Category: Photography

The Five Key Features on any Street Photography Camera

The post The Five Key Features on any Street Photography Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Are you struggling to choose the perfect street photography camera?

You’ve come to the right place.

Because while picking the perfect camera for street photography can be tough, it doesn’t have to be.

In fact, there are five basic features you’re going to want with any street photography body. While finding them all in a single camera can be tough, depending on your current lens lineup and preferred system, I’d recommend getting a camera that offers as many as possible.

And if you can find a camera that includes all of these features, you know it’s going to be a great street shooting option.

Let’s dive right in:

50mm | f/1.8 | 1/320s | ISO 200

1. A compact body

When you look for a street photography camera, the very first aspect you’ll want to consider is size.

Because here’s the thing about street photography:

The less that people notice your camera, the better.

50mm | f/2.8 | 1/320s | ISO 200

As soon as people start to see your camera, they get nervous, you get nervous, and photography becomes uncomfortable.

And while it’s inevitable that your camera will be seen, the smaller it is, the less this will happen.

That’s why I recommend you get the most compact camera you can find. Or, at least, a camera that offers a small form factor.

One option is a higher-end point-and-shoot camera, such as the Fujifilm X100V. That camera is tiny but still manages to offer excellent image quality.

But if you’re a fan of interchangeable lens cameras, you have other options. Some APS-C mirrorless cameras are designed to be near pocket-sized, including models such as Sony’s a6000 series, or the Fujifilm X-T200. Same with quite a few Micro-Four-Thirds cameras, such as the Olympus OM-D E-M10 Mark III.

These bodies are light, they’re compact, and they’re some of the most inconspicuous cameras I’ve ever come across.

(Another advantage of a compact body is that they’re easy to carry around. You can take a Fujifilm X-T100 with you wherever you go, so that you never miss a shot!)

So start your search by looking for a small body, and only then should you consider the rest of the features on this list.

If you want to capture close-up candid shots of people, I recommend a compact street photography camera.
50mm | f/3.5 | 1/200s | ISO 200

By the way:

It’s not just the camera that should be small; you’ll want small lenses, as well. One of the best ways to ensure you have plenty of small lenses to choose from is by working with a Micro-Four-Thirds camera (offered by both Panasonic and Olympus).

These systems have unusually compact lenses, thanks to their smaller sensor size.

2. A high continuous shooting speed

If you’re planning on doing lots of street photography, then you’re going to need a camera that shoots fast.

Why?

Because the best street photos tend to involve a convergence of elements. Three people are perfectly aligned with a building, a person makes a sudden strange expression, or a biker passes in front of an interesting facade.

The ability to shoot frame after frame is key when shooting images like this.
50mm | f/2.8 | 1/200s | ISO 250

And you’re going to miss out on these moments…

…unless your camera can fire off a burst of shots in quick succession.

I’d recommend a continuous shooting speed of at least five frames per second, and more is better. For me, the 8-10 range is ideal, which you can find on quite a few cameras these days.

And honestly, anything more than 10 fps is overkill for most street photography purposes. You’ll run through your memory cards ridiculously fast, and end up with a huge amount of unnecessary shots.

You’ll also want to get a camera with a decent buffer. There’s no use in being able to shoot at 10 fps if you can only capture 15 frames. So I recommend you look for a camera with a buffer of at least 25 RAW files (and more is better!).

50mm | f/3.5 | 1/160s | ISO 320

3. Excellent autofocus with strong eye detection

As I said above, street photography happens fast.

And you’re often reacting to moments that come and go instantly.

24mm | f/8 | 1/200s | ISO 320

That’s why the best street photography cameras have lightning-fast autofocus and, ideally, face/eye detection.

I’m talking about systems that can nail focus instantly, as well as track a subject through a complex array of objects without losing focus.

For this latter requirement, a great option is any of the more recent Sony a6000 models (including the a6100, the a6400, and the a6600). These cameras offer fantastic tracking, great AF speeds, and amazing Eye AF.

A camera with fast autofocus will allow you to seize the moment and grab shots like this!
f/3.5 | 1/640s| ISO 320

Now, it is possible to do street photography with a less AF-adept camera. But you’ll frequently struggle, especially when trying to lock focus for spur-of-the-moment shots.

You’ll also want good AF for situations when you’re shooting from your LCD or from the hip. If your camera can grab focus with ease, you’ll end up with quite a few keepers, even if you’re firing the shutter without looking!

4. A silent shooting mode

Getting a camera that can shoot in silence was a real game-changer for my street photography.

Finally, I could shoot without people realizing, and it made me feel so much less anxious.

f/2.8 | 1/640s | ISO 200

And the truth is that most street photographers feel anxious at one time or another, and a loud shutter sound just made that anxiety worse.

(If you’re a street photographer that never feels uncomfortable, please share your secret in the comments!)

In fact, I almost quit street photography. It was only once I had a camera that could do true silent shooting that I was able to resume and feel better about what I was doing.

That’s why I recommend you get a street photography camera that has some sort of silent shooting mode. Ideally, it has an electronic shutter, one that allows you to shoot in total silence (though any silent shooting mode is better than nothing at all).

You’ll want to be careful, though:

Some cameras can be restricted when using a silent shutter. For instance, my Sony a6300 can only shoot bursts at about 3 frames per second when silent, and this can be extremely frustrating. So, I’d suggest looking for a camera that can maintain both silence and fast continuous shooting speeds.

That way, you can capture bursts of action without dealing with the chatter of a camera shutter!

5. A tilting screen

This feature is a bit more optional, but it’s still useful in quite a few situations.

You see, there will be times when you want to shoot from the hip (i.e., keep your camera held down low and fire off some shots).

50mm | f/4 | 1/800s | ISO 200

I do this while walking past people on busy streets because I don’t want to bother them with the sight of my camera. And I also like the low-angle look that it creates!

Of course, you can do this blindly, and you’ll end up with some keepers.

But if you have a tilting screen…

…you can look down at the camera while you walk, in order to ensure perfect focus and composition!

Note that you don’t need a fully articulating screen, as you won’t need to shoot from ultra-strange angles. A screen that tilts up 90 degrees will do just fine.

And since we’re talking about screens, I’ll mention that a touchscreen can be pretty useful in these situations, too. If you can tap to set focus, you can quickly choose a subject while looking down at your LCD, then fire off shots as they come closer.

Make sense?

The five key features on any street photography camera: Conclusion

Choosing a camera for street shooting doesn’t have to be hard.

Just make sure it has as many of these characteristics as possible, and you’ll be capturing stunning shots in no time!

That’s the power of a great street photography camera.

50mm | f/2.8 | 1/160s | ISO 400

The post The Five Key Features on any Street Photography Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

July 6, 2020
Tips for Organizing Photos in Capture One Pro
The post Tips for Organizing Photos in Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.

No matter which RAW photo editor you use, organizing your photos is probably one of the least enjoyable tasks in your photography workflow. However, setting up your catalogs correctly, or making changes to its structure, can ultimately save you a lot of valuable time. In this article, I’ll give you some tips to get you started on organizing photos in Capture One.

Capture One Pro Worksapce

Setting up your Catalog for success

Capture One offers you the ability to work in Catalogs or Sessions. It’s recommended that you work with both.

A Catalog in Capture One functions like a Catalog in Lightroom in that it helps you organize large libraries of images; however, it offers more functionality. On the other hand, Sessions are great for on-set shooting and tethered shooting in studio and are an efficient way to organize the images from a specific shoot.

There are different importing strategies you can use when organizing photos in Capture One. However, before you get started, you should, decide where you’ll put your catalogs.

They don’t have to live in the same location as your photos, but your catalog should be kept in the fastest, most high-performing place you can put it – which is usually your computer’s internal hard drive.

In short, consider the performance limitations of any storage medium that you use when organizing your photos in Capture One.

Starting a new Catalog

If you’re new to Capture One, you’ll want to start a new Catalog. Creating a Catalog creates a new database; it tracks photos and adjustments, and stores metadata and keywords, and a small preview of your photos

You can have a single catalog for all of your images, which is further broken down into Sessions and Albums etc. depending on how you want to set up your workflow. You may choose to have more than one catalog; for example, a catalog for personal photos and another for client work.

I shoot food and still life photography for several stock agencies. I like to keep these images separate from my client work, as it helps me feel more organized. However, this is simply my preference. You may decide to organize your photos in Capture One differently.

How to start a new Catalog:
- Navigate to File in the menu bar at the top of the Capture One workspace.
- Choose New Catalog. The dialog box will appear.
- Type in the name of your new catalog. Notice the location of where your catalog will be stored. You can change this by clicking the three dots to the right.
- Hit OK. Now you’re ready for the import process.
Importing from an external hard drive

The chances are that you shoot a lot. If you shoot RAW files, it doesn’t take long for your computer’s hard drive to fill up with thousands of image files. Therefore, it’s a good idea to keep your image files on an external hard drive to keep your computer’s performance at an optimal level.

I keep my Capture One catalog on my iMac but have my files stored on two 4TB external hard drives – my main storage drive and a backup with duplicate files.

I also shoot tethered to a laptop when I shoot for clients. In this case, I save a backup of my files on a 1TB external hard drive and upload the photos to my main external drive after my shoot.

Before you get started with importing images, make sure that your image preview size is at least as large as your monitor, to ensure that they render properly. You can set this in your Preferences.

How to import from an external hard drive:
- Go to File and choose Import Images. A Dialog box will pop up. Choose your external drive from the dropdown under Source.
- Make sure to check off Include Subfolder to see your photos in the Capture One workspace, otherwise it will appear blank.
- Choose where you want to import them to under Destination. I have a file named after every calendar year on my main drive. I create folders named after the contents of the shoot. ie: Blood Oranges, Moody Whiskey, Carrot Cake, etc.
- You can also create another backup and save the images to that location.
- After you have chose your importing parameters, hit Import All.
- Leave your photos in the current location to honor the file structure that already exists on the hard drive you are copying from.
Importing from a memory card
- To import your photos from a memory card, you need a Destination folder to get them off the card. You may already have a folder in mind or you can create a new folder ie: My Photos
- The dialog box will pop up once the card reader and memory card are connected to your computer. The process is the same as for importing photos from an external hard drive.
- You can create Subfolders and further organize the images by date or other criteria. Capture One calls this Tokens. Tokens pull this data from the photo.
- If you click on the three dots next to the Subfolder option, all of the various Tokens will come up. You can then click and drag them individually to the Format section, as well as drag them around to place them in a certain order.
- Be sure to scroll down to see all the Tokens.
- I usually choose to organize further by date, or date and time. Often I also include “Rights Usage Terms” to help me track licensing stats of various photos.
- Once you have chosen your tokens, hit OK and then Import All.
Moving files and folders to another location

If you want to move files between folders, you can just drag and drop them. The database understands that you’re doing this within Capture One. When you attempt to do this outside of Capture One, this is where you get into trouble.

Moving outside of Capture One is slower, and you’ll have to relocate the files.

You’ll get an Offline notice and will have to locate it by right-clicking on the image and choosing Locate and navigate to where your image is. Capture One will re-establish the connection.

If you move a whole folder, it’s the same process.

You can move folders the same way you move files, and move them from your internal drive or an external drive.

Organizing with User Collections

User Collections is the best way of organizing your photos within Capture One. If you use Lightroom, you’ll be familiar with the concept of Collections.

There are too many limitations when trying to organize by folders because you can’t bring certain images together for a specific purpose, such as printing your work, unless you move them. Therefore, User Collections is the perfect solution.

There are four powerful organizational tools in User Collections:
- Album
- Smart Album
- Project
- Group
Project is like a master container to put your Albums in. You can’t just drag images here; there has to be an album inside.

Much like a physical photo album, Album is a way to organize groups of photos that have a similar theme, such as vacation photos, or photos from a wedding shoot.

How to start a User Collection
- To start a User Collection, click on the + arrow to the right of the User Collections dropdown.
- Then give your Collection a name and hit OK.
Smart Albums

Smart Albums are a way to take this a step further, by giving you the ability to organize with star ratings and color tags. If you’re a Lightroom user, you’ll also be familiar with this concept.

Smart Albums populate themselves based on the criteria you pick. If you click off a star or rating, it will disappear from the collection, because this feature is dynamic.

Click + to add your search criteria, or use preset color and star ratings.

Conclusion

Organizing your photos in Capture One takes some effort and experimentation using the various tools the software has to offer. It’s a powerful program that has a lot of intuitive tools to help you create the most efficient workflow for your photography.

If you have any other tips for organizing your photos in Capture One, let us know in the comments!

The post Tips for Organizing Photos in Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.

Digital Photography School
July 5, 2020
Blue Paddling in Arapaho Bend Natural Area

Paddling in blue: blue sky, blue paddleboard, blue paddler, blue leash … Happy accident or conscious color selection? I am not sure. This picture in from my morning paddling in May on Beaver Pond in Arapaho Bend Natural Area, one […]
paddling with a camera

July 5, 2020
15 Quick and Easy Poses for Family Photographs

The post 15 Quick and Easy Poses for Family Photographs appeared first on Digital Photography School. It was authored by Jackie Lamas.

In this article, we’re going to share 15 quick and easy poses for family photographs to try at your next family photo session to keep it moving smoothly. You will also have great poses to choose from when it comes time to deliver the images to your clients.

These poses are useful for all family sizes and types so that you have a great variety to deliver once complete.

Canon EOS 5D, Canon EF 85mm F1.8 USM, 1/250th, f/2.8, ISO 250

1. Standing poses

When it comes to photographing families, a standing pose is a great choice. This way, you’ll be able to see all family members in the portrait.

Canon EOS 6D, Canon EF 50mm F1.8 USM II, 1/1250th, f/2.2, ISO 400

You can vary the standing pose with the family close together, connecting in one way or another with hands. Having the family get close can help to create more of a connection between the family members.

Canon EOS 6D, Canon EF 28-105mm F3.5-4.5 USM, 28mm, 1/160th, f/8, ISO 400

Another great standing pose is where you give each person a little bit of space and take a wide shot. This works for small and large families!

2. Group squeeze

A group squeeze is another of the great poses for family photographs given that it can bring about some genuine smiles from the family, which is the real focus of the pose.

Ask your clients to get close and hug each other while still facing the camera, then ask them to squeeze tight and watch the laughter happen! Take as many photos as possible of the moment as the family will love to see these natural expressions caught on camera!

3. Sitting pose

Sitting is another great pose to try. First, ask if there is anyone who has problems sitting or getting low. If there are family members with issues, try and use a chair or a posing stool.

Otherwise, have the family sit comfortably and get variations of the family looking at the camera, looking at each other, perhaps sitting a little further apart, or try to have the children behind the parents sitting a bit taller.

If you are going to use a chair or stool, it can bring about many different levels in a photograph that will make the poses more interesting. Try people behind the person sitting on the stool, move the stool/chair to the side, and have everyone fill in around.

Canon EOS 5D, Canon EF 50mm F1.8 USM II, 1/1000th, f/2, ISO 400

If you’re photographing a big family, you can even pose family members beneath the stool/chair to add to the levels.

4. Walking together

When looking for poses for family photographs, you can’t go past them walking together. It is a great pose for all families, especially if they feel a little nervous or stiff. Have them line up and walk towards you while they look at each other and laugh.

Encourage them to talk and joke amongst themselves to make the shot look a little more natural.

5. Smaller groups

This pose is for big family sessions where you’re photographing smaller groups that make up the big family. Get each smaller family alone and photograph them in two to three different poses each. Use the same poses for each family to keep the session consistent. When all the family photos are put together in a wall gallery, for example, the photos fit well together.

You don’t have to use the same pose for all, you can change it up depending on the feeling each smaller group gives you. However, when we say keep it consistent, we’re talking about the lighting, background, and focal length.

6. All mixed up

A fun way to photograph the family is to have them mix it up and then get together for a portrait. This can get the family scrambling and laughing; allowing you to get more natural smiles from the entire family.

Canon EOS 6D, Canon EF 50mm F1.8 USM II, 1/320th, f/5.6, ISO 250

7. Jumping

Jumping is another of the great poses for family photographs. Capturing a jumping shot is a great way to loosen up client nerves. More than actually getting the best shot, the jumping photo is to get everyone laughing and having fun.

You can photograph the jump with the family facing you or away from you. Make sure you get low so the jump looks more dynamic.

8. Just the kids

It’s good to also get a few photographs of the children without any adults in the photos. For siblings, get them playing or hugging.

For larger groups of children, like grandchildren, get them all in a group squeeze or on different levels like piggyback, sitting/standing, or all lined up so that everyone is seen in the portrait.

You can also break down the groups of children into girls, boys, older and younger, and maybe all playing together.

9. Exploring

Nothing says meltdown like telling children to hold still and pose. To avoid a potential meltdown, allowing kids to explore their surroundings helps to keep them moving and engaged in the session.

Get the parents involved in exploring the location. It could be smelling flowers, picking up sticks, and taking in the surroundings.

This works perfectly for kids who are more sensory and for younger children. It can also help older kids feel less nervous and less focused on during the session.

10. Playful

Having fun is one of the best parts of the client experience. Making sure that your clients, especially the children, have a good time is really important.

Photograph the children building sandcastles, enjoying the playground, throwing a ball, or playing a game with their parents to help keep everything light and fun. It’s not a pose exactly that you direct, but you can choose where to have them play.

Having playful photos of the family completes the story of the session and also shows a more lighthearted side to the family. It also makes the session less stiff and serious.

Canon EOS 6D, Canon EF 50mm F1.8 USM II, 1/120th, f/5.6, ISO 400

Even if you’re in a studio, you can blow bubbles, play songs, have a dance party, and play with sounds to make the session more playful. Toys are a wonderful idea for smaller children.

11. Just the adults

While getting photos of the whole family is important, getting one or two poses of the adults by themselves also works to add variety to the whole session.

If the adults are a couple, pose them together in the same location. Take one with them looking at the camera and one looking at each other. Then have them walk a little while as they talk to each other.

If they are able to sit, get a couple of photos of the couple sitting, either on steps, benches or on the grass/ground.

12. Holding hands

Holding hands is a good way to show a connection among the family members. Choose different poses, either sitting or standing, where the family is holding hands. You can vary it with big groups where some are holding hands and others are not.

This works for children to get them to stand in the same place together. It can also help to hold hands with younger children so that they don’t stray too far and are engaged in the session.

13. Being themselves

Allowing your clients to simply be themselves as a family can be just the thing to calm nerves and help the session flow much more naturally. Help them by choosing where you want them to sit or stand and then have them talk amongst themselves.

Perhaps tell a joke, dance or play. Allow the family to get natural expressions, which adds more variety to the final gallery.

14. Kisses

Families love each other and often show affection for each other. Kisses are natural and can show a real connection. You can choose to have the parents kiss while the kids make funny faces, have siblings kiss and hug, or have grandparents give kisses on the cheek.

This works best with young children like babies and toddlers to show affection and draw the baby’s attention to the parents. It also works with group squeezes with smaller family units.

15. From behind

Complete your session images with a final shot of the family from behind. This can be a silhouette or have the family overlooking the location where they are, like a beach, for example.

It can be a great photo to finish your client’s gallery with a nice contemplative photo of the family simply looking and being themselves.

In conclusion

It’s great to have 15 poses for family photographs that work for all families and all situations. Use these 15 poses, and you’ve already got a great start to your client’s gallery! Do you have any go-to poses that work for all family sessions? Share in the comments!

The post 15 Quick and Easy Poses for Family Photographs appeared first on Digital Photography School. It was authored by Jackie Lamas.

Digital Photography School

July 4, 2020
How Using Instant Cameras Can Improve Your Photography

The post How Using Instant Cameras Can Improve Your Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.

There is something magical about instant cameras. Depress the shutter button and a little image is ejected, slowly developing before your eyes. More than just a novelty, instant cameras have practical and artistic applications. Here’s how using instant cameras can help improve your photography overall.

What are instant cameras?

First things first. What exactly is an instant camera? Generally, the term instant camera describes a camera that uses self-developing film to deliver a photographic image within minutes of pressing the shutter button.

The Instax Mini and Barbie Polaroid instant cameras. f/4, 1/50, ISO 500

The first commercially viable instant camera system was introduced in 1947 by the founder of Polaroid, Edwin Land.

A year later, Land’s Model 95 Land Camera and the corresponding film went on sale in a department store in Boston. The cameras, which dramatically altered the accessibility and creative possibilities of photography, sold out in mere minutes.

Land and Polaroid continued to develop instant camera systems. Originally delivering a sepia-toned image, instant film graduated to black and white and then to color in 1963.

However, up until 1972, using instant cameras was much less straight forward than the process we know today. Exposed Polaroid film required a photographer to peel back a negative sheet after 60 seconds to reveal the instant image. This often left chemical residue on the user’s hands.

Some earlier processes also required users to coat the developed film with a mixture of stabilizing chemicals.

f/4, 1/40, ISO 300

The arrival of the Polaroid SX-70 in 1972 marked a turning point in instant camera technology. The SX-70 ejected film with no negative sheet or chemical residue, shaping the trajectory of instant camera models thereafter and realizing Land’s dream of a fully instant camera system.

Instant cameras may have been largely superseded by digital technology today. Still, the distinctive aesthetic and physicality of the instant camera process have seen a resurgence in recent years. Companies like Polaroid, Fujifilm, and Leica all offering up modern incarnations of the instant camera and corresponding film.

A new approach

There are many ways using instant cameras can improve on a photographer’s process. Perhaps the most obvious impact of modern instant photography is the practical knowledge that a less-than-mainstream photographic medium affords.

Since their invention, instant cameras have presented an intriguing alternative to standard photographic practice.

Andy Warhol made famous use of the instant camera, as did Luigi Ghirri – a pioneer of color photography. By using both a familiar yet unique photographic technique, these photographers (and many more) pushed the boundaries of what was understood to be the accepted approach to photographic image-making.

Most modern photography is created and distributed digitally. But stepping away from the norm to negotiate the ins and outs of an instant camera presents new perspectives and challenges – broadening artistic experience and opening up creative opportunities.

The benefits of new photographic experiences are not exclusive to instant cameras. However, the process, inherent associations, and distinctive aesthetics of instant camera photography can contribute greatly to the many layers of visual language a photographer draws upon in the field.

Getting it right in-camera

They’re nifty, but keeping an instant camera stocked with film can be pricey. This means that getting the most out of each frame is a priority. Even though price can be a downside to using instant cameras, maximizing the success of each shot encourages a more effective photographic practice overall.

Getting an image right in-camera makes the most of the technology at hand, refining photographic skill sets and saving time. By measuring an exposure against a limited amount of instant film frames, instant cameras slow the photographic process, inviting the photographer to carefully and deliberately consider creative and technical aspects before depressing the shutter button.

While instant camera photography often departs from the technical standards of digital and film photography, this ‘slow’ approach to photography inevitably translates to other facets of a photographer’s practice, honing visual awareness and sharpening technical skill.

Pre-Visualisation

An early proponent of instant camera technology, Ansel Adams maintained that pre-visualization was a critical component of strong image-making. As we’ve touched on, instant camera film isn’t cheap, but pre-visualization is a valuable way to minimize dud shots.

Pre-visualization involves mentally untangling the many components that go into executing an effective photograph before the photograph is made. By pre-visualizing, a photographer can take executable steps towards achieving an appealing image in-camera, often with greater efficiency and success.

Instant camera photography is a great way to capture and preserve memories.

The risk of wasting expensive film makes the need for pre-visualization particularly pronounced in instant camera photography. The more consideration that is put into an image pre-exposure, the greater the chances of a successful instant photograph.

Also, the immediate effectiveness of combining pre-visualization techniques with instant camera photography generates positive momentum. This then feeds better habits across all forms of photographic practice.

The reset button

Instant photography was designed with fun in mind, so it’s no surprise that the simple, idiosyncratic cameras provide a well-deserved distraction from the effects of creative fatigue.

Paired back in design, instant cameras tend to have less in-built settings than their digital counterparts. This simplicity can encourage creativity in composition and subject selection over technical perfection.

f/7.1, 1/25, ISO 500

In addition, the unique aesthetic of instant photography is viewed as the marker of a distinct and quirky artistic process. This means that some mistakes that would ruin a digital image are embraced in an instant camera photograph.

This loosening of technical constraints means that instant cameras can serve as an effective refresher for photographers looking to recharge creative batteries.

Conclusion

Using instant cameras isn’t just fun, it can inform and improve your image-making overall. With a unique aesthetic, limited film and paired-down design, instant cameras are an engaging alternative to the photographic mainstream.

Do you shoot with instant cameras? Share your thoughts and images with us in the comments below.

The post How Using Instant Cameras Can Improve Your Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.

Digital Photography School

July 4, 2020
Canon’s New 1 MP SPAD Sensor Offers Potential for Highly-Sensitive Imaging

The post Canon’s New 1 MP SPAD Sensor Offers Potential for Highly-Sensitive Imaging appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon has just announced the completion of a 1-megapixel single-photon avalanche diode (SPAD) image sensor, making it the first of its kind.

Traditional CMOS sensors work by capturing photons (i.e., particles of light), and converting them to charge (which are ultimately transformed into digital pixels).

That way, when you press the shutter button, your camera’s sensor starts capturing photons, with each photon equivalent to a very small amount of light. These photons are turned into pixels, so that areas of a scene that produce or reflect more light are rendered brightly compared to areas of a scene that produce or reflect less light.

Now, CMOS sensors only offer a certain level of sensitivity. If you shoot at 1/8000s, unless the light is unusually powerful, you’re not going to capture many photons at all, resulting in a completely black image.

(That’s essentially what underexposure is, after all: The failure to capture a sufficient number of photons for a bright image.)

Anyways, that’s how a standard sensor works.

But as explained by Canon, a SPAD sensor works differently:

“When a single light particle…reaches a pixel it is multiplied – as if creating an “avalanche” – that results in a single large electrical pulse.”

In other words: Each photon gives you far more charge to work with, resulting in much greater sensitivity overall.

While Canon’s current SPAD sensor only captures 1 megapixel images, an imaging device that sensitive could offer plenty of benefits in terms of scientific technology. For instance, Canon’s SPAD sensor can expose its pixels in 3.8 nanoseconds, which makes it possible to capture events and features that were previously considered impossible.

Canon argues that “thanks to its ability to capture fine details for the entirety of events and phenomena, this technology holds the potential for use in a wide variety of fields and applications including clear, safe and durable analysis of chemical reactions, natural phenomena including lightning strikes, falling objects, damage upon impacts and other events that can’t be observed with precision by the naked eye.”

There are also applications in terms of 3D imaging, due to a SPAD sensor’s capacity to record precise exposure times.

While it doesn’t sound like SPAD sensors will be reaching consumer sensors any time soon, it’ll be interesting to see how this technology gets utilized!

Now over to you:

What potential applications can you imagine for SPAD sensors? Share your thoughts in the comments!

The post Canon’s New 1 MP SPAD Sensor Offers Potential for Highly-Sensitive Imaging appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

July 4, 2020
Weekly Photography Challenge – Mist

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

This week’s weekly photography challenge – MIST!

Mt Hotham and Mt Buffalo, Victoria, Australia by Caz Nowaczyk ©

Misty Mt Hotham, Victoria by Caz Nowaczyk ©

I just returned from a trip to the Victorian High Country in Australia. It was, cold, snowy and misty, et incredibly beautiful. There is such a wonderment to the mist and the way it transforms a landscape.

So, if you are lucky enough to be somewhere you will find mist at this time of year (like here in Australia, go out and take some fresh mist photos. Alternatively, go through your catalog and show us your best mist photos!

Play with post-processing too – try split-toning, black and white or sepia. See if you can make your dramatic mist photos even more dramatic!

Slot photos together, like I do to see how images work together as a series too.

Take them with your camera or phone too (mine are just taken with my phone, as I am yet to find the time to edit my camera shots!)

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

Fog/Mist on Mt Hotham, Victoria, Australia by Caz Nowaczyk ©

Bright, Victoria, Australia by Caz Nowaczyk ©

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

Tips for photographing MIST

4 Tips for Photographing Fog to Create Mystical Images

Tips for How to Enhance the Mood in Your Foggy Photos

How to Make Use of Foggy Surfaces for Abstract Photography

Tips for How to Think and Use Lightroom More Artistically

How to Use a Black and White Filter to Improve Your Photos

How to Create Silky Split Toned Black and White Photos Using Luminosity Masks

Discover Seven Ways to Create Sepia Images in Photoshop

How to Dramatically Shape the Light and Mood Using Adjustment Brushes in Lightroom (video)

2 Methods for Creating Duotones in Photoshop

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 #DPSmist2020 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 – Mist appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School

July 4, 2020
The Nikon Z5 Will Be Announced on July 21st
The post The Nikon Z5 Will Be Announced on July 21st appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

If you’ve been hoping for a more affordable full-frame mirrorless option from Nikon, you don’t have long to wait.

According to Nikon Rumors, we will likely see the launch of the new Nikon Z5 on July 21st, a camera that will be positioned beneath both of Nikon’s current mirrorless models, the Nikon Z6 and the Nikon Z7.

Any new Z-mount camera would be a welcome addition to the Nikon mirrorless lineup, which currently consists of two full-frame bodies (the Z6 and Z7), as well as the APS-C Z50. And while all three of these cameras are worthy of praise, the lineup still contains quite a few gaps, such as an action-centric “professional” body, a true entry-level APS-C body, and a more affordable full-frame model.

Enter the Nikon Z5, a camera with the potential to energize Nikon fans, especially shooters that are on the fence about switching to mirrorless.

What can you expect from the Z5?

While there is no official word from Nikon on the camera, rumors suggest that the Z5 will offer a lot of the same features as the Z6, including:
- A 3.69M-dot electronic viewfinder
- In-body image stabilization
- An identical autofocus system
- A 24 MP sensor
Interestingly, it’s looking like the Z5 will also offer dual SD card slots, perhaps in response to the criticism Nikon took over the lack of dual slots in the Z6 and the Z7.

Of course, for the Z5 to stay reasonably priced, Nikon will be making some cuts, including continuous shooting speed (expect 6 frames per second, rather than the 12 fps you get with the Z6), the loss of full-frame 4K video (there will likely be a substantial crop), as well as no top LCD.

But the Z5 is still looking to be an impressive camera, even if it’s not as action-capable as the Z6.

What’ll be interesting to see is how Nikon’s new camera stacks up against the Canon EOS R6, which will debut just weeks before the Z5, and will be positioned below the Canon EOS R5, as well as (likely) the EOS R. There’s also still the Canon EOS RP, which is very much a lower-priced full-frame option, even if it may become far less interesting after the launch of the R6.

Bottom line:

If you’re a photographer hoping to go full-frame, or you’re already a Nikon full-frame photographer seeking a mirrorless option, then keep an eye out for the Z5 announcement; if the rumors are true, then it’ll be one very impressive camera!

Now over to you:

What do you think about the upcoming Z5? What do you expect it’ll offer? What do you hope it will offer? Share your thoughts in the comments!

The post The Nikon Z5 Will Be Announced on July 21st appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School
July 2, 2020
7 Shots to Incorporate for Better Drone Photography

The post 7 Shots to Incorporate for Better Drone Photography appeared first on Digital Photography School. It was authored by Matt Murray.

Flying drones has become an extremely popular pastime in recent years. It can be both incredibly exciting (and also a little nerve-wracking) to see your drone take to the skies for the first time. As your flying skills grow and improve, it’s time to think of the range and variety of aerial images you shoot. Whether you’re coming to drones from a model aircraft background, a photography background, or with no previous experience, here are seven types of aerial shots you can incorporate in your repertoire for better drone photography.

A portrait orientation horizon shot of Main Beach at Yamba, New South Wales

Seven shots for better drone photography

So why seven different shots? The truth is, there’s no magic number of image taking techniques in any photographic situation, but I have highlighted seven different shots that I use on a regular basis that you can try out the next time you’re out flying.

One thing is for certain: buying a drone (like buying a camera) is not a sure-fire way to produce stunning images. It takes hard work and experimentation to get it right.

1. The horizon shot

This is one of the most common images beginner drone photographers take, where the drone is high above the ground and points straight ahead for a spectacular horizon shot. As with all photography, lighting is important for these shots – I’ve seen many horizon shots taken at the wrong time of the day, which does not flatter the landscape.

It’s also good to keep in mind the rule of thirds (and other compositional rules) for your shots – try to remember them when you position your drone camera angle.

I often see images with both the sky and land taking up half of the frame each. However, all rules are meant to be broken – I didn’t stick rigidly to the rule of thirds when I took this image of a remote beach in New South Wales.

Horizon shot of the stunning coastline in northern New South Wales.

When you’re taking your horizon shots, also make sure you take them in both portrait and landscape orientation for maximum versatility. You can even consider doing a large panorama of the horizon made up of multiple images while your drone is at that height.

2. The long overhead shot

Another common photo many beginners take is the long overhead shot. Ascending up to the maximum allowable height limit, pan your camera down towards the ground and take an overhead shot straight down towards the ground. Objects such as cars and boats appear tiny and you will barely be able to make out people in the image.

Long overhead shot at low tide on Brisbane’s Bayside.

Although these first two shots are an important part of your repertoire, there are many other possibilities for better drone photography, so remember to take a range of images when you’re flying.

3. The short overhead shot

Many drone photographers, especially beginners, think the higher up the better. This is not necessarily the case, as stunning, unique perspectives can be had from quite low altitudes.

Having your drone at even just 5-10 meters above the ground provides an opportunity to take an image with lots of interesting detail from a completely different perspective than you would usually see.

The image below is a close up of boats on Brisbane’s Bayside. I had just finished taking the long overhead shot and decided to bring the drone down to capture a close-up of boats from a much lower height. With a short overhead shot, you can capture a lot more detail of objects in the scene.

Short overhead shot of boats on Brisbane’s Bayside.

People in the landscape

People in the landscape can often make captivating images. By placing one or more people in your scene, it adds interest and variety to your landscape images. With the added impact of having the unique aerial view from a drone, this is one way for you to create stunning drone images.

In the first image below, I watched as my daughter took her surfboard out into the sea off Iluka in New South Wales. Her presence adds interest to what would otherwise just be a shot of the beach.

Figure in the landscapes add an extra dimension to landscape photos.

In this next image taken in neighbouring Yamba, I took an overhead shot of the historic Ocean Baths. The image shows someone enjoying a morning swim, and a surfer heading across the beach.

Figures in the landscape at Yamba’s Ocean Pool.

Leading lines

Leading lines are a common compositional technique. It’s where a line or lines lead your eye through the various elements of the photograph. I took this image of Urangan Pier in Hervey Bay, Australia an hour after sunrise. The lines of the pier lead your eye through the image to the mainland in the distance. The rule of thirds is also in play here.

There are lots of leading lines that you can use in your compositions for better drone photography – both natural and human-made. Look for them next time and make them work for you.

Leading lines in action – Urangan Pier at Hervey Bay in Queensland.

Textures

Sometimes when you fly your drone over repetitive landscapes, you may feel like there’s nothing worth photographing, but that isn’t always the case. Keep your eyes open for scenes that show textures in the landscape, such as the pine forest in the image below.

When I flew my DJI Mavic Pro over this area in rural Queensland, I was amazed by the textures of the pine needles on the trees below me, punctuated by the brown soil and the tree trunks.

Look for areas with repeating patterns of trees, sand, crops, anything!

Textures of a Queensland pine forest.

Abstract shot

One of the fantastic things about flying a drone is that it opens up new ways of seeing our beautiful world. I am constantly amazed by how landscapes look from an aerial perspective. With this in mind, look for better drone photography opportunities via abstract shots where there is a mix of colors, lines, and shapes on the ground below.

I took the image below at the beach in New South Wales. I love the yellow, whites and greens of the sand and sea.

Beautiful abstract colors, shapes and textures of the beach in New South Wales.

Conclusion

Better drone photography is a combination of many things. Not only do you need to build your skills and confidence by improving your flying, but you also need to add variety to the types of images you take with your drone.

In this article I’ve featured some of the different types of shots I like to take when I’m flying my drone. Horizon shots are a staple among many drone photographers, as are long overhead shots. If you haven’t already, look for opportunities to take short overhead shots, textures, abstract images, and use leading lines. If it’s safe to do so, also look to incorporate people in your landscape images to add more interest and variety.

What other types of shots do you like to take for better drone photography? Tell us in the comments below. And if you haven’t bought a drone yet, be sure to check out my photographer’s guide to buying a drone.

The post 7 Shots to Incorporate for Better Drone Photography appeared first on Digital Photography School. It was authored by Matt Murray.

Digital Photography School

July 2, 2020
Nikon Photo Contest 2020-2021 Officially Confirmed
The post Nikon Photo Contest 2020-2021 Officially Confirmed appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

The 2020/2021 Nikon Photo Contest has been officially confirmed by Nikon.

For both amateur and professional photographers alike, and now in its 38th Edition, the Nikon Photo Contest has been running since 1969. During its life, it has seen over 440,000 photographers enter the competition, and had over 1.71 million photographs submitted.

In 2018-2019 (the 37th edition), the Nikon Photo Contest celebrated it’s 50th Anniversary, with around 33,000 photographers from 170 countries around the world entering over 97,300 works!

Nikon states:

“The environment surrounding the image-making culture is constantly changing with the times, and it always inspires us with new perspectives. We are pleased to provide a place for creators to discover new creations by adapting to the latest methods and styles of expression and deliver important stories through the common language of imaging.”

To keep up with the competition details, head over to the official competition site.

What do you think of Nikon Photo Contest? Have you entered before? Will you be entering this year? Let us know in the comments!

You may also like:
- 8 Great Reasons to Enter a Photo Contest
- How To Evaluate Photo Contests Before Submitting Your Images And Cash
- Photo Contests – Is that a contest or Rights Grab?
- How to Improve Your Chances of Winning a Photography Contest
- Key Tips to Winning a Photography Contest
The post Nikon Photo Contest 2020-2021 Officially Confirmed appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School
July 1, 2020