Category: Photography

Fujifilm X-T4 Review: The Best APS-C Camera on the Market (For a Price)
The post Fujifilm X-T4 Review: The Best APS-C Camera on the Market (For a Price) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

If you’re trying to decide whether the Fujifilm X-T4 is the right camera for you, then this comprehensive Fujifilm X-T4 review is exactly what you need.

For several weeks, I’ve been putting Fujifilm’s newest camera through its paces, with the goal of answering a few key questions:
1. What does the X-T4 offer over the X-T3?
2. How does the X-T4 compare to other options on the market?
3. And, ultimately, is the X-T4 worth the price?
All these questions, and more, will be answered in this review.

So, without further ado, let’s dive right in!

Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 80mm | 1/250s | f/8 | ISO 200

The Fujifilm X-T4: Overview

The Fujifilm X-T4 comes as the latest addition to Fujifilm’s flagship lineup, previously headed by the Fujifilm X-T3. Note that Fujifilm explicitly indicated that the X-T4 does not replace the X-T3, but enters the lineup as a sister model.

In many ways, the X-T3 and the X-T4 are the same; the ergonomics and aesthetics are exceedingly similar, plus you get 26 MP X-trans sensors, dual card slots, and 4K/60p video.

But there are also some fundamental differences. While there’s certainly still room for the X-T3 in a Fujifilm lover’s gear bag, the truth is, the X-T4 is the better camera (though significantly pricier!).

In fact, I’d go so far to say that the X-T4 is one of the absolute best cameras I’ve ever used, and certainly one of my favorites, thanks to its Fujifilm retro charm, as well as its generally strong performance across the board.

Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 32.5 mm | 1/250s | f/8 | ISO 200

Fujifilm is in the business of making all-around cameras: Mirrorless models that can do pretty much anything at a high level, from action to landscape to video. The X-T4 is simply another level of this superb well-roundedness, giving a combination of top-notch handling, improved autofocus, blazing-fast continuous shooting speeds, high-powered video, and excellent image quality.

Here are a few key Fujifilm X-T4 specifications:
- 26 MP APS-C sensor
- 4K/60p video
- Continuous shooting up to 20 fps with electronic shutter (15 fps with mechanical shutter)
- 3.68M-dot electronic viewfinder
- 500 shot-per-charge battery
- Dual SD card slots
- In-body image stabilization
Note that, in purchasing the X-T4, you also get access to Fujifilm’s very impressive array of lenses. Many of these are very reasonably priced, not to mention optically stellar, which is why I consider Fujifilm to be something of a dark horse in the photography world.

That said, there are some drawbacks to buying the X-T4.

While it’s a fantastic all-around camera, it has no particular specialties, which means that it’s probably not the right choice if you’re seeking to capture, say, high-level sports or nothing but detailed HDR landscape photos.

So to find out more about the X-T4, both the good and the bad, read on.

Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 16mm | 1/500s | f/8 | ISO 200

Build Quality

If you’re a long-time Fujifilm shooter, the design of the X-T4 will feel familiar to you. It’s very much in line with the X-T3’s thin, metallic form, though it’s gained a slight amount of bulk, presumably due to the inclusion of IBIS.

For non-Fujifilm shooters, however, holding the X-T4 for the first time may offer a bit of a shock.

First, it feels like a squashed brick; you get a very well-made body, compressed into a compact form. And while the X-T4 does offer a decent-sized handgrip, it’s not as large as what you might expect from a Nikon or Canon camera (and certainly not a Nikon or Canon DSLR), which might take some getting used to.

The Fujifilm X-T4 is weather-sealed, and it feels it; honestly, the whole body just screams durability, which means that you can feel comfortable taking the X-T4 in inclement weather (always important for serious outdoor and nature shooters).

I know I mentioned it above, but I really am a huge fan of the Fujifilm retro aesthetic, which somehow makes the X-T4 feel like less of a finely-crafted tool and more of a camera that works with you.

Handling

As with all Fujifilm cameras, handling is excellent, assuming you don’t mind the old-school dials and switches.

Note that this old-school aesthetic manifests in the form of a dedicated aperture ring on Fujifilm’s lenses, which means that you have to select the aperture by turning the ring on the lens rather than turning a dial on your camera. Also part of the old-school aesthetic is the dedicated ISO, exposure compensation, and shutter speed dials on the top of the X-T4.

I can see how this very external, dial-based handling would annoy some photographers. It’s certainly not built for speed and muscle memory in split-second action, but there’s something really wonderful about setting your shutter speed and ISO via dials on the top of the camera, as opposed to through your camera knobs or touchscreen.

The X-T4’s buttons are well-placed, and I like the focus mode dial on the front (also present on other Fujifilm models); it’s much easier to access in the heat of the moment.

Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 80mm | 1/1000s | f/11 | ISO 200

A noticeable upgrade over the X-T3 here is the addition of in-body image stabilization, which allows you to get up to 6.5 extra stops of handholding. This is a huge deal for anyone who frequently shoots in low light, and is a fantastic addition to the X-T4 over the X-T3. In fact, if you haven’t used IBIS before, then you’re going to want to check the X-T4 out immediately. It’s a big help for handheld landscape photography, macro photography, walkaround photography, and much more, further increasing the X-T4’s versatility.

One last handling upgrade worth noting:

The X-T4 comes with a brand-new battery, one that’s rated at 500 images per charge. As with most battery ratings, this one seems to (happily!) undershoot reality. There were at least a few days when I shot over 500 images and still had significant charge left to work with.

For me, and for many shooters out there, this is a big deal. For one, if you’re shooting in adverse conditions, you want to swap batteries as infrequently as possible.

Plus, the better the battery life, the fewer batteries you need to take with you when traveling, for outdoor trips, etc.

Electronic Viewfinder and Rear LCD

Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 16mm | 1/125s | f/11 | ISO 200

The electronic viewfinder looks spectacularly life-like and features a 3.68M-dot resolution. Personally, I neither love nor hate EVFs (they can be great in some situations and terrible in others), but I do think that a minimum resolution of 3.68M-dots is required for good viewing, at least for me, personally, and the X-T4 brings that to the table.

There was never a time when I wished for an optical viewfinder while using the X-T4, and the clarity of the EVF was a huge benefit when working with Fujifilm’s Film Simulation modes (more on these later!).

You also get a fully-articulating rear LCD. This is useful for anyone who prefers to shoot without the EVF to their eye, but it’s especially important for macro photographers, architectural photographers, and landscape photographers in particular; basically, anyone who sets up their camera at odd angles.

With the X-T4’s articulating screen, you can get down-low perspective shots without having to get dirty (and without having to hurt your neck!).

Note that the X-T4’s screen does offer touch functionality, though it’s pretty much limited to setting the autofocus points. This is just fine in my book, because that’s really all I like to use touch screens for since it’s far faster than moving between points with the AF joystick.

Autofocus and Continuous Shooting

The Fujifilm X-T3 was a decent autofocus performer in its own right, but the X-T4 improves on this AF prowess, primarily in terms of tracking. Honestly, I’ve always been impressed by the X-T3’s focusing capabilities, which makes me all the more pleased with the X-T4.

Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 80mm | 1/250s | f/5.6 | ISO 200

Focusing on still subjects was extremely snappy, even in more difficult lighting situations.

In terms of tracking, I found the X-T4 able to follow predictably moving subjects with ease (e.g., cars), and while my keeper rate wasn’t 100 percent, I was very pleased with the results. Face and eye detection are a bit variable, especially in lower light, but are far from bad.

One of the great things about Fujifilm cameras is the continuous shooting speeds, which are blazing-fast by any metric. On the X-T4, you get 20 fps shooting using the electronic shutter, and this drops to a very respectable 15 fps using the mechanical shutter (up over the 11 fps mechanical shutter on the X-T3).

In fact, continuous shooting is one of the many reasons why the X-T4, and Fujifilm’s top cameras more generally, are such excellent all-around options. While they aren’t really designed as action cameras, you can certainly use them for fast-paced street photography, sports photography, and wildlife photography, assuming you can get the autofocus to work for you.

Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 21mm | 1/125s | f/10 | ISO 200

Image Quality

Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 80mm | 1/250s | f/11 | ISO 200

The X-T4 packs a 26 MP, APS-C sensor, and while it doesn’t offer many changes over the X-T3, it’s still pretty darn powerful.

I tend to be conservative in terms of my tolerance of noise levels, but I feel comfortable pushing the X-T4 to at least ISO 800. Really, noise doesn’t start to become noticeable until around ISO 1600, and images can remain usable through ISO 6400 or so, depending on your purpose.

This is a good performance, especially for an APS-C camera; to my eye, it’s around a half-stop better than the Sony a6600 and pretty much on par with the Nikon Z50. And while the X-T4 can’t quite compete with the full-frame heavy hitters, it’s still plenty useful for photographers seeking a camera that can handle itself in low light.

Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 25mm | 1/250s | f/8 | ISO 200

As mentioned above, one of the benefits of a Fujifilm camera is the film simulation modes, and here the X-T4 doesn’t disappoint. You get 12 high-quality options; it’s a lot of fun to toggle between them, just to see how the world will look with different types of film.

I find these modes to be especially useful for types of shooting where noticeable color grading is acceptable, such as street photography and portrait photography. However, you always have the option of experimenting with film simulation and making changes in post-processing if you’re not pleased.

Price

Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 16mm | 1/500s | f/10 | ISO 200

At the time of writing, the Fujifilm X-T4 costs $ 1700 USD, which is $ 500 USD more than its X-T3 sibling, and is nearly $ 1000 USD more than the X-T30.

And this is where things get a little tricky because while the X-T4 does offer some serious upgrades over the X-T3, I’m just not sure it’s enough to justify $ 500. If I were trying to decide between the X-T3 and the X-T4, I’d feel more tempted by the X-T3, unless I desperately needed the IBIS or autofocus improvements.

Another issue with the X-T4’s price point is that it puts the camera on par with full-frame options such as the Nikon Z6, and only a few hundred dollars cheaper than the Sony a7 III. This isn’t going to make the X-T4 compelling for DSLR photographers looking to make the leap to mirrorless, or non-Fujifilm mirrorless shooters looking for a more powerful camera.

That said, if you’re already a Fujifilm shooter, or you’re a photographer who appreciates the unique design and all-around capabilities of the X-T4, the $ 1700 may be worth it.

Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 16mm | 1/1000s | f/10 | ISO 200

Verdict

Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 21mm | 1/125s | f/10 | ISO 200

I’m a huge fan of the X-T3.

But I’m an even bigger fan of the X-T4, mostly thanks to the addition of in-body image stabilization, which makes the camera even more impressive for low-light shooting. It’s the ultimate generalist camera for hobbyists and professionals, and it’s an excellent addition to any kit.

Is the X-T4 the best APS-C camera out there?

Truthfully, I think it is. You get excellent image quality, blazing-fast continuous shooting, great handling, dual card slots, good autofocus, and more.

My only reservation is the price, which feels a bit high compared to the X-T3. But you do get in-body image stabilization, as well as improved autofocus, so if you have the extra money to spend, go for it!

You won’t be disappointed.

?????

The post Fujifilm X-T4 Review: The Best APS-C Camera on the Market (For a Price) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School
July 20, 2020
How to Predict Dramatic Sunsets
The post How to Predict Dramatic Sunsets appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

“Red Sky” Summer sunset over Marietta, Ohio

One question every child asks is, “Why is the sky blue?” But let’s look at why is the sky red at Sunset. Light from the sun is made up of all the colors in the rainbow. As the sunlight enters the earth’s atmosphere, the short wavelength of blue light is scattered in all directions, more than any of the other colors, causing the sky to be blue during the day.

At sunrise and sunset, the light has farther to travel due to the low angle of the sun in the sky. This causes the blue light to be blocked and scattered away, allowing the longer wavelengths of red and yellow colors to appear in the sky.

I am sure you wish there was some magic formula that could tell you exactly the night for photographing a beautiful sunset? It’s not that easy, but hopefully, we can discover some ways to increase your odds.

Let’s take a closer look at some other factors that will help you predict brilliantly-colored sunsets.

You have no doubt heard the saying “Red sky in the morning, sailors take warning. Red sky at night, sailors’ delight”. This saying can also help you predict sunsets (and sunrises) if you know the weather forecast. Look for a red sky at sunrise ahead of a storm and at sunset after a storm. Knowing what to expect weather-wise is key to anticipating the right conditions for a shoot, so the first thing you need to do is find a good weather app or website.

A website such as Intellicast.com will give you a detailed hourly report for key factors: cloud cover, air quality, humidity, and wind speed.

Winter sunset after a snow storm.

Clouds and Cloud Cover

Clouds are a crucial factor to predicting dramatic sunsets, for without clouds there is not much to see.

One common misconception of brilliant sunsets is that clouds create the colors; in reality clouds only serve as the canvas to display the colors that the light is painting. High to mid-level clouds are the most effective canvases, as they will reflect the colors of the setting sun. Puffy clouds on the horizon at sunset will more than likely not allow the sun rays to pass through them, thus muting the colors. Lower clouds (such as dark rain-filled clouds) are not very helpful at reflecting much light.

If the clouds on the horizon are low and thick, the sun will not be able to shine through them. It is also worth noting that too many or too few clouds can be detrimental for an optimal photo, so check out your detailed weather report for cloud cover percentages between 30 to 70 percent at sunset.

You can observe cloud conditions in the afternoon and if the sky looks favorable, you can hope that these clouds will still be present at sunset. No guarantees, but if there is not much wind these clouds may stick around to create a beautiful sunset.

A brief description of fair weather clouds that may produce dramatic sunsets:
- Cirrocumulus Clouds – These look like ripples on water. Blue sky is the usual backdrop.
- Altocumulus Clouds – Often occur in sheets or patches with wavy, rounded masses or rolls, like little cotton balls. They are generally white or grey and usually appear after a storm.
- Cumulus Clouds – Easily recognizable, large, white, and fluffy, often with flat bases.
- Cirrus Clouds – Generally characterized by thin, wispy strands. These clouds arrive in advance of frontal systems indicating that weather conditions may soon deteriorate. Nevertheless, these are one of the best kind for photographing dramatic sunsets!
If you see this kind of sky in the afternoon with calm winds, chances are good you are in for something special at sunset.

Clean Air

Clean air is very effective at scattering the blue light. For this reason, one of the best times for dramatic sunsets is right after a rain or wind storm. While lower clouds rarely reflect brilliant colors (as mentioned above), note that where the lower atmosphere is especially clean, as in over open oceans in tropical regions, more vivid colors are allowed pass through. This is the reason so many beautiful sunset images are captured in the tropics.

Humidity

The amount of humidity in the air will also have an effect on the colors of your sunset. Lower humidity will produce more vibrant colors. With higher humidity, the colors will be muted because of the water content in the atmosphere. The seasons of autumn and winter typically produce lower humidity than in the warmer seasons.

Wind

Wind is a factor that can either enhance or destroy a beautiful sunset. A change in wind direction can cause the clouds to develop ripples or billows, which can create a beautiful effect as the setting sun reflects a nice red glow onto the ripples.

Also, as established earlier, clean air will produce more brilliant colors, and a nice breeze before sunset can help clear the air.

Unfortunately, the wind can become a negative factor on those days when favorable clouds are present in the afternoon, but a weather front moves through with strong winds that remove those clouds and leave you with a clear sky at sunset.

This is another instance when a good weather app or weather website can give you an indication on its radar as to when a front may move through your area.

To summarize your sunset prediction, look for:
- Mid to high-level clouds
- 30 to 70 percent cloud coverage
- Clean air
- Lower humidity
- Calm winds
A final thought to consider when photographing sunsets – sometimes the afterglow of the sunset, which can occur 15 to 20 minutes after the sun goes behind the horizon, can be much more spectacular than the actual sunset.

Generally, all these weather-related rules also apply to photographing sunrise, but the visual signs are more difficult to spot since it is darkest before the dawn. A good time to photograph at sunrise is in the fall and winter when it occurs later in the day than in the summer months.

Do you have any other tips for predicting dramatic sunsets? Please share some of your favorite sunset images. Who doesn’t love a good sunset? If you want some tips for shooting the great sunset you’ve found try: 8 Simple Guidelines for Capturing Spectacular Sunrise and Sunset Images

The post How to Predict Dramatic Sunsets appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

Digital Photography School
July 20, 2020
Posing Guide: 21 Sample Poses to Get You Started with Photographing Women – Part I
The post Posing Guide: 21 Sample Poses to Get You Started with Photographing Women – Part I appeared first on Digital Photography School. It was authored by Guest Contributor.

This is the first in a series of Posing Guides with suggested starting poses for photographing different subjects. We are starting with the female posing guide.

Also in the series check out our posing guides for posing children, posing couples, posing groups and posing weddings.

Sample Poses to Get You Started with Photographing Women

If you ever run out of ideas, get stuck in creativity or simply need some guidance when shooting female subjects, you may use following posing samples as a “posing cheat sheet”. Many pro photographers use such a technique when preparing for and during the photo shoot.

The poses in this article are selected as an initial reference. I would advise you to look at the poses together with your subject, especially if she’s inexperienced. During a photo shoot, don’t hesitate to discuss with the subject which pose is or isn’t working in any particular situation. It’s usually very productive and you both will feel more confident in what you are doing.

OK, let’s start, one by one.

1. Very simple portrait pose to start with. Have the model look over her shoulder. Note how unusual and interesting a portrait might look, if shot simply from a different angle.

2. In portrait photography, hands are usually not visible or at least not dominant. However, you might get creative by asking the model to play around with her hands trying different positions around her head or face. Keep in mind, though: No flat palms, and the hands should only show their sides!

3. You might be familiar with composition rules like the rule of thirds. In a similar way, pleasing effects can be created by using diagonals. Also remember that you don’t need to always hold your camera on a perfectly even level. Don’t be afraid to tilt it, you might achieve some interesting and unusual perspectives.

4. A really nice and lovely pose with a model sitting. The knees have to touch each other. Shoot slightly from above.

5. Another open and inviting pose with the model lying on the ground. Get down and take your shot nearly from the ground level.

6. Just a variation for a pose with the model lying on the ground. Both hands might as well be resting on the ground. Works very well outdoors, on the grass or in a wild flower meadow, for example.

7. A basic easy pose, yet looks absolutely stunning. Get down and shoot nearly from a ground level. Then try to move gradually around the model while making shots. Also ask your model to change head and hand positions.

8. Another easy yet gorgeous pose for all body types. Try different hand and leg positioning. And remember to focus on the model’s eyes!

9. A really lovely pose. Works well in different surface settings: The model, for example, might lie on a bed, on the ground, in the grass, or on a sandy beach. Shoot from a very low angle and focus on the eyes.

10. Gorgeous and easy pose for a model sitting on the ground.

11. Another simple and friendly pose for a model sitting on the ground. Try different directions and angles.

12. A wonderful way to demonstrate the beauty of a model’s physique. Works very well as a silhouette when shooting against a bright background.

13. A simple and casual looking pose. Lots of variations are possible. Ask the model to twist her body, experiment with hand positioning and try different head turns.

14. Another very simple and elegant pose. The model is turned slightly to the side, hands in back pockets.

15. Leaning slightly forward can be a very attractive gesture. It is a subtle way to emphasize upper body shapes.

16. A sensual pose. By holding the hands above the head body curves are emphasized. Works with fit body types.

17. Endless variations are possible for posing in full height. This pose is just the starting point. Ask the model to slightly turn her body, change hand positioning, change head and eye directions etc.

18. A relaxed pose with the model standing upright and supporting her back against a wall. Remember that the model may use a wall not only to support her back, but also to put her hands on, or resting a leg against it.

19. Note that full height settings are very demanding and work well only with slim to athletic body types. Posing guidelines are simple: The body should be arched in an S shape, hands should be relaxed, while the weight finds support on just one leg.

20. An exquisite pose for slim to athletic models. Many variations are possible. In order to find the best posture, tell the model to slowly move her hands and twist her body constantly. When you see a good variant, ask your model to hold still and take some pictures. Repeat for a full set.

21. An absolutely romantic and delicate pose. Any kind of cloth (even a curtain) can be used. Note that the back doesn’t need to be completely bare. Sometimes as little as a bare shoulder could work pretty well.

So, there’s something for you to start with. Hope you will find at least couple of poses to work with in different shooting scenarios! Keep in mind that each of the initial sample poses is meant to be only a starting point. Each pose has endless variations! Just be creative and adjust the pose as needed (for example, try different shooting angles and ask your subject to change hand, head and leg positioning etc.)

Check out our other Posing Guides:
- Posing Guide: Sample poses for photographing Women Part 1
- Posing Guide: Sample posees for photographing Women Part 2
- Posing Guide: Sample poses for photographing Men
- Posing Guide: Sample Poses for photographing Children
- Posing Guide: Sample Poses for Photographing Couples
- Posing Guide: Sample Poses for Photographing Groups of People
- Posing Guide: Sample Poses for Photographing Weddings
Grab Our Guide to Portrait Posing

Kaspars Grinvalds is a photographer working and living in Riga, Latvia. He is the author of Posing App where more poses and tips about people photography are available.

The post Posing Guide: 21 Sample Poses to Get You Started with Photographing Women – Part I appeared first on Digital Photography School. It was authored by Guest Contributor.

Digital Photography School
July 18, 2020
The Art of Freelensing for Creative Photography
The post The Art of Freelensing for Creative Photography appeared first on Digital Photography School. It was authored by Karthika Gupta.

Photography has a great many rules and every once in a while, it is great to break all of them, don’t you think? For me, the art of freelensing for creative photography is the permission to play with both light and blur to archive a totally unexpected and magical image.

Freelensing works for almost any type of photography, but portraits get extra special love with the soft blur of the out-of-focus elements.

My first attempts at freelensing were just lucky shots among many more frustrated attempts. So, I gave up quickly. But as my photographer friends started posting beautiful dreamy images, I was tempted to pick up my camera and lens and try again.

I gave freelensing another try and I have been addicted ever since. It is a perfect way to get those creative juices flowing and add a little diversity to your photography portfolio and client work. Plus, you don’t really need any extra equipment to purchase or invest in other than what you already have in your camera bag.

What is freelensing?

Freelensing is a technique where the photographer shoots with the lens DETACHED from the camera body, creating a unique shot. With freelensing, you can manipulate your plane of focus to draw the eye of the viewer to a specific area. Alternatively, you can have an entire shot out of focus, creating a very dreamy frame.

It’s a great way to do creative photography play.

Here are some things to consider as you try freelensing for the first time:

1. Camera settings for freelensing

Before freelensing, you must get your camera settings right. With the lens still attached to the camera, set the aperture to the widest possible value, and adjust the shutter speed and ISO settings for the correct exposure.

You can figure out the widest aperture on your lens by looking at the lens specifics. Once the lens is detached, you can make adjustments to the settings on the camera. For maximum control, use the camera in the manual mode setting where you, the photographer, are adjusting all variables like ISO, shutter speed, and aperture.

Check your camera and lens settings. Some lens will automatically maintain aperture when detached while others won’t. With Canon, the aperture stays wide open, so you don’t need to do anything specific. With a manual lens, you might have to keep the aperture open manually.

Using live view can help you find the focus point in your image as you move the lens around. The dark edge on the lower left of the image is part of the lens (the final image is without the lens in the frame).

2. Focal distance for freelensing

Before detaching the lens, turn the focal distance dial of the lens all the way to the infinity symbol. This sets the focal distance to the farthest possible point. Then you can detach the lens and keep it as close as possible to the ring.

Keeping your eye in the viewfinder, start tilting the lens slowly – up, down, left, or right until you see a composition that you like. Remember that by its nature, freelensing is not perfection. You will not find a tack-sharp image with freelensing, but that adds to the magic of creativity with this exercise.

3. Finding focus

The beauty of freelensing for creative photography is that there are no rules. But one thing that can make or break a good creative image is the focus. While a completely out of focus image is still very beautiful, having a focal point in the image adds to the magic. Along with light, composition, and color, focus draws the eye into that element of perfection while the rest is imperfect.

As you move the lens around, try and get one area of the frame in focus. Landing focus in freelensing is hard, so give yourself some time to get used to it and be patient.

Try multiple frames to find the focus point. Play with the focal distance of the lens to help you determine that focal area. Also, try moving in and out of the scene until you’re happy with what you see.

As you decide on composition and focus point, consider the message, mood, and story you want to convey to the viewer.

4. Light and light leaks

Freelensing for creative photography can lead to all kinds of interesting images, but it’s the element of light that makes them work. It can add flares and light leaks to the frame and infuse the image with an extra-magical effect.

It’s better to work with good backlight when capturing light leaks and flares. I find the ideal time is during golden hour, when the sun is straight-on but slightly softer than other times of the day.

As you tilt and separate the lens from the camera, bits of surrounding light can spill into the sensor, adding some cool light-leak effects to the frame.

Play around with the light leaks and see how they affect the frame. You can control the direction and amount of light entering the frame by adjusting the size of the gap. Be aware that too much light can ruin the image too.

Light leaks add an interesting element to freelensing images that sometimes resemble a filter.

When outdoors, freelensing can add beautiful sun flares without the use of extra filters and prisms.

Things to note with freelensing for creative photography
- If you have an expensive lens and camera, try freelensing inside the house on a bed or soft surface as you try to manually hold the camera and lens in your hand. Perhaps that heavy 70-200mm lens is not the one to try freelensing for the first time
- I always shoot with the camera strap around my neck. That way, if for some reason I lose my grip on my lens and camera, I focus on saving the lens since I know the camera is secure.
- You can do freelensing with the camera on a tripod but that can limit the range of motion and creativity of the frame. But if you are just starting out, then this is a safer option.
- I hold the camera around the camera grip with my right hand and manipulate the lens with my left hand. I am right-handed, so this plays well with the strength of my hands.
- If your camera has live view, use that as you move the lens around to find the perfect frame to your liking.
- The distance of the lens from the camera and the distance of the camera and lens from the subject will affect the plane of focus (just like it does in normal photography).
  - When you are closer to the subject, less of the subject will likely be in focus
  - When you are further away from the subject, more of the subject will likely be in focus
  - If you are far away from the subject, put the lens closer to the body of the camera
  - If you are close to the subject, you can get the lens further away from the body
- As you move the lens away from the camera body, light leaks will enter the frame. Live view will help you find the light leaks that works best for the shot you have in mind.
Once you get the hang of it, you will find yourself trying freelensing anywhere and everywhere. The results are so unique that you cannot help but get creative.

The best advice for successful freelensing for creative photography is to leave all the rules behind and photograph with your heart. Find that creativity and let the magic unfold.

We’d love to see your freelensing images! Please share them with us in the comments section.

The post The Art of Freelensing for Creative Photography appeared first on Digital Photography School. It was authored by Karthika Gupta.

Digital Photography School
July 18, 2020
Weekly Photography Challenge – Abstracts

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

This week’s weekly photography challenge – ABSTRACTS!

Play with color in your abstracts. Photo by Caz Nowaczyk ©

Grab your cameras and go out and take some interesting new shots of everyday objects. Play with line, color, shapes and blur to create some fabulous abstract images.

Alternatively, crop your photos at interesting spots and create abstracts from that. You could also try some post-processing to completely change the look of your images and make them more unique.

I look forward to seeing your shots!

Use color, line and shape together in photographing everyday objects. Photo Caz Nowaczyk ©

Use color and blur for your abstracts. Photos by Caz Nowaczyk ©

Try cropping sections of photos and placing them together. Photos Caz Nowaczyk ©

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

Tips for photographing ABSTRACTS

Creative Abstract Photography with Food Coloring and Milk

How Practicing Abstract Photography Can Influence Your Photography

Get Moving – Four Ways to Create Abstract Light Trail Photography

How to do Abstract Watercolor Photography

How to Make Interesting Abstract Smoke Photos

A Beginner’s Guide to Abstract Flower Photography

How to Create Abstract Photos with Fruit and Veggies

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 #DPSabstracts2020 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 – Abstracts appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School

July 18, 2020
Gear Review: Tamron 70-180mm f/2.8 for Sony

The post Gear Review: Tamron 70-180mm f/2.8 for Sony appeared first on Digital Photography School. It was authored by Suzi Pratt.

Earlier this year, the highly anticipated Tamron 70-180mm f/2.8 telephoto lens finally hit the shelves. Made for full-frame Sony E-mount cameras, this lens is very compact and affordable, coming in at more than half the price of the Sony G-Master version. What are the pros and cons of getting this lens? Read on to find out!

The Tamron “Holy Trinity” is complete

Photographers often refer to the “holy trinity” of zoom lenses that cover a wide range of focal lengths. Traditionally, the holy trinity consists of a wide-angle lens (16-35mm), a midrange lens (24-70mm), and a telephoto lens (70-200mm). Tamron has been working on their own version of the holy trinity that includes the 17-28mm f/2.8, 28-75mm f/2.8, and now the 70-180mm f/2.8.

All three of these Tamron lenses complement each other in that they are very affordable, compact in size, and even use the same filter thread size of 67mm. The low cost is probably the most attractive feature. You can have the Tamron holy trinity of f/2.8 lenses for just under US$ 3,000. In comparison, buying all three Sony G-Master lenses would cost a whopping US$ 7,000.

Canon 5D Mark III with Canon 100mm f/2.8 – 1/60 sec, f/7.1, ISO 400

Specs

The formal name of this lens is the Tamron 70-180mm f/2.8 Di III VXD. Tamron claims this is the “world’s lightest and most compact package,” and it’s hard to disagree when comparing this lens to similar focal lengths. The lens is 5.9 inches (149mm) long and weighs 1.8lbs (816 grams). The Tamron 70-180mm also has moisture resistance and weather sealing.

This is an autofocus lens with two rubber barrels – one controls focus and the other zooms. The front part of the lens extends when zoomed in. There is just one minimal locking switch on the lens to keep it from extending when not in use. No other physical buttons or switches are on the lens. The minimum focusing distance is 33.5 inches, however, you can focus down to 10.6 inches when using manual focus at 70mm.

One last thing to mention about this and every Tamron lens is the 6-year warranty for USA residents. The warranty period is much longer than Sony’s and just about any lens manufacturer out there.

Canon 5D Mark III with 100mm f/2.8 – 1/60 sec, f/7.1, ISO 400

Canon 5D Mark III with 100mm f/2.8 – 1/60 sec, f/7.1, ISO 400

Canon 5D Mark III with 100mm f/2.8 – 1/60 sec, f/7.1, ISO 400

Ease of use

The Tamron 70-180mm f/2.8 is very easy to use, especially if you’ve ever shot with a 70-200mm f/2.8. In practice, it’s almost not fair to compare these two lenses. The Tamron is considerably smaller and lighter than any 70-200mm f2/.8 on the market. It weighs 1.46 lbs lighter than the Sony G-Master, and it easily fits inside of medium-sized bags that a traditional 70-200mm lens would never fit into. Thus, it’s no longer a second thought on whether this lens should be packed on a hiking trip, or whipped out to shoot a quick photo.

To keep the lens small, 20mm was shaved from the long end which might be a problem if you really need to be shooting at 200mm. However, Sony full-frame shooters have the option of shooting in APS-C mode to get a zooming effect (roughly 270mm with the 1.5 crop factor). When shooting with a high-resolution camera such as the Sony a7rIV and its 61 megapixels, you also have more megapixels, so cropping is a viable option.

Tamron 70-180mm f/2.8 @ 180mm – 1/640 sec, f/2.8, ISO 160

Autofocus

The autofocus performance on this lens is phenomenal. You have access to all of the autofocus features in your Sony E-mount camera including face and eye detect for humans and animals.

Autofocus was snappy and accurate when shooting a still or moving subject. This lens feels just like using a native Sony lens in a much lighter and cheaper body.

Tamron 70-180mm f/2.8 @ 70mm – 1/4000 sec, f/2.8, ISO 200

Only one thing missing

Like the rest of the lenses in the Tamron holy trinity, the 70-180mm is missing image stability built into the lens. Tamron claims it isn’t needed because many Sony full-frame cameras come with in-body image stabilization (IBIS, or SteadyShot).

While this might seem like a downside, Tamron might be onto something. In practice, the 70-180mm shot incredibly stable handheld video, even at 180mm. Stills photography was also very sharp and spot-on in every scenario. Along those lines, let’s talk about image quality.

Tamron 70-180mm f/2.8 @ 70mm – 1/80 sec, f/8, ISO 400

Image quality

When reviewing images, the Tamron 70-180mm f/2.8 leaves little to be desired. Photos are tack sharp and crisp with excellent color. Thanks to the lens coating, there is also very little ghosting and flare, even in the most backlit conditions.

Conclusion

This is a rather short review, because there honestly isn’t a lot to say about this lens other than it is impressive on every level. If you want an ultra-compact f/2.8 telephoto zoom at a very affordable price, this is the one for you.

However, you’ll want to act fast since this lens has been back-ordered ever since it was announced, and for good reason.

Tamron 70-180mm f/2.8 @ 180mm – 1/160 sec, f/11, ISO 400

Tamron 70-180mm f/2.8 @ 180mm – 1/80 sec, f/8, ISO 400

Tamron 70-180mm f/2.8 @ 70mm – 1/80 sec, f/8, ISO 400

Tamron 70-180mm f/2.8 @ 140mm – 1/60 sec, f/8, ISO 160

Tamron 70-180mm f/2.8 @ 70mm – 1/1600 sec, f/2.8, ISO 200

Tamron 70-180mm f/2.8 @ 70mm – 1/100 sec, f/10, ISO 200

Tamron 70-180mm f/2.8 @ 140mm – 1/250 sec, f/11, ISO 400

The post Gear Review: Tamron 70-180mm f/2.8 for Sony appeared first on Digital Photography School. It was authored by Suzi Pratt.

Digital Photography School

July 17, 2020
How to Use Photography Filters for Amazing Long Exposure Landscapes
The post How to Use Photography Filters for Amazing Long Exposure Landscapes appeared first on Digital Photography School. It was authored by Simon Bond.

One of the most competitive genres in photography is landscapes. In this article, you’ll learn how to add creativity to your landscapes by using filters. The use of filters will allow you to create masterpiece long exposure landscapes, and you’ll learn what’s needed to do this. So read on and discover tips and tricks to get the best results.

Using the correct exposure length meant an interesting foreground from the movement of water.

What is long exposure photography?

One of the key settings on your camera is the ability to control the exposure length. If you’re new to photography, the chances are you’ll not have tried long exposures yet. You’ll need a tripod, but once you begin taking long exposure photos, the creative potential is massive.

Long exposure photos are those that last for over one second in length, and typically don’t last more than thirty seconds. There are some situations where even longer long exposures can be taken. These can last minutes. To take these photos, you need to use bulb mode on your camera.

Filters come in varying strengths.

How to use filters for long exposure landscapes

The use of filters to produce these long exposure landscapes will increase your options. They allow you to take long exposure daytime photos (where there is lots of light), and, if you wish, even longer night time long exposures.

You can use different grades of filters to give you the ability to take photos of different exposure lengths. Of course, the time of day is a massive factor as well, with night time an easier time to take long exposures.

Filters you can use during the day

The filter you’ll need to use to take long exposure landscapes during the day is the ND filter. These are neutral density filters, which are abbreviated to ND filters.

These filters work by blocking out the amount of light that comes into the camera. They should do this without changing the color tone of your image, which is why the filter is considered neutral. The strength of these filters range.

Filters can be used to lengthen the exposure, and produce “silk water”.

Weak ND filters

These are the ND2, ND4, and ND8 filters. They’re more often used with flash photography, but you can use them to extend exposure length during the day. In low light situations like under tree canopies, or as the evening draws in, using one of these filters may allow you to take a long exposure.

Circular Polarizer (CPL) filter

In a similar fashion to the weak ND filters, you can use a CPL filter in a low light situation to turn a half-second exposure to a one or two-second exposure. This can be long enough to dramatically change the nature of moving water during an exposure.

Strong ND filters

These filters are designed for longer exposures, the typical filters you can use are the ND110 and the ND1000. Filters like this will allow you to take exposures longer than five seconds or more even during the middle of the day.

Using an infra-red filter is an interesting way of creating landscapes.

Infrared filters

Infrared filters block out all light except infrared.

The exact light they block comes with the name of the filter. The Hoya R72 filter blocks all light except the light of a wavelength of 720 nanometers. This translates to a filter that’s even stronger at blocking out light than the ND1000.

You will, of course, be taking an infrared photo, but this will then be a long exposure that can often be minutes long.

Filters you can use during the night

The need to use filters for night time long exposure is not as extreme.

You’ll almost certainly be able to carry out long exposures with no problem, except perhaps during the transition from day to night. Here, the filters you’ll likely use are the weak ND filters or the CPL filters, with the intention of turning a medium-length long exposure into a longer long exposure.

However, the need to use a strong ND filter can occur. This happens when you want an exposure that lasts several minutes. Usually, you would not take an exposure of this length, but in order to get cloud motion across the sky, this length of exposure can be needed.

Flattening the water makes for a serene landscape.

Stacking filters

The more extreme long exposure landscapes will require filter stacking. Stacking filters means placing one filter on top of another to combine their strength.

Those wanting to take an ultra-long daytime long exposure, that produces cloud motion, often need to stack an ND110 filter with an ND1000 filter.

Stacking filters gives you an extra level of control over the length of your exposure. This happens by blocking more or less light. One thing to be careful of when stacking is vignetting. When using screw-on filters, there is a greater risk of this, caused by stacking too many filters on the front of your lens.

How long to expose for?

The aim of adding a filter to the front of your lens is to lengthen the exposure. Learning the correct strength of filter you need to apply is therefore important.

To know how strong the filter should be, you will need to decide what type of long exposure landscape you wish to take. The following is a list of photo types you could take during the daytime.
- Silky water – An exposure of one second is long enough to produce the silk water effect at places like waterfalls.
- Water motion – The motion of water and the length of exposure is a sliding scale. At half a second, it’s long enough to capture motion from waves going in and out at a beach. A longer exposure can then be used all the way up to the exposure length needed to flatten the sea. It’s not always desirable to completely flatten water, as some turbulence can look nice.
- Flattening the sea – An exposure longer than ten seconds will be enough to flatten the sea.
- Cloud motion on a calm day – With slow-moving clouds, an exposure of minutes will be required.
- Cloud motion on a windy day – On a windy day, an exposure of over 15 seconds is likely to be long enough. However, you will need to experiment with the conditions you have on the day.
Getting cloud movement across your landscape can take very long exposures.

Time for long exposure landscapes!

The take-home message is to know how long an exposure you need, and use the correct filter on your lens to allow this length of exposure.

Do you enjoy long exposure photography, or are you yet to learn about the genre?

If you have examples of your work you would like to share, please share them in the comments section. These could be from your archives or images you take after reading this article. So get out with your tripod, and create some long exposure magic!

The post How to Use Photography Filters for Amazing Long Exposure Landscapes appeared first on Digital Photography School. It was authored by Simon Bond.

Digital Photography School
July 15, 2020
Sony Announces Brand-New, Ultra-Wide, 12-24mm f/2.8 Lens

The post Sony Announces Brand-New, Ultra-Wide, 12-24mm f/2.8 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Sony has officially announced its FE 12-24mm f/2.8 GM lens, which is impressively wide, and offers a very fast aperture for such a wide-angle zoom.

While Sony did release a 12-24mm zoom back in 2017, it packed an f/4 maximum aperture, which just doesn’t offer the same low-light utility as a wide-angle f/2.8.

But now, with the new 12-24mm f/2.8, Sony shooters have the opportunity to work with an ultra-fast wide-angle lens, which is perfect for any sort of night photography, and astrophotography in particular.

In terms of the lens’s specs:

A lens offering a maximum f/2.8 aperture is bound to be somewhat large, but Sony has kept both the size and the weight fairly reasonable:

5.5 in (137mm) long, 29.9 oz (847 g) heavy.

This means that landscape photographers and travel shooters won’t have too much trouble carrying the 12-24mm f/2.8 around in their bag.

The lens comes with a permanent hood, and the front element is unsurprisingly big, which means you won’t be able to use standard filters. However, Sony has designed the lens with a rear filter mount, which allows photographers to work with cut gel filters.

As for the optics:

Given that this is a GM lens, you can expect quite a lot, and early reviews seem to bear this out. The Sony 12-24mm f/2.8 is incredibly sharp, in the centers to the corners, both wide-open and stopped down.

Now, if you’re in need of a fast wide-angle zoom, you have two main options:

The new Sony 12-24mm f/2.8.

Or the Sony 16-35mm f/2.8 GM, which is a very impressive lens in its own right.

Ultimately, picking between these lenses will come down to personal choice, but the extra 2 mm on the wide end can be pretty significant, especially for landscape and astrophotographers.

That said, while the Sony 12-24mm f/2.8 is a truly excellent new piece of glass, the cost ensures that only the most serious of photographers will be able to add it to their bags.

It’ll ship in mid-August with a starting price of around $ 3000 USD.

Bottom line:

If you’re looking for a pro-level, fast, wide-angle lens for landscape photography, then this is going to be a good option, assuming you can afford the price.

The post Sony Announces Brand-New, Ultra-Wide, 12-24mm f/2.8 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

July 14, 2020
7 Things Van Gogh Can Teach Us About Photography

The post 7 Things Van Gogh Can Teach Us About Photography appeared first on Digital Photography School. It was authored by Anthony Epes.

In keeping myself motivated as a photographer, I love to look for inspiration from all across the creative spectrum. Today I want to share some ideas with you from the painter Van Gogh that I hope will bring some exciting new ideas for your photography.

I love who I am when I am taking photos. It is one of my favourite things, and I would imagine it’s the same for you.

To have my camera in my hand, exploring, finding beautiful light, and capturing interesting people I meet along the way, is immensely satisfying and massively fun.

However, life often gets in the way (who’d have thought it!), and I get distracted and lose my creative energy.

For example, I have too many conversations with my accountant, or I am doing a lot of admin or rushing around doing the tasks that are super important to make my life function but aren’t conducive to creativity.

I have been a photographer for over two decades, and I know that making time for being creative is really good for me. Of course, it’s good for my career as a whole, but more than anything, it makes me happy!

And don’t we always need more things to be happy about?

These ideas are timeless because they remind us what we love to do, and why – take photos, be creative, and make things.

I’ve also included some ideas that are reassuring – offering guidance on some of the common challenges that we all face as creative people.

So let’s get started!

1. “I am always doing what I cannot do yet, in order to learn how to do it.” Vincent Van Gogh

One thing I regularly hear from people when they arrive on my photography workshops is how they can’t do things.

It could be: I can’t be creative! Or I can’t shoot on manual, it’s impossible for me!

To me, this is just a habitual way of thinking that is not based on facts. Just because we can’t do something now, does not mean we will never be able to.

It is therefore an uncomfortable and unfamiliar feeling for us to be faced with things that we don’t understand, and so we really struggle with learning.

Photography almost always shows us the things we have struggled in the past to do. Because photography is a unity of skills – the ethereal concept of creativity and the highly technical world of cameras, computers, and post-processing software.

Many of my students fall into two camps: those who are comfortable with the technical, but not the ‘arty/creative’ side of photography. Or the reverse: very intimidated by tech, gear, etc but very comfortable with the idea of being creative.

If, though, we want to get really confident in photography (and we should because otherwise, why would you be drawn to this medium?), we have to overcome the discomfort and look to learn about these things we struggle with.

Here I can offer some inspiration. It is possible for anyone to learn anything. No one is too far gone, too un-creative or un-technical. It just comes down to belief. Can you believe you can find ways to learn what you need to learn to become comfortable and confident shooting?

If you say yes, you are halfway there. Saying yes to learning is the first step.

“Men often become what they believe themselves to be. If I believe I cannot do something, it makes me incapable of doing it. When I believe I can, I acquire the ability to do it even if I didn’t have it in the beginning.” Mahatma Gandhi

And how about we just decide to be people who are learning new things? Be like Van Gogh and always be doing things we don’t know how to do.

2. “Seek only light and freedom and do not immerse yourself too deeply in the worldly mire.” Vincent Van Gogh

This talks about how much we need to detach ourselves from normal life, and the endless tasks of our lives in order to create. Being creative connects us to the world in a completely different way to how we normally live.

In ‘normal’ life, we are living on the surface. We are doing a lot, we are being busy, we are jumping from task to task. We are responding. And that’s all totally necessary to take care of our lives.

But it is not the only way to live. It’s the least enriching, and least satisfying way to live.

And it’s definitely not the mode to be in when you’re being creative.

When you are out shooting, when you are creating something, it has to come from a different part of you. Because taking photos is the work of the soul, not the mind.

It’s diving deep into yourself and using everything you are, everything that you’ve experienced, known and loved, and bringing that out in your images.

But real life knocks very loudly and getting yourself into your creative flow state can be challenging. Even I, a professional photographer who shoots all the time, find it hard sometimes to switch off my mind when it starts reminding me about my mundane daily tasks.

So what I do when I am finding it hard to connect to my inner creative spirit, the inspiration I seek when I am out shooting is finding other ways to stoke my creativity.

That either involves going out into nature, searching for beautiful light or looking at other artists and what they have created.

I also love to read about what my favourite artists have said about making things, because it helps inspire me and helps me leap into a state of wanting to go out and create beautiful photos.

When Van Gogh said “The only time I feel alive is when I’m painting,” feels mostly very true to me.

We are rarely totally living in the moment, totally alive to everything that is around us, connecting to the world that we see.

Totally normal of course, we all do it. But I also think it’s important to carve out time to have those moments of deep fulfillment, of connection, deep beauty, and joy. This is what photography brings into my life. The chance to slow down, to see and be present for what life is.

3. “If you hear a voice within you say ‘you cannot paint,’ then by all means paint, and that voice will be silenced.” Vincent Van Gogh

Photography is an inner game.

Taking good photos has nothing to do with your current skills or your ability to nail sharpness or your exposure. It’s everything to do with what you believe about yourself and what you believe is possible for you.

If you start with this idea of not being able to do something, you won’t be able to do it. You have to overcome that mind of yours that loves to remind you of your inadequacies.

But it is also to say that all people who create, have fear. You are not alone when your mind tells you you’re not much of a photographer, or you might as well as give up because your photos are boring.

Your job is to ignore whatever rubbish your mind is saying about your photography, as Van Gogh says, and silence your mind by doing.

Creativity comes from such a magical and mysterious place– you can’t just find it anywhere. You can’t quantify it or set an exam for it. The fact that there is often no way to quantify if your photos are any good can create some anxiety.

The way to overcome this is to just get started. Just go out and shoot. Don’t worry if it’s going to come out well or not. Don’t pre-analyze what you may or may not achieve or what you are or are not.

The mind is clearly an incredible organ, but it’s not always on your side. It can dissuade you from doing things you love before you’ve even got started, so regardless of the outcome, go out and shoot and love the experience.

4. “Be clearly aware of the stars and infinity on high. Then life seems almost enchanted after all.” Vincent Van Gogh

It’s really easy to get so familiar with our world that we stop seeing what is beautiful and awe-inspiring in the world around us. It’s normal to see your everyday environment and not be inspired by what’s there. Our eyes get dulled to the familiar world around us.

That’s often why we travel or go to new places, to see new things.

But here is a big change we can make right here and now in our photography. When we are prepared to really find the magical and beautiful in life, wherever we are; when we can learn to be impressed and excited about what is, we will see more and more opportunities for photos.

We don’t need to travel or find new things to be inspired to shoot, we just need to connect with what is enchanting in this crazy, wild, and incredible world.

5. “Painting is a faith, and it imposes the duty to disregard public opinion.” Vincent Van Gogh

In many ways, I think learning photography now is harder than in the past. And that’s not because there are so many photographers, or because of smartphones, etc. Instead, it’s because of the amount of information out there, and the multitude of opinions.

The internet has given us so much incredible access to information and to communities and groups where we can share our photos. But often, instead of it being an empowering experience, it can become disheartening. You can get into the habit of judging your photos on how many ‘likes’ they receive.

When you post your photos online, you can get a whole raft of opinion back that is often useless for your photography.

People who aren’t necessarily any more experienced than you will share their random thoughts. (And I can guarantee there are very few professional photographers hanging out online doing constructive criticism on photos.) It’s also so easy to get dissuaded by what other people say about your images.

To make something unique and interesting, and to shoot with creative freedom, you need to be very careful about where you get feedback and who is giving it. You need to give most of your time creating images. Then find people you really trust – whose photography you admire – and seek feedback from them.

That’s how you can learn to grow and get better as a photographer.

6. “It is looking at things for a long time that ripens you and gives you a deeper meaning.” Vincent Van Gogh

Photography often becomes viewed as a series of technical tasks that need to be learned. To learn the way of the camera is to unlock all the gifts of photography.

For me that couldn’t be further from the truth.

The camera is merely the tool to execute your vision. That’s not to say the tool doesn’t have lots of cool and exciting features. I mean, I love tech, and I love what it can do. However, all of that gear is not going to get you great shots if you don’t know how to see, use your imagination, and bring feeling to your photos.

The key to accessing amazing photos all around you is to start to really learn to see.

You might say – but of course, I can see what’s around me! But you would be wrong. There is so much visual information around us, that our brain blocks out most of what is there. What we end up seeing is a mere fraction (less than one percent) of what is going on around us.

What is even more surreal is that because of how our brains like to make our lives as easy and simple as possible and to create habits in how we think and do things, we often see the same things over and over. We don’t notice the different things in our environment.

If you think about a street you’ve maybe walked down hundreds of times and all of sudden you have the urge to look up to the tops of the buildings. And it’s like – wow, I don’t remember seeing that.

This happens all the time with everything in our world.

Therefore, it is a good job as a photographer, to learn to open our awareness. Learn to see beyond what our brains feed us. Learn to look for a long time, and pay attention to what is around us.

This helps to develop our patience too. Developing patience in looking for shots is a great skill to nurture as a photographer. I find people are usually too quick to move on from a scene or a subject.

When we are patient and take that extra time working on a scene or subject, we often find more qualities of the subject are revealed. More ideas spring to mind too. Perhaps things in the moment change; like the light or things moving around the subject, thus, changing the possibilities of the photo.

Learn to really look at the world and it will open up so many incredible facets to your photography.

7. “If you truly love nature, you will find beauty everywhere.” Vincent Van Gogh

Completely.

I don’t just mean nature in a traditional sense – the beautiful flowers, people, or landscapes. It’s when we bring the idea of beauty into our photography that we see that we can capture what is beautiful to us, in any guise.

For me, it’s often the interplay of cities and nature. The smash of orange fruit on the tarmac. The gorgeous colors of the sunrise above a housing complex. Or the dramatic, metallic grey of a sky before a storm.

I would actually expand this idea to say there is beauty in all things, you just need to develop your ability to see and find it all around you.

Conclusion

I hope you found these ideas from Van Gogh useful for your photography. I would love to know what you thought, and if any of these ideas felt like they inspired or taught you something valuable. Please let me know in the comments below. Thanks for reading!

The post 7 Things Van Gogh Can Teach Us About Photography appeared first on Digital Photography School. It was authored by Anthony Epes.

Digital Photography School

July 14, 2020
SLC-1L-11: Planting Rice at Sunrise

Seeing as no one is doing much traveling these days, I thought it'd be fun to pay a visit with a Strobist reader photographing somewhere far away.

Up for a little Lighting Cookbook field trip to Indonesia? Yeah? Then let's go… Read more »
Strobist

July 14, 2020