The post Shooting Stock Photography: Getting the Most Out of a Single Subject appeared first on Digital Photography School. It was authored by Charlie Moss.
Most photographers who experiment with shooting stock photography quickly become disillusioned. They struggle to see a return on their time and financial investment. Even worse, they turn to fellow photographers for advice and are often told that the stock photography market is dead.
But that isn’t the case. There is still a market for stock photography.
However, to create a revenue stream from shooting stock photography, you need to work smarter. That way, you’ll have a more significant library of images with less investment, and you’ll be able to build a revenue stream from your images much quicker.
What is stock photography?
Stock photography is where a photographer takes images that they’ve already shot and makes them available to businesses for licensing.
In return for a fee, the client can use the pictures in their book or on their website. It usually works out cheaper for the client to use a stock photograph than to commission a photographer to go out and shoot a similar image.
The images are usually managed by an agency, who handles all of the marketing and administration.
Is stock photography dead?
This is the first question that photographers often ask me when they find out I’ve been shooting stock photography for over a decade. I am a relative beginner in the world of stock photography, but I can tell you that, in my experience, it is very worth exploring the stock photography market.
This old photograph was one of the first I submitted to stock libraries. Back then I used to focus on photographing everything on white backgrounds. It still sells, but if I’d shot more variety ten years ago then I’d be seeing more revenue now!
Canon 350D | Canon EF 55-200mm f/4.5-5.6 | 50mm | 1/125 sec | f/8.0 | ISO 200 | Strobe Lighting
Anyone thinking about shooting stock photography needs to understand that it is a long game to play. You shouldn’t expect instantaneous results. It may take a couple of years to start seeing regular sales that you can predict in your business plan.
But don’t let that put you off. Time spent on photographing and submitting images to stock libraries is an investment in your future income.
Where do stock images come from?
There have always been photographers dedicated to shooting stock photographs. However, many photographers have made a good side income by submitting images that came from other shoots or jobs.
An image shot for a DPS article that has since earned me money through a stock library. I used the same subject as the previous shot, but a very different approach.
In doing this, photographers have made their images work harder for them by pulling double-duty. The photographer has been paid for their time to shoot the initial photographs. But then they may also get paid for the images again when they are licensed from the photographer’s stock agency.
If you are shooting images specifically for your stock library, then you need to make sure you optimize the way you shoot. Getting a wide variety of photographs from a single subject is the key to quickly seeing regular payments with minimal investment.
Getting more from a single subject
If you have purchased a prop to photograph for your stock photography library, then it makes sense to get maximum return on your investment.
This advice will also work for hiring models or visiting particular locations; just take the general principles and apply them to your subject.
I often shoot stock photography images alongside fine art images. By using the same subject with different props and compositions, you can shoot a wide variety of pictures in a short space of time.
Understand what each stock photography agency that you submit to is looking for. If you shoot a variety of images in different styles, you can then send them to various agencies.
In a food photography shoot, it is quite possible to shoot for a wide range of stock photography agencies during the same session. You could shoot a shot for a cafe to market themselves with on social media. You could also shoot an image for a food magazine or recipe book. You could perhaps shoot a fiction book cover, an educational textbook image, and some creative images for bloggers to use.
Above are some of the images from a shoot I did with a single subject. I made sure to shoot with both light and dark backgrounds, as well as both modern and more rustic backgrounds. Image buyers want to purchase photographs that will fit with the feel of their brand. The more options that you can give them, the better.
Think about where your images could be used
Don’t forget to shoot in both landscape and portrait format for your stock images. You never know where your image will end up. While a fiction book cover will almost always need a vertical image, a magazine or a blog could use either vertical or horizontal images depending on the page layout.
Another tip is to shoot images that have space for text to be added later. Think about a magazine front cover. It has room at the top to put the name of the magazine. But it also has plain or out-of-focus areas on the side to write the headlines. Browse through magazines and books to understand more about the kinds of images that get purchased and published.
Where to start with shooting stock photography for profit?
As I often say: Just start somewhere.
Research the kinds of images that different stock photography libraries are interested in. Agencies will usually have blog posts on their sites listing the pictures that they’re looking for. And then get shooting.
Make sure you capture a wide range of different angles and compositions while thinking about the different ways that your images could be used.
If you’re shooting stock images of small objects, then try creating some different backgrounds so that you can easily change them out while shooting.
That way, you can create multiple styles of photographs in the same session. If you’re shooting models, then scout out locations that have a number of different backdrop styles within a few minutes of each other.
But what you really need to do is shoot images and get them placed with stock photography agencies. If your images aren’t out there and in front of the eyes of potential clients, then you won’t sell any at all! You can refine your workflow later.
Have you had much success with shooting stock photography? Let us know how you’ve got on in the comments!
The post Shooting Stock Photography: Getting the Most Out of a Single Subject appeared first on Digital Photography School. It was authored by Charlie Moss.
The post How to Use a Split Tone Style in Lightroom Mobile for a Consistent Instagram Feed appeared first on Digital Photography School. It was authored by Ana Mireles.
Have you ever seen an image and immediately known who took it? That’s because the photographer has a unique style.
If you want to make your own images recognizable for your clients and followers, you might want to try a split tone style.
Keep reading to learn how this works.
Snapshot taken with the default camera app on a Redmi Note 8.
Style
You can create your own style through many different elements, from lighting and composition to a particular way of post-processing.
Using this technique, you can keep your images consistent. That way, the viewer feels like all your images belong together and associates the images with you and your brand. This works for your portfolio, your website, and your Instagram feed.
Split tone
When you assign a certain tone to the shadows and a different tone to the highlights, it’s known as a split tone. The full white and full black will always remain untouched. But the highlights will be cool while the shadows will be warm.
Let me show you what I mean with this gradient:
You can also change the ratio between highlights and shadows. On these next gradients, see how the same split tone colors give a different effect when you adjust the split tone balance:
This is just an example, but you can use any combination of colors that suits your style and brand. For that, you can create a color palette.
Choose a color palette
A color palette is a range of colors used in a particular context. These colors need to work well together and reinforce your style.
There are different theories you can use to create your color palette. You can go for a monochromatic scheme or a complementary one. If you’re not sure, there are some great tools to help you. You can check out Adobe Color or Color Hexa.
Just like a filter, different split tones may look better on some images than others. Having a color scheme gives you the flexibility to apply different split tone combinations while maintaining your style.
Split tone style
Almost every program has a feature or a way to do split toning: ACR, Capture One, Photoshop, Luminar, Lightroom, etc. Also, many apps allow you to do split toning on your phone: Photoshop Express, Lightroom Mobile, and VSCO Cam. Choose whichever fits best into your workflow.
In most cases, the split toning interface is similar from program to program. You’ll have two gradients: one for the highlights and one for the shadows. You’ll also have a balance slider.
I’m going to show you how to split tone in Lightroom Mobile, because it’s the program I find most comfortable. Also, because Lightroom Mobile allows you to save your split tone effect as a preset.
Both split toning and preset functionality are included in the free version of Lightroom Mobile, so you can follow along without getting a subscription.
Split toning in Lightroom Mobile
When you have your image open in Lightroom Mobile, you can see the menu at the bottom. Scroll to the right until you find Effects.
Once you open the Effects tab, on the top right you can find Split Tone. This will open the gradients for the highlights and shadows. Below these gradients, you’ll find a slider to control the split tone balance.
Move the highlights, shadows, and balance values until you’re satisfied.
In the color palette section of this article, I was telling you that there are different ways to split tone. Here you can see an example of split toning using a monochromatic scheme (the center photo), and another that uses complementary colors (the right photo).
Make it a preset
To keep your split tone style consistent without having to remember the specific values every time, you can create a split tone preset. That way it becomes a one-touch edit you can apply to every photo.
To do this, click on the three dots in the top right. This will open a menu; from there choose Create Preset. Make sure that only the Split Toning option that you find inside Effects is checked. Otherwise, the preset will save additional edits that you might not want to replicate in other photos.
Then name the preset and tap on the check icon (in the top right) to save.
Next time you want to apply the split tone effect to a photo, just open it in Lightroom Mobile, go to Presets, then User Presets, and find the split tone preset you want.
You can also create different split tone presets that use variations from your color palette. That way, you can use the preset that fits each image best while maintaining the overall aesthetic.
Conclusion
Using a split tone style will help you maintain a consistent look in your images. This will make your account recognizable to your followers and let your clients know what they can expect from your brand.
It doesn’t matter which app or program you use; the important thing is that it’s easy to incorporate into your workflow.
Share your recommendations and experiences in the comments section.
The post How to Use a Split Tone Style in Lightroom Mobile for a Consistent Instagram Feed appeared first on Digital Photography School. It was authored by Ana Mireles.
The post Nature and Wildlife Photography Tips for Beginners appeared first on Digital Photography School. It was authored by Adam Welch.
If you have an interest in wildlife or nature photography, then there is a good chance you have seen an image at some point that has completely taken your breath away. Maybe it was a photograph of a sweeping landscape washed in the golden light of the dying afternoon sun, or a close-up of some small natural miracle that you had never noticed before that moment.
You might even have asked yourself, “How did they do that?”
Well, the majority of those incredible photographs came about through a good deal of physical hardship, practiced patience, and a healthy amount of self-made luck.
Here are some tips to help you become stronger at wildlife photography and better at recording the natural world.
Do your homework before heading out
Be as educated as possible before you ever make a photo. Doing your homework is one of the most important, yet loathed, parts of wildlife photography. It never pays to walk into a situation and be completely clueless.
Though you can never be totally prepared for every challenge you will face (that’s part of the fun), you can educate yourself so that you safely make the most of your outing.
What gear to pack
Advanced gear is not a requirement. However, patience and perseverance are essential. You don’t need the latest and greatest zoom lens or space-age gadgetry in order to produce outstanding nature and wildlife photos.
At the same, you must also understand any limitations of your kit, so that you will have realistic expectations and avoid disappointment.
This photograph was made using the 28-135mm kit lens that came with my camera after I slowly and quietly crawled into range.
Gear up for what you’ll most likely be shooting. Packing for a photographic outing can cause a lot of anxiety. It’s easy to overpack due to fear of lacking a piece of gear.
Overpacking, though, can be even worse than underpacking. You become weighed down and uncomfortable. You find yourself not enjoying what you’re doing, which is one of the most preventable of all mistakes made by photographers.
Research the animals and scenes you are likely to encounter. Decide what gear most and least important to you. Make choices, commit to them, and then let it go. It will make packing a lot less stressful.
If you plan on photographing wildlife, such as birds and animals that scare easily, then pack your best zoom lens so you can keep distance between you and your subject.
Are you shooting landscapes or scenes where stealth is not a concern? You might consider taking along a wider angle lens to better capture your scene.
Ultimately, there is no secret formula and no true all-in-one lens to cover every situation. Be informed before you leave so that you can make the best use of whatever lens you have.
A good bag is worth its weight in gold
All the planning in the world isn’t worth much unless you can comfortably carry your essential tools with you. Find a camera bag that can carry the gear you need easily and is equally comfortable on your body.
Bags range greatly in price and quality, but you usually get what you pay for. For added peace of mind, you might consider a bag that is semi-weatherproof or water-resistant.
Here’s my go-to lightweight bag for wildlife photography, shown with and without the handy rain cover deployed:
Read reviews and find a bag that fits your body, your gear, and your planned outing. You will have a much more comfortable and enjoyable experience.
Speaking of comfort:
Comfort items
Shoes: A good pair of hiking shoes or boots is one of the most important pieces of gear for any wildlife photographer. Grit, dirt, mud, water, insects, rocks, and creepy-crawlies; you need a pair of shoes or boots that can handle all of these elements.
Your shoes should be well-fitting and suitable for walking long distances. If your feet become uncomfortable, it won’t be long before you start thinking about cutting your trip short.
Prepare a checklist
It’s always a good idea to have a mental checklist before beginning any shoot. Before your outing, ask yourself the following questions:
Are any special permits or permissions required? Some national parks, state parks, and wildlife sanctuaries require special permits for access to certain areas, especially backcountry environments.
Where will I park my vehicle? This is very important. Believe me, if you park your vehicle in an unauthorized area, then you will be stuck with a sizeable fine. Or worse, you’ll return to find your vehicle has been towed.
Are there time restraints of any kind? Most natural areas and parks have hours of operation just like a business. You might arrive expecting to shoot a great sunrise, only to find out the location you chose isn’t accessible until after daybreak. Also remember that wild creatures and critters are usually most active in the early morning or late evening.
What are the expected weather conditions? This is a biggie. Know what to expect as far as the weather is concerned. Check the forecast the day of departure and keep tabs on it throughout the day if possible. Never risk endangering yourself or your equipment by venturing out unprepared for bad weather.
What are the times for sunrise and sunset? Again, be sure the places you want to capture a sunrise or sunset are accessible during those times. You need to also be aware of the sunrise-sunset schedule so that you can allow enough time to reach your location and set up your gear before it’s go time.
Are there any commonly photographed animals, landmarks, or structures? Research what is usually photographed around the area you plan to visit. Find a park ranger or staff member and ask about lesser-known spots that are less traveled by tourists. Knowing what’s popular will save you time and help you avoid shooting a scene the same way it has been done time and time again. Look for ways to be creative and set your work apart!
So, you’ve researched your location and have a good idea of what to expect. Here are a few basic tips that can help you after you’ve reached your destination.
Shoot RAW
If possible, set your camera to capture images in RAW format. RAW image files are basically unprocessed (one might say uncooked), straight from your camera’s image sensor. They contain a massive amount of pixel information when compared to JPEGs and take up a lot more memory card space. However, this additional information allows more latitude for adjustments in post-processing.
Use the lowest practical ISO
The ISO number of photographic film and image-sensors relates to their sensitivity to light. The boiled-down explanation is that, everything else being equal, the higher the ISO number, the less light that is required to make an image.
Unfortunately, with higher light sensitivity comes increased image noise. In most (but not all) situations, you will want to use the lowest ISO possible. That is not to say you should be afraid of bumping up the ISO. A fast shutter speed is often needed to capture the quick movements of wildlife, and increased noise is far less noticeable than a blurred image.
Use AF continuous (AI Servo) mode when photographing wildlife
Autofocus (AF) can be your best friend or your worst enemy. When it comes to photographing most wildlife, however, autofocus is a great tool!
Animals and birds, especially the wild variety, are almost constantly on the move. They shift positions and move closer or farther away selfishly, with little regard for the photo you are so carefully trying to compose. This is when AF-Continuous and AF-Servo modes come in handy.
Though called different names depending on your camera’s make, these settings both accomplish the same objective: They keep a moving subject constantly in focus.
Place your selected focus point over your subject and half-press the shutter button to engage the AF. Focus will be tracked for as long as you follow your subject while maintaining pressure on the shutter button. Read your camera’s manual (you’ve done that already, right?) for detailed information concerning specific autofocus capabilities for your model, and how each mode can be selected.
Don’t forget the tripod
“I really didn’t think I would need my tripod” are words that usually begin a sad story about how a potentially great shot was missed. In most wildlife and nature photography situations, a tripod is always a good idea. It’s better to have access to a tripod and not need it than to need it and not have one available. Find the lightest and most compact tripod that is sturdy enough to handle your camera setup.
Learn so you can prepare. Prepare so you can photograph. Photograph so you can grow.
Photographing wildlife can be difficult, but it can also yield huge artistic, personal, and even spiritual rewards. So go out and have fun doing what you do, but don’t forget to put the camera down every now and then to enjoy the world around you.
“Nature never goes out of style.” – Unknown
The post Nature and Wildlife Photography Tips for Beginners appeared first on Digital Photography School. It was authored by Adam Welch.
The post Canon EOS R Mirrorless Camera: A Hands-On Review appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The Canon EOS R isn’t the newest Canon camera on the block, but it’s one of Canon’s four full-frame mirrorless offerings.
Which means that, if you’re an advanced Canon photographer looking to move to mirrorless, you don’t have many options.
But what does the Canon EOS R offer advanced and professional photographers? And how does is hold up in the field?
That’s what this review is all about.
I’ve now had the Canon EOS R for nine months, which has given me plenty of time to test it. I’ve worked with the EOS R in rain, in snow, through blowing sand, at night, in the studio, and much more. So I know what this camera can do; I also know its limitations.
Canon EOS R | Canon EF 70-200mm f/4L | 1/160s | f/4 | ISO 400
And I’ve used the EOS R with an EF to EOS R adapter, so I can confidently say whether Canon EF/EF-S lenses work well with the EOS R, or whether you need to purchase a whole new set of (expensive) Canon RF glass.
Are you ready to discover everything you need to know about the Canon EOS R?
Let’s get started.
Canon EOS R: Overview
Canon EOS R | Canon EF 24-70 f/4L | 5s | f/7.1 | ISO 200
The Canon EOS R debuted back in 2018 as Canon’s first full-frame mirrorless camera, featuring:
A 30.3 MP sensor
A native ISO range of 100-40000
Dual Pixel Autofocus with 5655 AF points
5 fps shooting with continuous autofocus; 8 fps shooting with One-Shot AF
A fully-articulating rear LCD with touch functionality
A 3.69M-dot electronic viewfinder
One SD card slot
4K/30p video (with a 1.7x crop)
A 370-shot battery life
A brand new (RF) lens mount
Weather sealing
1.46 lb (660 g)
5.35 x 3.86 x 3.31 in (136 x 98 x 84 mm)
Current price: $ 1799 USD
While there are plenty of worthy capabilities on that spec list, at the time the EOS R was seen as something of a letdown.
Why?
For two key reasons.
First, the EOS R only offered a single SD card slot. This meant professional photographers who require redundancy in their work (e.g., wedding photographers, sports photographers) didn’t feel comfortable working with an EOS R.
Second, the EOS R didn’t include any innovative features, and certainly not any features on the same level as Sony’s groundbreaking autofocus, huge megapixel counts, blazing-fast continuous shooting speeds, and in-body image stabilization (admittedly, Sony doesn’t offer all these in the same camera, but still!).
That said, the EOS R did, and does, offer some compelling attributes.
And after testing the EOS R for nearly a year, I can say, without a doubt, that it is a great camera…
…for the right person.
Absolutely, the EOS R has some drawbacks, and it fails to really break out in most areas. But it’s also reasonably priced and gives you access to additional mirrorless capabilities that you just can’t get on a DSLR, without needing a brand new bag of lenses (not to mention its relatively fast autofocus and strong image quality that we’ve come to expect from Canon’s higher-end cameras).
Plus, no two photographers are alike, and one photographer’s trash is another photographer’s treasure.
Bottom line:
While the EOS R just doesn’t work for some photographers, there are others for whom it’ll be an absolute dream to use.
So let’s take a closer look at the Canon EOS R!
Canon EOS R | Canon EF 24-70mm f/4L | 1/80s | f/6.3 | ISO 400
Canon EOS R: Build
The Canon EOS R is medium-level compact, with a relatively lightweight (but solid) build. It’s easily smaller than the full-frame Canon 5D Mark IV, which is longer, taller, and around 1.5x heavier; the same is true of the Canon 6D Mark II.
That said, the EOS R hardly feels slim, and it doesn’t really scream travel-ready to me. Personally, I don’t mind the weight of the EOS R, but if you’re coming from a smaller APS-C mirrorless body then the difference may take a little getting used to.
The EOS R packs a top LCD, as well as a shooting mode dial, a video button, a standard top command dial, and more.
Moving on to the back, you have a 3.2-inch fully-articulating touchscreen, which tilts in pretty much any direction and flips out to the side. You also get several buttons that are almost completely programmable, along with an (also programmable) multi-selector wheel.
Then there’s the electronic viewfinder and, to its right, a programmable touch bar (which I’ll discuss more thoroughly in a moment).
Now, the Canon EOS R is listed as weather-sealed, and it can clearly withstand some difficult conditions. I’ve used it (carefully) in snow and rain, and I’ve had no problems whatsoever. At the same time, the weather sealing just isn’t on the same level as some of the true professional bodies on the camera market, which is why I don’t think the EOS R is the right choice for shooters that regularly subject their gear to intense beatings.
Canon EOS R: Handling
I think I’m in the minority here, but I absolutely love the feel of the EOS R and its in-built capabilities. I’d even go so far to say that it’s the best camera I’ve ever handled, thanks to a few key features.
First, I’m a huge fan of the fully-articulating screen, which is fantastic for getting into odd angles when shooting macro photos, architectural photos, landscape photos, or even street photos when shooting unobtrusively from the hip. Plus, you get touchscreen-based autofocus, so you can easily tap your desired AF point and lock focus in milliseconds.
Second, the electronic viewfinder is clear, bright, and crisp. Thanks to its 3.69M-dot resolution, I rarely miss my optical viewfinder (which was a huge concern for me when I first added mirrorless technology to my camera lineup).
What’s also great about the EVF is how you can use it to “see” in black and white. You can literally look at a black and white world, which is ultra-helpful when it comes to composing compelling black and white images using the viewfinder.
Third, the camera fits perfectly into my hand and I can easily use it without checking where I’m pressing, due to a deep front grip and well-positioned buttons.
Fourth, the EOS R offers the programmable touch bar. This has been a point of contention among EOS R users, because some find it finicky to the point of being unusable, but I’m firmly in the opposite camp. I love the touchbar, which I immediately programmed to adjust my ISO and I haven’t changed since. It’s saved me from missing countless images, because instead of fiddling with buttons and dials, I can boost the ISO with a roll of my thumb.
Have I had occasional issues with the touchbar?
Yes. It’s very sensitive, which means that I’ve accidentally boosted the ISO without meaning to. But while this was frustrating, it was absolutely worth the trade-off discussed above.
And fifth:
I love the silent shooting mode. Unlike silent modes offered on other cameras, the EOS R’s silent shooting is truly silent or, at least, so quiet that you can’t hear the shot unless you listen very, very closely. This is one of those features that just can’t be done on DSLRs, and when it is present in mirrorless cameras, it can be inhibited in some annoying way (e.g., as a separate mode that doesn’t allow you to adjust all your other camera settings).
But on the EOS R, silent shooting is unrestricted, which is one of the reasons I love using the R for street photography. It’s a discrete option in the menu that can be toggled on and off at will. And it allows you to fire off shot after shot without being heard (which is also useful for photographing quiet events, such as weddings and concerts).
That said, there are two key usability issues with the EOS R.
First, the single SD card slot, which I mentioned above, but bears repeating. For me, it’s not a big deal, because I’m not a professional wedding photographer, sports photographer, or portrait shooter. But I can absolutely understand why certain photographers require the second card slot, and in those situations I’d simply refuse to use the EOS R; having a backup is just too important.
Second, battery life is mediocre for a mirrorless camera, which is to say very poor compared to DSLRs. Canon rates the EOS R at 370 shots, and I’ve been able to get far more than that out of it (maybe 600 shots or so), but you’re definitely going to need at least two batteries in the best of situations, and if you’re doing long photoshoots then three is probably better.
It’s also worth mentioning the lack of in-body image stabilization in the EOS R. This is disappointing, and if you’ve ever used cameras like the Olympus OM-D E-M1 Mark II, you’ll know how powerful good IBIS can be for low-light shooting. But Canon does offer a lot of image-stabilized lenses, so it’s certainly not a dealbreaker.
Canon EOS R: Autofocus and speed
The EOS R uses Canon’s much-loved Dual Pixel AF technology, which was confined to Live View modes on Canon DSLRs. In practice, the autofocus feels fast, but doesn’t really give Sony a run for its money. I spent a few hours shooting ducklings in a river, and my hit rate wasn’t as high as I’d like, especially when the ducks were backlit.
Canon EOS R | Canon EF 400mm f/5.6L | 1/2000s| f/7.1 | ISO 500
AF coverage is very good, though, and spans pretty much the entire sensor (thanks to the mindblowing 5600+ AF points).
Another bonus here is that autofocusing works all the way down to -6 EV. I’ve used the EOS R in almost complete darkness, and I’ve found that autofocus does indeed work, though it hunts as you approach that -6 EV territory.
Canon EOS R | Irix 11mm f/4 | 2s | f/13 | ISO 200
That said, the EOS R does offer Eye AF, which allows you to nail focus on your subject’s eyes when capturing portraits. Note that this is generally used instead of Face Detection AF, though the two are designed to work together to get you the best focus depending on whether the eyes or only the face are in view.
You have two options on the EOS R regarding autofocus selection:
You can select AF points using the touchscreen, or you can select AF points using the multi-selector wheel on the rear of the camera. I use the touchscreen almost exclusively, and there’s a nice implementation that allows you to make only a corner of the screen touch-sensitive for AF use, so you don’t have to worry about repeatedly selecting AF points with your nose.
In terms of shooting speeds, I do wish the EOS R were faster.
You can work at 8 fps if you’re using One-Shot AF, but this drops to 5 fps when autofocusing continuously. I consider that 7-8 fps a minimum for action photography, and 5 fps just can’t compete in sports or wildlife or other action scenarios.
The upshot of this is that the buffer is relatively deep; you can capture 65 RAW images without pause, or 126 high-quality JPEGs, which is always nice for situations where you need to keep on shooting during once-in-a-lifetime moments.
So while the EOS R clearly isn’t well-equipped for dedicated action photography, it won’t completely fail you in fast-paced situations.
Canon EOS R: Image quality
The EOS R offers reliable image quality without being particularly groundbreaking.
First, in terms of resolution, you get 30.3 MP, which offers a middle ground between the 45+ megapixel sensors offered by Sony’s A7R series and the Nikon Z7 (as well as the Canon 5DS/5DS R), and the standard 24 MP sensor. Personally, I think this is a nice place to be, because you get good detail and significant cropping capabilities without producing huge file sizes or a lot of high-ISO noise.
Canon EOS R | Canon 24-70mm f/4L | 1/1600s | f/8 | ISO 200
Canon cameras aren’t usually known for their high ISO performance, and here the EOS R is a good performer without being great.
The Canon EOS R offers an ISO range of 100-40,000, with the ability to expand to ISO 50 on the low end and ISO 102,400 on the high end. I feel comfortable pushing the ISO to 800 or 1600 when aiming for a clean image, and I’ll often go to ISO 6400 when shooting street images at night, but this is a step down from the truly impressive low-light capabilities of the Nikon Z6 or the Sony a7 III.
The same is true of dynamic range, where images are good without being breathtaking. You don’t get the 15 stops of a Sony a7R IV, but the results are perfectly usable for, say, serious landscape photographers.
Canon EOS R | Canon EF 24-70 f/4L | 1/200s | f/10 | ISO 200
All in all, I’m pleased by the Canon EOS R’s image quality without being floored. If you’re coming from an APS-C camera or an older full-frame DSLR, you’ll notice a big difference, but the EOS R doesn’t offer much of an image quality boost compared to a camera such as the Canon 6D Mark II and is pretty on par with the 5D Mark IV.
Canon EOS R | Canon EF 100mm f/2.8L Macro | 1/3200s | f/2.8 | ISO 250
Canon EOS R: Using the adapter
There are three Canon EF to RF adapters on the market:
The basic EF-EOS R adapter, which simply allows you to connect your EF/EF-S lenses to an EOS R body.
The midrange EF-EOS R adapter, which gives you a dedicated aperture ring when using EF/EF-S lenses.
And the high-end EF-EOS R adapter, which allows you to drop in filters (such as a circular polarizer or an ND filter).
I have only used the first of these, which you can grab for $ 99 USD. I’ve tested it on the EOS R with a handful of lenses in quite a few situations, and it works flawlessly. I’ve noticed zero autofocus lag, which means that you can comfortably use your EF and EF-S lenses without worry.
However, the adapter comes with two minor drawbacks:
First, it does take up space, either in your bag or on your camera. If you’re aiming for the smallest, lightest kit possible, then it’s probably not your best option.
And second:
It’s inconvenient to work with a group of lenses, some of which are EF-mount and some of which are RF-mount, because you have to keep moving the adapter on and off the camera.
To me, these drawbacks aren’t a big deal, and I plan to keep my EF lenses for a long time. But it’s certainly worth thinking about.
Canon EOS R | Canon EF 24-70mm f/4L | 1/100s | f/9 | ISO 100
Who should purchase the Canon EOS R?
If you’re looking for an advanced or pro-level camera that’s easy to use, relatively inexpensive, and can do a lot of things well without really specializing in one area, then the EOS R is a great option. It’s especially compelling if you’re already a Canon shooter and have a slew of Canon lenses that can be attached via the EF-EOS R adapter.
Canon EOS R | Canon EF 24-70mm f/4L | 1/320s| f/9 | ISO 200
You can use the EOS R for great results if you’re a:
Portrait photographer
Street photographer
Landscape photographer
Travel photographer
Macro photographer
Architectural photographer
But it’s not an action camera, which means that you shouldn’t grab the EOS R if you’re looking to shoot sports or wildlife exclusively. Instead, I’d recommend the newly released EOS R5 or the EOS R6, which both offer a whopping 20 fps shooting via the electronic shutter. The same is true when it comes to wedding photography: Both the EOS R5 and the EOS R6 offer dual card slots, which make them much better choices for the redundancy-conscious photographer.
In fact, given the release of the EOS R5 and EOS R6, which are pretty much all-around powerhouses, it’s worth asking:
Is the Canon EOS R obsolete?
In most ways, the EOS R5 and the EOS R6 are objectively better than the EOS R.
But in the end, it comes down to price; the EOS R5 costs over twice that of the EOS R, and the “cheaper” EOS R6 is also relatively expensive ($ 2500 USD) while only offering a 20 MP sensor.
So if you’re looking for a high-quality camera but you can’t afford the EOS R5 or R6, then the EOS R is a great choice.
Rating: 3.5 out of 5.
The post Canon EOS R Mirrorless Camera: A Hands-On Review appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post Getting Started With Affinity Photo Editing Software appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
Affinity Photo is a powerful image editing software. It’s both affordable and enjoyable to use.
But, as with any program for custom manipulation of photos, there is a reasonably steep learning curve involved. If you’re used to editing your images with Adobe Photoshop, you’ll find the interface is different. This will take only a little getting used to.
I haven’t been using Affinity Photo for very long and have found it to be well designed, allowing for intuitive use. Switching image editing programs is not something I choose to do lightly. When you’ve been used to a particular workflow within a computer program, there must be a reasonable motivation to change.
My motivation was partly price. Affinity Photo is a product you can purchase outright without any monthly subscription fees. It’s also discounted from time to time, making it even more affordable. Even still, at full price, it is very reasonable for the quality of the product you receive.
The Tone Mapping Persona interface in Affinity Photo
Opening files in Affinity Photo
The first step is to open a photo file you want to edit. This is pretty straightforward and there are a few options for making it happen.
For Windows users, you can right-click an image file in your file manager and choose Affinity Photo from the list. If Affinity Photo is not listed (and it probably won’t be the first time you use it), click Choose Another App. You’ll then need to locate Affinity Photo on your C:/ drive and select it. Here you can also check the box at the bottom of the panel to always use Affinity Photo to open the type of image file you have chosen.
Using a Mac, you can simply open Affinity Photo, navigate to File in the top menu, and click Open. This also works on a PC.
You can also drag and drop photos from your file manager onto Affinity Photo when it’s running.
Affinity Photo opens all standard image types, including RAW files. There is no need for two separate programs to open and edit RAW files. Affinity Photo combines functions that require both Lightroom and Photoshop. I am finding this makes for a great image editing workflow.
Opening a RAW file in Affinity Photo
Becoming familiar with the interface
Once you’ve opened your first photo, you have a massive number of options available to work with. Let’s walk through some of the most important features and where to locate them in the user interface.
Under the main menu at the top you have the Persona and Context toolbars. Here you’ll find buttons for various Personas such as:
Photo Persona (for photo editing)
Liquify Persona (for manipulating distortion)
Develop Persona (for developing RAW images)
Tone Mapping Persona (for mapping image tones)
Export Persona (for when you’re ready to export your image)
As you select a Persona, the Context toolbar changes to include only the tools you’ll need with that Persona.
With the Develop Persona selected, the Context menu shows a different set of tools.
These tools allow you to control how you see your photo as you’re working on it. You can view a single instance of your image. There’s also a split-screen and a mirrored option. The mirrored option is shown below.
Within this Persona, you have a set of adjustment tools in the right-hand panel. These allow you to make similar adjustments to your RAW files as you can in Lightroom.
Once you’ve finished making the adjustments to your RAW image, click the blue Develop button in the top left corner. The interface changes to the Photo Persona, where you can continue to refine the edits on your image.
Here is how the Context toolbar looks when you have the Photo Persona selected while you’re editing your photos:
You have buttons for making auto adjustments to levels, contrast, color, and white balance.
When editing photos in the Photo Persona, you also have a specific set of relevant panels open. These panel sets make up your Studio of editing tools. They are also highly customizable. To show or hide various panels, go to View in the top menu, then select Studio.
Here I have the panels for Layers and Adjustments open:
Getting a feel for Affinity Photo
As you can see, there are many similarities between Affinity Photo and other image editing software. I’ve found that working in the Photo Persona is very similar to my workflow in Photoshop.
The Develop Persona took a little more getting used to. But it offers a very well-designed interface and makes working on RAW images straightforward once you get used to how it functions.
Like anything new, getting used to Affinity Photo takes some commitment and practice. This is true whether you’re new to photo editing or have been using other software to manipulate your images.
Having everything you need to edit RAW images from start to finish, including the option to use multiple layers, has been very satisfying.
Not having an image organizer included means you need to work with your operating system’s file manager or use an additional program. There are many free and cheap digital asset management programs that you can use to organize your photos.
Conclusion
For any photographer with years of experience using a particular brand of editing software, changing is a big step. If you’re new to photo editing, learning to use any photo imaging software manually is a big step, too.
Affinity Photo provides an impressive set of photo editing tools all within one application. I find it to be well laid out and intuitive to use after using Adobe products for many years.
For people new to photo editing, take the time to learn Affinity Photo. You’ll be able to use it to edit your photos just as well as any other available software.
The post Getting Started With Affinity Photo Editing Software appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
The post Tips for Getting Your Portraits Right In-Camera appeared first on Digital Photography School. It was authored by John McIntire.
Getting your portraits right in-camera is a skill that every portrait photographer should strive to develop. Doing so will save you time and improve your photography across the board.
This doesn’t mean you shouldn’t post-process your images, and it doesn’t mean that Photoshop is cheating. But by putting in the extra time and effort at the capture stage, there will be less post-processing to do.
It’s also good if you have certain post-production techniques in mind. If you are able to shoot to the requirements of the technique (that is, if you’re able to get it right in-camera), then the whole process will be easier.
Putting extra effort in at the capture stage will help you to get the best results possible straight out of the camera. If you take a lot of portraits, this will wind up saving you hours upon hours of time in the post processing stages.
This article will provide you with a series of tips to help you create better portrait images during the capture stage of the process. It should be noted that the points discussed here fall firmly on the technical side of things. Subjective things like composition, posing, expression, etc., won’t be discussed.
Also, nothing discussed here is a rule. I would hesitate to even call it a guideline. If you try something here that doesn’t get you the results you are after, that just means it’s the wrong tool for the job. By all means, do something else.
Aperture
One of the easiest things you can do in the pursuit of getting your portraits right in-camera is to prioritize sharpness. One of the easiest ways to do this is to choose the right aperture.
Shooting wide-open can be great in low-light conditions, and it can also provide a nice shallow depth of field for aesthetic purposes. The trade-off comes in terms of getting the focus right. The focal plane of a wide aperture lens (f/1.8, f/1.4, etc.) is very, very narrow, making it very easy to miss the focus on your subject’s eyes.
Left: Shot at f/4, this image has a shallow depth of field. Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/125 sec | f/4 | ISO 100
Right: Shot at f/14, this image is sharp from front to back. Canon 5D Mark III | Canon EF 16-35mm f/4L IS USM | 35mm | 1/125 sec | f/14 | ISO 100
A good way to combat this is to choose a smaller aperture. By selecting an aperture around f/5.6 or f/8, ensuring the focus is where you want it to be becomes much easier. When you’re starting out, this can be the difference between a couple of sharp images (or even no sharp images) gained out of luck and a memory card full of them.
Again, this is not a rule, and shooting wide open is fun and has plenty of its own merits. But that doesn’t mean you should always shoot wide open.
Taking control of the light
You’ve probably heard the phrase “Photography is light.” It’s everywhere, but it cannot be repeated enough. If you want to take better photos, you need to learn to take control of the light. This is especially important for portraits.
Natural light
With natural light, you will want to learn how to find the light with the qualities best-suited to the portrait you want to create.
For the most part, you will want to avoid shooting in midday sun. Instead, learn to find patches of soft light. This can be an area of open shade, it can be window light, or it can be garage door lighting.
Looking for situations like this overcast day, where the light is more flattering for portraits, is a key skill to develop. Canon 5D Mark III | Canon EF 85mm f/1.8 | 85mm | 1/320 sec | f/1.8 | ISO 200
Studio lighting
In the studio, you will have a somewhat easier time of things.
After all, a studio should be designed from the ground up for you to alter the light at will. Use the right modifiers, learn some of the basic lighting patterns, and use modeling lights whenever possible. All of these will make it easier for you to take control of the lighting in your portraits.
Studio lighting is a lot easier to control as you are in charge of everything, but there are a lot of options to sort through. Canon 5D Mark III | Canon EF 16-35mm f/4L IS USM | 35mm | 1/125 sec | f/14 | ISO 100
Flattering light
Another thing about light that is important when getting your portraits right in-camera is whether or not the light is flattering. While this is quite a subjective topic, there are a few things for you to keep in mind that will help you to get more flattering light.
Light from above
In most natural circumstances, we humans are lit from above. This is how we generally see other people. Lighting your subject from other angles will result in oddly-placed shadows that won’t feel right to your viewer.
By placing the main light source above your subject, you are working to ensure that you are presenting your subjects in a way that people will recognize.
Lighting from above will help to ensure that your studio lighting looks more natural. Also, bringing the light source in close softens the light, making it more flattering.
Soft light
As mentioned, using a soft light source will help you get more flattering results. This will reduce the overall contrast in your images, and help to reduce the appearance of skin textures in your portraits. It will also help to make the transitions from shadows to highlights smoother.
Using as soft a light source as possible reduces contrast and provides more flattering light for your subjects. Canon 5D Mark III | Canon EF 16-35mm f/4L IS USM | 35mm | 1/125 sec | f/5.6 | ISO 100
Lens choice
Selecting a focal length suitable for portraiture is another important thing that will help you get your portraits right in camera.
The focal length you choose will dictate how your images are distorted. At the extreme ends, wide-angle and long telephoto lenses cause significant distortion in your images. In order to avoid this, you will find that most portraits are taken at a focal length somewhere between 50mm and 135mm. As a general guide, you can’t go wrong by selecting a focal length in that range.
Left: With a focal length of 35mm (taken up close), you should be able to see the distortion on the subject’s face caused by the wider angle lens. Canon 5D Mark III | Canon EF 16-35mm f/4L IS USM | 35mm | 1/125 sec | f/8 | ISO 200
Right: A 50mm focal length is a safer choice for portraits and is close to how the human eye sees. Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/125 sec | f/5.6 | ISO 100
Now, that is, once again, not a rule. There are some amazing examples of portraits taken at extremely wide focal lengths, just as there are plenty of portrait examples taken with much longer focal lengths. If you think an extreme focal length is right for your portrait, go ahead and try it.
While you can use extreme focal lengths (such as 16mm, used in the photo above) if you want to, you will find that it’s usually best to stick to more traditional focal lengths for most purposes. Canon 5D Mark III | Canon EF 16-35mm f/4L IS USM | 16mm | 1/125 sec | f/5.6 | ISO 100
Perspective and viewpoint
Your viewpoint as the photographer has a huge impact on your portrait images, and there are a few things you can do and avoid to help you get better portraits.
Viewing angle
For the most part, try to keep your lens at the same level or below the level of your subject’s eyes. Shooting above and downward toward your subject has the effect of making your subject appear vulnerable and weak.
(This is my bias speaking. I really don’t like taking photos from above, but it is still not a rule.)
For stronger portraits, try to avoid that.
Left: Here, the camera was on a level with the floor. You can see the mild distortion this viewpoint has caused; the subject appears to be falling backward. Canon 5D Mark III | Canon EF 85mm f/1.8 | 85mm | 1/160 sec | f/9 | ISO 100
Right: Bringing the camera up to navel-height has removed the distortion. Canon 5D Mark III | Canon EF 85mm f/1.8 | 85mm | 1/160 sec | f/9 | ISO 100
Distortion
Just like when you are photographing buildings, having your camera not level to the ground can cause distortion in your images.
Converging verticals on a human subject look even weirder than they do on buildings. If you are shooting from above your subject, this can lead to distorted facial features. If you are shooting from below, it can cause distortions of the legs, arms, and torso that just won’t look right to your viewer.
Some of this can be mitigated by selecting a longer focal length or stepping further away from your subject, but this won’t completely prevent distortion. To avoid any of this distortion in close-up portraits, shoot from eye-level or just below eye-level. To avoid it in half-length to full-length portraits, shoot from the level of your subject’s navel.
Exposure
For the most part, exposure is another subjective topic. There is often no right or wrong exposure, but if you’re starting out with portraits, there are a few things that will help you along the way.
To ensure that you are retaining all of the details in your images, take test shots and watch the histogram as you are building your scene. Here, the spike on the left is the background, and the rest of the tones fall well within the two sides of the histogram, denoting relatively low contrast.
Portraits can have a lot of contrast in them. Just imagine a subject with light-colored hair who’s wearing a black shirt. For the best outcome, you will want to ensure that the exposure retains details in both extremes.
If you have access to them, tools like the light meter and the ColorChecker Passport shown above will help to give you accurate exposures and colors just about every time.
To ensure that you have retained all the details in your images, you can refer to the histogram on the back of your camera. A simple way to use this is to make sure that the information depicted by the histogram does not go past either the left-hand or the right-hand sides of the graph.
If the histogram goes off the right-hand side, your image will be overexposed and you will be missing details in the highlights of your image. If the histogram goes off the left-hand side, your image will be underexposed and you will be missing details in the shadows.
Manipulate the exposure
Sometimes, you won’t be able to retain all the detail in a given scene, as the contrast will be too high. In order to keep your shadows and highlights from clipping, you will want to manipulate the scene. There are a lot of ways you can do this.
You can use a reflector to bounce light into areas of the scene that are too dark, thus reducing the overall contrast of the scene. You could do the same with flash as fill light.
Using a reflector is a great way to help control the contrast in your images. Here, a piece of polystyrene (styrofoam) board from a package did the job and didn’t cost anything.
You could also use a diffuser in front of your main light source to soften the light and reduce the overall contrast in the frame. This works with both natural light and studio strobes.
Of course, in a studio, you could always opt to use a bigger modifier, or move your light source closer to your subject. Both of these have the effect of softening the light and reducing the overall contrast in your scene.
To soften your light, use bigger modifiers or bring them in close. Alternatively, as shown in the image above, do both and add a reflector for good measure.
If you are new to portraits but familiar with other aspects of photography, you can think of this as similar to using graduated neutral density filters in landscapes.
By placing a graduated neutral density filter in front of the lens, you are (usually) increasing the exposure time needed for one part of the image (usually the sky) so that it falls at a value closer to the foreground, reducing the contrast in the image by however many stops the filter represents.
You can think of these tools for portraits in the same way, except that they manipulate the actual light in the scene in front of you, rather than fitting onto the lens and manipulating the final exposure.
End
I feel the need to reemphasize that this article is in no way anti-post processing. Doing what you can at the capture stage is simply about better camera craft and obtaining a better starting point. Canon 5D Mark III | Canon EF 16-35mm f/4L IS USM | 35mm | 1/125 sec | f/5.6 | ISO 100
While this article is definitely not a complete and exhaustive guide to portrait techniques, these few basic tips should help you get your portraits right in camera. If you take your time to be mindful of your choices regarding camera settings, lighting, and exposure, you will start to find that you need to spend much less time in post-production.
Of course, if there are any tips that you use to get your portraits right in-camera, please feel free to leave them in a comment.
The post Tips for Getting Your Portraits Right In-Camera appeared first on Digital Photography School. It was authored by John McIntire.
The post Weekly Photography Challenge – Spring appeared first on Digital Photography School. It was authored by Sime.
Well, here in Australia where dPS is based, it’s SPRING and I can tell you, we’ve been looking forward to it! Share your ‘Spring’ photographs in the comments, or via social media (details below) make sure you tag your photos #dPSSpring
If it isn’t Spring where you are, we challenge you to interpret the weekly challenge theme in any way you see fit, as long as there’s a ‘Spring’ connection!
Some stunning photos from last week, here’s one from the blog comments by Rhonda Martin (See more of Rhonda’s here) beautiful work, Rhonda!
Great! Where do I upload my photos?
Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.
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 #DPSSpring 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.
Follow us on Instagram?
The post Weekly Photography Challenge – Spring appeared first on Digital Photography School. It was authored by Sime.
The post Tamron 28-200mm f/2.8-5.6 Di III RXD Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.
The Tamron 28-200mm f/2.8-5.6 is a lens that Tamron touts as “the lightest and most compact f/2.8 tele zoom for Sony mirrorless.”
It debuted in the summer of 2020, and has a solid build quality and a reasonable price point, similar to the rest of Tamron’s recent lens offerings.
But how does the image quality stack up? Let’s find out.
Recent Tamron lenses
Tamron has been on a roll with its Sony E-mount lens releases lately.
The recently released 70-180mm f/2.8 completed Tamron’s holy trinity of fast zooms (the others being the Tamron 17-28mm f/2.8 and the Tamron 28-75mm f/2.8). All three of these lenses have been massively popular due to their solid builds, compact sizes, and affordable prices relative to their Sony G Master equivalents. Additionally, Tamron has released a handful of other fast prime lenses, including the Tamron 35mm f/2.8.
Tamron 28-200mm specs
The Tamron 28-200mm is a full-frame autofocus lens for Sony E-mount cameras. While it can be used with Sony APS-C cameras, it is best used with a full-frame camera. All sample images in this post were taken with the Sony a7R III.
Focal Length: 28 to 200mm
Maximum Aperture: f/2.8 to f/5.6
Minimum Aperture: f/16 to f/32
Angle of View: 75° 23′ to 12° 21′
Minimum Focus Distance: 7.5″ (19.05 cm)
Optical Design: 18 Elements in 14 Groups
Diaphragm Blades: 7, Rounded
Image Stabilization: No
Filter Size: 67 mm (Front)
Dimensions (ø x L): 2.91 x 4.6″ (74 x 116.8 mm)
Weight: 1.27 lb (575.5 g)
Pros
Small and lightweight
Variable aperture lenses are often looked down upon by photographers, because you can’t retain a fast f-stop when you zoom in. This means shooting at 200mm on the 28-200mm will force you to shoot at f/5.6, making it much more difficult to shoot in low lighting. However, variable aperture lenses are generally much smaller and weigh less compared to zoom lenses with constant apertures.
Indeed, the Tamron 28-200mm is incredibly small and light given its focal range. This makes it a great lens for travel or landscape photographers who work with ample light and don’t mind sacrificing a fast aperture at all focal lengths.
Simple and easy to use
Like many recent Tamron lenses, the 28-200mm is very straightforward, with a single physical switch to lock the lens and keep it from sliding out when not in use.
Other than that, it’s an intuitive plug and play lens that works exceptionally well with Sony E-mount cameras. All autofocus features, including face detection and eye autofocus (for both people and animals), were fast and accurate; the lens performs well on Sony cameras.
Moisture resistant
The build quality is solid without adding lots of weight. The Tamron 28-200mm is moisture-resistant for use in wet conditions, and also has a fluorine coating on the front lens element to prevent dust and dirt build-up.
Speaking of the front lens element, the filter size is 67mm, exactly the same as the three lenses in the Tamron holy trinity. This makes it easy to interchange filters such as polarizers and ND filters among these lenses if you buy into the full Tamron lens system.
Sony a7R III | Tamron 28-200mm | 1/160 sec | f/11 | ISO 200
Five- or six-year extended warranty
This is a bonus that comes with all Tamron lenses. If you register the Tamron 28-200mm lens within two months of purchasing it, you get an extended six-year warranty if you are in the USA, or a five-year warranty if you are in Europe.
Compared to Sony’s one-year warranty, this is a pretty big advantage when going with a Tamron lens.
Great image quality
So with all of the great points about this lens, how is the image quality?
It’s surprisingly good for a variable-aperture lens. Bokeh or lens blur is soft and pleasing, especially at longer focal lengths. Image sharpness is phenomenal, although admittedly not as crisp as a prime lens. And chromatic aberration, or color fringing, which often plagues all-in-one zoom lenses, is not a problem on this lens.
Similarly, 4K video shot with this lens also boasts great image quality, which leads us to the next section of the article.
Sony a7R III | Tamron 28-200mm | 1/100 sec | f/4.5 | ISO 1600
Cons
No image stabilization
Unfortunately, none of Tamron’s recent Sony E-mount lenses come with image stabilization. This feature is likely withheld to keep lenses smaller and more affordable, but it means that the Tamron 28-200mm is not an optimal lens for video or shooting handheld in low light. If you use the lens with a camera that has in-body image stabilization (IBIS), this can help make up for the lack of lens-based image stabilization. But in my experience, it’s always best to have a camera with IBIS and a lens with image stabilization.
On the plus side, this lens is lightweight enough that you could use it on a gimbal for video work, as long as you can balance it out when shooting at longer focal lengths.
Variable aperture
While the Tamron 28-200mm does give you a fast f/2.8 aperture when shooting on the wide end, the more you zoom in, the slower the aperture gets.
This may not be a big deal-breaker if you tend to shoot in scenarios with tons of natural or artificial lighting. However, if you shoot a lot in low light, the variable aperture might bother you.
Comparison to the Sony 24-240mm
The most direct competitor to the Tamron 28-200mm is the long-standing Sony 24-240mm f/3.5-6.3 lens. This Sony lens is very close in size to the Tamron, although it is slightly heavier, coming in at 780 g (1.72 lb) compared to 575 g (1.27 lb).
However, the Sony 24-240mm does offer slightly more range than the Tamron, plus it has OSS, or optical image stabilization. The OSS comes in handy if you shoot video, or like to have extra support when shooting handheld. The Sony lens does cost more, at $ 1,085 USD, but it has been out for so long that used versions of the lens can be had for prices similar to that of the Tamron.
If you value the extra range and OSS, the Sony may be the better all-in-one lens for you. However, it is quite a bit heavier than the Tamron and also has a significantly shorter warranty.
Sample image gallery
Sony a7R III | Tamron 28-200mm | 1/60 sec | f/6.3 | ISO 1250
Sony a7R III | Tamron 28-200mm | 1/125 sec | f/5.6 | ISO 2500
Sony a7R III | Tamron 28-200mm | 1/160 sec | f/4.5 | ISO 2500
Sony a7R III | Tamron 28-200mm | 1/80 sec | f/4.5 | ISO 2000
Sony a7R III | Tamron 28-200mm | 1/250 sec | f/4.5 | ISO 2000
Sony a7R III | Tamron 28-200mm | 1/125 sec | f/7.1 | ISO 1000
Sony a7R III | Tamron 28-200mm | 1/320 sec | f/5.6 | ISO 1250
The post Tamron 28-200mm f/2.8-5.6 Di III RXD Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.
Posts with images get 650% more engagement than those without. For this simple reason, stock photos are in high demand and it’s unlikely that demand will be going away anytime soon — and that’s just content writers. Designers, artists, and other creatives always need new design assets and content for their work. This has given rise to a number of Continue Reading
The post How Does Adobe Stock Work: Successfully Selling Your Photos appeared first on Photodoto.
The post Tips For Making Someone Comfortable in Front of the Camera appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
For many photographers, making someone comfortable in front of the camera is a huge challenge. It’s often so difficult that they shy away from photographing people altogether. Or they only photograph people candidly with a long lens.
Much has been written about camera control, composition, and other aspects of photography. These things require no relationship skills.
But when you photograph people, making your subject comfortable is often essential.
When a person does not like having their photo taken, it shows in their expression. Your camera captures this. That’s why you need to help your subject overcome their anxiety about being photographed (which is particularly difficult for shy photographers).
Here are fifteen tips for making someone comfortable in front of your camera.
Tip #1: Provide instructions before the photo session
Prepare your subject before the photo shoot. Talk about what they will wear. Suggest the best time of day.
Take into account the timing. Will they be needing to rush away to another appointment? Having plenty of time is helpful.
Turning up to a portrait session with no ideas is not a good way of making someone comfortable. Talk with your subject prior to the photo session and share some of your ideas.
Talk with them about what they want. Tell them your ideas for the portrait session, and ask if they have anything specific in mind.
Be positive, even if you don’t like what they are suggesting. If you follow through with their suggestions, it will help them feel included. They’ll then be more likely to relax and enjoy themselves.
Tip #3: Choose a good location where your subject will be comfortable
You may use a certain location because you love it. But your subject may not like it at all. Check with them first.
There’s no point picking a place to photograph that will make your subject uncomfortable.
Often, it’s best to find somewhere away from where other people will be. If your subject is uncomfortable being photographed, they will not want to do the session in a location where others can see the process.
Arrive at the location of your photo session plenty of time before your subject does. Scope out the location. How is the lighting? What will be in the background? Figure out the best combination of these things and some places to position the person you’re photographing.
This may not seem relevant to making someone comfortable, but it is. The more you can sort out these issues in advance, the more you’ll be able to give your attention to your subject when they arrive.
Make sure your camera equipment is set and ready to use. Are your camera batteries charged? Do you have enough space on your cards? Will you need to use your flash or a reflector?
Know what exposure mode you’ll use. Set up your camera as much as possible before the person you’re photographing even arrives.
Having your gear set and ready to use allows you to concentrate more on your subject and on other aspects of photography. Making someone comfortable requires you to pay more attention to the subject than to your camera.
Be there for your subject and let them know it. Don’t rush in and start taking photos immediately. Spending time having a conversation will help them relax and build confidence in you.
Focus the conversation on them and keep it positive. Don’t discuss how difficult it was to find parking, and don’t discuss politics. These topics are not uplifting and will not help make someone comfortable.
Show you are interested in who they are. Asking people questions shows you care about your subject and will help build their confidence.
Explain to your subject that when they’re stressed, this will show in the photographs. You know they need to relax and why, but they may not know this. You need to take some time to explain it to them.
People often don’t look the same way in a photograph as they do in the mirror. Even if they’re stressed and see their reflection in a mirror, it’s different than the way they will look when being photographed if they are not relaxed. They will not like what they see in the photos. It’s vital that you overcome this, and explaining your reasons will often help matters.
If you get the sense that a person is uncomfortable being photographed, talk to them about it before the photo session. Then remind them again before you start taking photos. Give them time to think about what you’ve said and continue your conversation. It’s almost like giving someone a mental massage to help their mind relax.
Frequently commenting on how good a person looks will help them have confidence and feel more relaxed. Be careful to be genuine. Notice moments when your subject is more open and carefree. These are the times to compliment them as you are taking their photographs.
Tell them how happy you are with the photos you are taking. Talk to them about their smile and how good their hair looks. Mention positive aspects about the clothing they have chosen. Talk about how nice they look in a certain pose.
Don’t overdo the compliments or you’ll start to sound fake. Keep it balanced and be gentle but honest if something doesn’t look right.
You can almost always find some aspect of a person’s hair or clothing that needs a little tweaking. Even when you can’t see anything out of place, tweak anyway!
Paying attention to these details and putting them right does two things. It’ll make your photos better, and it will help make your subject comfortable. They will feel good that you’re paying attention to them and you’re focused on making them look good.
Put a little distance between your camera and your subject. Getting too close may not be comfortable for them. Using a 105mm or 135mm lens will provide a convenient distance.
Don’t use a monster of a lens. This can be intimidating. It’s one reason I am not a fan of 70-200mm f/2.8 zooms; they are so bulky and can be off-putting.
A little further into the photo session, you can consider coming in closer with a 50mm or 35mm lens. The person you’re photographing will need to feel good about you being this close. If they are comfortable at closer distances, your photos will be more intimate than ones taken with a long lens.
Tip #11: Show your subject the photos you’re taking
The monitor on the back of a digital camera is a great tool for making someone comfortable. When you show them how good they’re looking, it’ll build their confidence.
This young woman was surprisingly uncomfortable when I came to photograph her and some of her friends. She was part of a drama group, and I’d observed her confidence on stage in front of a crowd. But the self-assurance was missing when she was in front of my camera for the first time. Once I’d taken a few good photos, I showed them to her. She was impressed, so she immediately relaxed and enjoyed the photo session greatly.
Take time to do what you do well. Don’t be in a rush. Work carefully. Check your camera settings. Review your photos and make changes when you need to. Don’t work so fast you miss when you are making mistakes (because they will happen).
Plan for the photo session to last more time than you think it will. If you have extra time at the end, buy the person you’re photographing a coffee. This might be another opportunity for a few more nice pictures of them.
Use props or another person to help draw attention away from yourself and your camera. When someone is nervous about being photographed, it can help when they are distracted. They are more likely to look relaxed and natural when they are not paying attention to your camera.
When photographing a bride at a wedding, I’d often get the groom to stand just behind me and have him talk to his bride. There’s no way I’d get the same look from a bride as when she’s looking at her groom.
For this photo, I asked the subject to pretend to talk on her phone, as I thought this might help. It worked very well. Later she told me that she had actually called a friend and was talking to her, so she was totally distracted.
Have a nice manner and be positive; this will help you inject some fun into the photo session. When people are happy and relaxed, you’ll certainly get better photos of them.
Come up with some things that you can talk about or funny stories you can tell. Try to laugh together when things don’t go exactly as planned. If you have a positive attitude, this will rub off on the person you are photographing.
Tip #15: Be confident and your subject will be confident in return
Confidence in what you are doing is vital. Don’t be brash and boastful. Don’t bamboozle people with your photography knowledge or with how good your camera is. Just use your camera with certainty. If you are stressed and nervous yourself, the person you are photographing will feel uncomfortable.
Being quietly confident in what you’re doing, even if you’re a shy photographer, will help your subjects relax. Your mood and attitude will be reflected back to you by the people you are photographing.
Making someone comfortable is as important as getting your camera settings correct. So often I see portraits of people where it’s obvious they were not relaxed. As a photographer, it’s your mission to ensure the person you’re taking pictures of looks good. Much of this depends on how relaxed and confident the subject feels.
And I am not satisfied with the portraits I take unless my subject is, too.
Let me know in the comments below which of these tips you find the most helpful. Please also share other techniques you use for making someone comfortable when you are photographing them.
The post Tips For Making Someone Comfortable in Front of the Camera appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
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