far our favourite progression has been what our team like to refer to as “Marie’s Duck Progression”! It certainly caught our attention and it’s the reason we wanted to feature her photography today.

Duck – Marie Costanza (Before the Course)

Duck – Marie Costanza (During the Course)

Duck – Marie Costanza (After the Course)
Define the subject…for this challenge, I went back to my duck subject….those of you who have known me since we began the 31 Days course back in 2017…you might recall my original duck and then my post course duck. I love using ducks for my subject! This guy is called, “Late for an Important Date.” I used the following settings: ISO 1000, 380 mm, f6.0, 1/2000. I was using my Tamron 150-600 lens, hand held.

In addition to Day 3 (Metering), Marie also said Day 9 (Making Images Tack Sharp) was very beneficial in improving her duck photos because it helped her understand the impact of the shutter speed. Day 15 was helpful because learning about the importance of simplification helped her to understand that it’s important to eliminate distractions and to fill the frame with the subject. You can really see the impact of that in her second photo.

And the final photo, taken this year is a culmination of everything she has learned and practiced. Marie says, “Prior to the course I had just begun to play around a bit with Lightroom, so all of Jim’s lessons where he took us through the process of editing an image really helped me to understand the power of post processing.”

We asked what advice she’d give other aspiring photographers considering 31 Days to Becoming a Better Photography course.

The best part of this course was the fact that there was daily interaction between the student and instructor as well as all the new people we met in the Facebook Group. Anyone considering a course like Jim’s, should make sure this aspect is included. The helpful suggestions were invaluable and practical. Getting immediate feedback, which included positive elements as well as suggestions for improvement, made me eager to try the techniques.

Marie Costanza

And Marie and thousands of students since have received amazing attention from Jim like this reply to her very first post in the group:

Marie also had the following to say about Jim’s teaching style:

Having been an educator for over 37 years I am able to recognize effective teaching and the successful learning that is directly related. (For 15 years I was in charge of the Career in Teaching Program in the Rochester City School District, and I observed/provided feedback to countless teachers.)

Jim’s method of teaching is why the course is so successful. He teaches one concept at a time, has the student practice the new techniques, and then he provides feedback immediately.

The videos were the right length, which enabled me to effectively process the concepts/skills. When a teacher gives too much information or presents too many tasks/concepts, the learner has cognitive overload, resulting in the learner being unable to process the information.

Jim is highly skilled at knowing just how much information to present in order to challenge the student without forcing the student into cognitive overload. He is a highly effective teacher!

Marie Costanza

Marie’s photos star in our course promotions, along with photos from fellow students. Real photos, real students. Join them for the final class intake and save $ 100 when you sign up now.

Learn More

We love what Marie has achieved with her photography since doing the course. She has joined her local photography club and has even won some awards for her photos. Here are some more of our favourite photos she has taken – a world apart from her earlier snaps.

Moon Composite – Marie Costanza

Sunflowers – Marie Costanza

Pier – Marie Costanza

Bee – Marie Costanza

If you’d like to experience improvement in your photography like Marie, please check out our final class intake for 31 Days to Becoming a Better Photographer and save $ 100 when you join before 31 July.

The post The Photography Skill Progression that Stunned Us appeared first on Digital Photography School. It was authored by Darren Rowse.

Digital Photography School

July 23, 2020
Introduction and Creative Uses for the Snapseed Double Exposure Feature

The post Introduction and Creative Uses for the Snapseed Double Exposure Feature appeared first on Digital Photography School. It was authored by Ana Mireles.

Do you have a different app for doing collages, and compositing, and another for changing backgrounds? Then this article is for you. I’ll show you how to use the Snapseed double exposure feature so you can do all of this inside one free app. Let’s get started.

Double Exposure

The double-exposure technique comes from film photography. It’s created by shooting multiple times in the same frame. This can create compositions, collages, or superimposed ghosts on a scene and used for many things. Fortunately, it carried over into digital photography.

There are different ways to achieve double exposures. You can do it in-camera, by editing on your computer or using your smartphone. This last one is what I want to show you.

Snapseed editing app

There are tons of editing apps to choose from. I particularly like Snapseed because you can do most of your post-production in it, it’s free and available for iOS and Android.

In general, Snapseed is very intuitive, but if you want to have more control over your editing, it’s not always clear how to access the tools for fine-tuning. This is the case of the Snapseed double exposure feature.

Basic Double Exposure

For the basic use of the Snapseed double exposure feature, I’m going to show you how to add a bokeh background to your subject.

When you launch the app, you’ll be immediately prompted to open your image by clicking anywhere on the screen. This will open the browser for you to access your gallery. Choose the one with your subject and tap on it.

Next, open the Tools menu by tapping the pencil icon. Scroll down until you find the Double Exposure tool and tap on it.

Here you’ll find three tools. Choose the one with the plus sign (+) on it. This is the ‘add image’ button. It will give you access to your gallery again to add the photo you want to overlap. In this case, the bokeh image.

Blending modes

Now that both images are superimposed, you can modify the effect.

Start by tapping the middle icon – it represents the different layers. Here you can adjust the way they interact with each other. If you are familiar with Photoshop Blend Modes, it will be fairly easy. If not, just tap on each choice to see how they change the results.

When you’re happy, tap on the check icon to apply.

Opacity

Now, go to the third tool, the one that looks like a drop. With this one, you can open a slider that controls the transparency of the layer. Move it until you like the final result.

If it’s still not perfect, you can always mask away specific parts of your layer. I’ll show you how to do this in the next section by doing a simple composite.

Advanced editing

Pretty good right? But not exactly a lot of control. That’s why the Snapseed double exposure feature offers the possibility to mask. However, these tools aren’t so easy to find as a first time user.

First, make your composite with the basic tools as explained in the previous section. Once you’ve decided on the blending mode and transparency, accept the edits by tapping on the check sign.

Next, tap on the back button that you can find on the top right. Usually, you wouldn’t do that unless you were unhappy with your results, and this is why these advanced tools are not apparent at first glance. This will open a menu that gives you the choice to Undo, Revert, and View edits. This last one is where you want to go.

This will open a list with every edit you’ve done.

In this case, there’s only the double exposure, but if you also adjusted perspective, exposure, etc, it would show up here to access again for further edits.

Click on the Double Exposure step to open its menu. The sliders icon on the right takes you back to basic tools if you want to make any changes. The icon in the middle takes you to the advanced edits.

Masking

Here, you can mask your images to reveal or hide different parts of it. Use your finger as a brush and just paint away. With the eye icon, you can make the mask visible.

Use the arrows to increase or decrease the opacity. If you made a mistake and painted over the wrong part, tap the arrow down to 0 and paint again to make visible again the underlying layer.

If you need to be precise, you can zoom in and out using two fingers. When you’re happy just tap on the check button and save your image.

Conclusion

The Snapseed double exposure feature gives you control over the effect you’re applying while still being easy to use without previous training.

And, by the way, it’s not just double but multiple exposures. You can add as many layers as you want. Just repeat the process to add more images.

Get creative and show us your results in the comments section!

The post Introduction and Creative Uses for the Snapseed Double Exposure Feature appeared first on Digital Photography School. It was authored by Ana Mireles.

Digital Photography School

July 23, 2020
Beginners Tips for Night Sky and Star Photography
The post Beginners Tips for Night Sky and Star Photography appeared first on Digital Photography School. It was authored by Phillip Van Nostrand.

Star Photography

My favorite type of personal photography is taking night shots of the stars (long exposure pictures). I am often busy shooting pictures of people at weddings, or apartments, or models, and it’s important for me to make sure I take pictures for fun regularly. Taking pictures for no one other than myself is highly rewarding, soul filling, and fun! I also love taking travel photos and HDR photos, in this article we will take a close look at exactly how you can take your own epic star photographs.

30 seconds at f/2.8, ISO 1250

What you need to take jaw-dropping pictures of stars

To take your star pictures, you only need three things:
1. a full-frame camera (for better ISO capabilities)
2. a fisheye lens (for the widest view of the sky)
3. a tripod (for stability during 15 second photos)
(Note: You can do this with a cropped sensor camera, without a tripod, and without a fisheye lens. It will just be a little harder and slightly less jaw-dropping)

25 seconds at f/2.8, ISO 1600

Camera settings

You can nail this shot almost every time with these settings: 25 second exposure, f/2.8, ISO 1600

If your lens doesn’t open up to f/2.8 you can try 30 seconds at f/4 with ISO 1600.

Note: this kind of photography won’t work if there is a full moon out (or even a half moon). Don’t compete with large light sources, the stars will be over powered. The best location for star photography is way out in nature, away from city lights that cause “light pollution.”

13.0 seconds at f/2.8, ISO 1600

Why to use these settings

The most important component of these settings is the 25-second exposure. An exposure longer than about 25 seconds will start to show star trails. Photographing star trails is a legitimate type of photography on its own, but not the type of photography you are trying to do here. Since you are limited to about 15-25 seconds max shutter speed, you still need to let in more light.

The largest aperture you can find on a fisheye lens is f/2.8, and still, your picture might not be quite bright enough to look stunning. So this is where the ISO comes into play. On a full-frame camera like the 5D Mark III or the Nikon D800, you can bump the ISO up to around 2000 without seeing much noise.

You’ll learn how to reduce noise in Lightroom in the next section for a super clean photo.

Editing in Lightroom

I do extensive retouching in Lightroom after I take my photos. I’ll usually boost the exposure up by a stop or more, and I’ll use Noise Reduction under the Detail section to reduce any unwanted “noise” (those pesky extra white, red or blue pixels that show up when you push the ISO too high).

Here is a standard star photo of mine and the Lightroom settings I used to create it:

25 seconds at f/2.8, ISO 1600

Here are the Lightroom settings I used to edit the above photo:

1) You can see in the first panel that I bumped the whites up to +46 and brought the blacks down to -52. I really wanted to emphasize the stars against the dark sky and this is a good way to do that. Pushing the clarity up to +55 also helps define the stars against the sky, making them nice and crispy. I boosted the saturation to bring out any colors that are in the sky.

2) In the second panel, you can see that I sharpened up the image a bit, also to emphasize the stars. At the same time, I brought up the noise reduction to 33 to smooth out some of the noise that might show up, and I brought up the color to 25 for the same reasons.

Pro tips

Here is where you can have fun with the editing. Play around with the split toning sliders to make the colors in your sky appear magical. In the photo above you can see a little bit of turquoise in the lower part of the sky, and that comes from boosting that color in the Shadows of the Split Toning slider here:

You can also affect the color of the sky by playing around with the temperature and hue sliders to get some pretty magnificent looking star photos. Take a look at this one photo rendered three different ways:

Another pro tip that you may have noticed in all of the photo examples I gave here is this – shoot your stars in context. It really tells a great story to see a silhouette of a pine tree or a house in the background, and it shows the magnitude of the scene when you have an object in the foreground to compare to the stars.

Lastly, make sure you know which direction the Milky Way is. You can use an app like Sky Map to see exactly what stars are in the sky above you.

Have fun shooting, and please share your pictures below!

The post Beginners Tips for Night Sky and Star Photography appeared first on Digital Photography School. It was authored by Phillip Van Nostrand.

Digital Photography School
July 21, 2020
Here Is Why Mirrorless Cameras Have Shutters

Mirrorless cameras are becoming more and more popular not just with amateur photographers but with professional ones too. By doing away with the mirror system within the camera in favour of an electronic viewfinder and/or LCD screen the camera is able to be more compact, lighter and have smaller interchangeable lenses than its DSLR counterpart. Using a sensor system similar Continue Reading

The post Here Is Why Mirrorless Cameras Have Shutters appeared first on Photodoto.

Photodoto

July 21, 2020