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Archive for January, 2018

Weekly Photography Challenge – White on White

26 Jan

If it is still winter and is blustery and snowy, this one will be easy for you.

Photo by Joanna Kosinska on Unsplash

Your challenge is to photograph a white subject on a white background. The trick here is to use light to your advantage. Usually, with a white subject, you’ll want to create a high-key or all light toned image. But you don’t have to do so, get creative. Use some shadows and create a dramatic image.

Use directional light to add dimension and show the shape of the subject. You will need some shadows to separate the subject from the background. So let’s see what you can do.

Weekly Photography Challenge – White on White

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. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

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.

The post Weekly Photography Challenge – White on White by Darlene Hildebrandt appeared first on Digital Photography School.


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Google teamed up with pro photographers to train its Clips lifelogging camera

26 Jan

Google debuted its $ 250 ‘Clips’ lifelogging camera to the public during the October 2017 launch event for the Google Pixel 2. Now, with the camera becoming officially available in only a few weeks time, the company has published a blog post that explains how the Clips camera’s underlying algorithms were trained to identify and keep the best shots, and discard the leftovers.

It turns out Google relied on the expertise of a documentary filmmaker, a photojournalist, and a fine arts photographer to train the AI and feed some high-quality photography into its machine learning model. The group collected and analyzed recorded footage from members of the development team to try and answer the question: “What makes a memorable moment?”

“We needed to train models on what bad looked like,” said Josh Lovejoy, Senior Interaction Designer at Google. “By ruling out the stuff the camera wouldn’t need to waste energy processing (because no one would find value in it), the overall baseline quality of captured clips rose significantly.”

The learning process includes basic elements of photography, such as an understanding of focus and depth-of-field, or the rule of thirds, but also some things that are obvious to most humans but less so to an algorithm—for example: don’t cover a lens with your finger and avoid abrupt movements while recording.

Google admits that there is still a ways to go before perfection. It says the AI has been trained to look at “stability, sharpness, and framing,” but without careful calibration, a face at the edge of the frame will be appreciated just as much as one at the center, even if the focus of interest is really somewhere else in the image.

“Success with Clips isn’t just about keeps, deletes, clicks, and edits (though those are important),” Lovejoy says. “It’s about authorship, co-learning, and adaptation over time. We really hope users go out and play with it.” More detail on the development and training process is available on the Google blog.

Articles: Digital Photography Review (dpreview.com)

 
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It’s not the low light king, but here’s why we’re excited about the GH5S

26 Jan

There’s no getting around physics. The GH5S uses an oversized Four Thirds type sensor – pretty big for a video camera – but still kinda small when compared with the 36 x 20.3mm expanse of silicon the Sony a7S II uses to shoot video. As you’d expect, the GH5S can’t simply leap this vast chasm using only some sensor improvements, better noise reduction and a little moxie. It’s good but, in spite of anything you may have read, it’s not magic.

Read our analysis of our side-by-side shooting with the Sony a7S II

And yet, the more we test and use the camera, the more excited we are by it.

For a start, our shooting suggests that GH5S can outperform the a7S II whenever you require a depth-of-field that the Panasonic can offer. That alone means the GH5S will perform better than the Sony in some circumstances and can work across a greater range of lighting conditions than its IS-enabled sibling, the GH5.

But that’s not the end of it. The ability to shoot Log footage in 10-bit means that it can retain a lot more subtle tonal information than the 8-bit output of the Sony. So although the deep shadows might be more susceptible to noise than the a7S II, the quality of the midtones in the final footage may well be better preserved and more tolerant of grading.

That’s before you consider the features such as waveforms and vectorscopes that the GH5S inherits from the GH5, features that really aid setting exposure when shooting Log. Add to this the existing ecosystem that’s grown up around the GH series and the full picture reveals itself. We’re currently shooting the GH5S with a 0.71x SpeedBooster and a Sigma 18-35mm T2.0 CINE lens and can’t wait to show the results. If only Seattle would drop out of Log mode for a moment…

Articles: Digital Photography Review (dpreview.com)

 
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Tips for Using Your Wide-Angle Lens Better

26 Jan

One thing I see beginners make mistakes doing when they first get into photography is using a wide-angle lens. Many think it’s just for getting more stuff to fit into your image, but there’s a lot more to it than that.

Here are three videos to help you understand wide-angle lenses and use them better so you can create more dynamic and effective images.

#1 – 5 Reasons you need a wide-angle lens

First up is this video from DigitalRev TV. It’s a few years old now but the information is still good, and the tips are solid.

Kai can be a bit unorthodox, but the tips here are good. Here’s a quick summary:

  1. Get closer
  2. Push things away and pull other things near
  3. Cool lines
  4. Expand spaces
  5. Reality distortion field (as he calls it)

#2 – How to use a wide-angle lens

In this video from Tom Greenwood, learn how using a wide-angle lens can help you tell a story and create a powerful connection between the subject and the viewer. Plus get tips on shooting wide angle portraits, action shots, and landscapes.

#3 – Three tips for using a wide-angle lens

Finally, three more tips for using a wide-angle lens from Matt Wallace in this video from Adorama TV. The one he emphasizes the most is to get close to the subject – that a wide-angle lens is for close-up photography. I personally could not agree more!

  1. Make sure you have an obvious and predominant subject in your frame
  2. Get closer to the subject
  3. Use leading lines

If your pictures aren’t good enough, you aren’t close enough.– Robert Capa

Need more help?

If you still need more help and tips for using your wide-angle lens try these dPS articles:

  • How to Use a Wide-angle Lens with Wildlife for a New Perspective
  • 10 Tips for Photographing Wide-Angle Landscapes
  • How to Create Compelling Wide-Angle Portraits Using One Off-Camera Flash
  • 7 Ways to Get More Out of a Wide-angle Lens

The post Tips for Using Your Wide-Angle Lens Better by Darlene Hildebrandt appeared first on Digital Photography School.


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Samsung promises to ‘reimagine the camera’ on the Galaxy S9

26 Jan

We’ve been expecting the upcoming Samsung flagship smartphone Galaxy S9 to be launched at the Mobile World Congress in Barcelona (the last week of February) for a while now, but today the Korean manufacturer has made things official by sending out invitations to the launch event.

The event will take place on the 25th of February, the press day before the official start of MWC, and mobile photographers should be particularly excited. That’s because, according to the invite, this phone is all about “The camera. Reimagined.” There have been rumors about variable apertures and super-slow-motion video, and it seems like there’s a good chance at least the larger Galaxy S9+ will come with a dual-camera setup, similar to the Note 8.

As usual, there’s no way of knowing what exactly to expect, but we’ll keep an eye on the rumor mill, and we’ll definitely be in Barcelona to report from the show as well. If you can’t be there, no worries—Samsung is planning to livestream the ‘Samsung Unpacked’ event.

Articles: Digital Photography Review (dpreview.com)

 
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How one photographer built the ‘ultimate’ PC for Adobe Lightroom

26 Jan
The finished product, a computer designed to be as fast as possible in Adobe Lightroom.

When professional designer and hobbyist photographer Paul Stamatiou got back from his last trip to New Zealand and set about culling and editing his photos from the trip, he quickly realized that his 2-year-old 5K iMac was just not keeping up with Adobe Lightroom Classic CC and the high-megapixel Raw files he was importing. In fact, he spent over a year of spare time editing the 848GB worth of 42-megapixel RAW photos and 4K videos to create the resulting nine photosets.

And so Paul decided it was time to build his own computer. Specifically, his goal was to:

Build a fast, yet quiet and understated desktop PC with a healthy overclock aimed at improving my photo workflow while giving me the ability to upgrade parts of it later on.

Fortunately for all of us, he chronicled the entire journey to this goal in a massive, 32,000-word blog post filled with footnotes and links to all the parts and incredibly detailed descriptions of exactly why he picked the parts he did, how he put them together, and how he optimized it all once it was set up.

This is, I’m comfortable saying, the most comprehensive custom photo-editing computer build breakdown I have ever seen. If you’re at all considering building your own editing PC, bookmark it. If not, we spoke to Paul yesterday and have penned a bit of a TL;DR summary below.

For the Mac lovers out there, note that Paul did consider building a dual-boot Hackintosh, but ultimately decided the annoyances wouldn’t be worth the time. His experience in the past—”randomly have bluetooth stop working and have days where the machine just won’t boot,” he told me over email—just wasn’t worth risking. It was time to build a PC.

This beautiful piece of technology is what he came up with:

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What’s impressive about this computer isn’t its sheer power. The parts he used (full list here) won’t make it the most beastly desktop PC you’ve heard of this week… or maybe even today. What makes it impressive is how Paul designed the PC so that it would run Lightroom’s Develop module and his personal workflow as efficiently as possible.

As Paul explains in his post:

As you know, there are a few main levers that affect the majority of a computer’s performance: storage, RAM, GPU and CPU. To be more precise: storage throughput, RAM size, RAM speed as well as the number of CPU cores and clock speed. In the case of Lightroom, CPU plays the most important role in overall application performance and to a much lesser extent GPU.

[…]

For my needs Lightroom loves the highest clock speed it can get, as opposed to a ton of lower clocked cores.

So rather than spend money on a chip with a crazy number of cores, all of which would be running at a lower clock speed, he picked a 6-core Intel i7 8700K, then had it ‘delidded’ and set it up to be water-cooled so he could overclock it safely to 5.2GHz on all cores.

We spoke to Paul about the build yesterday, and he was kind enough to offer this little summary for those of you who aren’t keen on reading all 32,000 words of the full article:

I was most concerned with performance in the Develop module of Lightroom as opposed to other actions that are more efficient with multiple cores and are not GPU accelerated. For me that meant that instead of opting for a machine with a ton of cores at a lower clock, I’d do better for Develop module tasks with fewer cores that were clocked higher, much higher.

With this build I wasn’t particularly concerned about cost and decided to make a full-blown project out of it (along with a high-end graphics card I could use to try out some 4K gaming and Oculus Rift as a side benefit—I’m a designer by day and lots of my friends have begun designing for VR so I was curious to learn more about it). I definitely recognize the build is overkill in many aspects, including having the CPU delidded and running an aggressive overclock.

While the build definitely sped up the Develop actions I was used to—it’s important to note that much of the future improvement will need to come from Adobe optimizing their software even more. […] Until Classic CC gets some performance optimization updates, I think my next step will be integrating something like Photo Mechanic into my culling workflow to do some of that outside of Lightroom so I end up importing, generating previews and managing fewer shots inside Lightroom itself.

And that last bit, really, is the disappointing epilogue to what is a really fun computer build: even with a great system built specifically to run Lightroom well, any major performance improvements will have to come from the Adobe side of the equation. Not that it doesn’t make us want to build something similar…

The final build cost Paul $ 5,931, including all of the peripherals and accessories—$ 1,500 27-inch Dell UltraSharp 4K display, Logitec mouse, Apple Magic keyboard, Bose bluetooth speaker, and Vesa monitor mounting arm.

For a full parts list, or if you want to dive deep into how this computer was built and optimized, check out Paul’s massive article at this link. But don’t be surprised if you find yourself sourcing parts for your own custom-built photo editing PC once you’re done.


All photos by Paul Stamatiou and used with permission.

Articles: Digital Photography Review (dpreview.com)

 
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The VEGAS Pro video editor is now available by subscription, costs $17 per month

26 Jan

In an attempt to attract new videographers and video editors, Magix is making its VEGAS Pro video editing software available on a subscription basis. The program, which Magix bought from Sony in 2016, costs $ 600 (£500) to buy outright, but the subscription model gets you access from just $ 16.67 (£12.42) per month under the moniker VEGAS Pro 365.

The company is offering the new VEGAS Pro 365 application on a 3-month or 12-month subscription contract, with access to all the features of VEGAS Pro 15 and SOUND FORGE Audio Studio 12—the company’s latest audio editing application. The VEGAS Pro 365 model also comes with access to online educational materials, to help newcomers understand how the program works.

Magix says that the 365 version won’t replace its perpetual license option—imagine the uproar if it were—but is simply a way to make the application more accessible to a wider range of videographers. A 12-month commitment will get you the $ 16.67 per month price quoted above, while a 3-month subscription works out to $ 20 (£15.00) per month.

For more information, read the full press release below or visit the Vegas software website.

Press Release

VEGAS Pro 365 subscription now available: Get started with professional video editing at only $ 16.67/month

January 18th – VEGAS Creative Software adds a first-of-its-kind video and audio production package to the award-winning VEGAS Pro product line. The subscription-based-offering VEGAS Pro 365 is priced from $ 16.67/month.

Focused on the first-time users, this new version offers a complete video and audio editing solution with all the features of VEGAS Pro 15 and SOUND FORGE Audio Studio 12, along with online training courses to learn VEGAS Pro.

The existing versions and 30-day trial version of VEGAS Pro continue to exist.

“With VEGAS Pro 365, we want to make it easier for aspiring video creators and enthusiasts to access professional video and audio production software. With flexible terms and additional services, we seek to fulfil a long-standing demand of our VEGAS Pro fan base” says Gary Rebholz, Product Owner.

For video editors, the new software package includes all the latest features of VEGAS Pro with high-end plug-ins and online training courses to learn to use VEGAS Pro. Users now also have full access to the audio editor SOUND FORGE Audio Studio to add high quality sound to their projects. Video projects can be edited offline within the subscription just like with the perpetual license. Projects also remain fully accessible to users even after expiration and can be easily imported and edited by other versions of VEGAS Pro. All components of the package stay up-to-date with the latest feature and product updates.

After taking over the video editing software VEGAS Pro from Sony Creative Software in 2016, MAGIX has since then released two new versions, VEGAS Pro 14 and 15. The additional offer of VEGAS Pro 365 now makes the product even more accessible. “We will continue to offer and update perpetual licenses of VEGAS Pro. What we want is an additional complete package customized to the needs of first-time users” says Rebholz.

More detailed information can be downloaded here:
http://www.vegascreativesoftware.com/gb/vegas-pro-365/

About VEGAS Pro:

In May, 2016, MAGIX acquired the VEGAS Pro product line, along with other video and audio products. The choice of video and audio professionals the world over, VEGAS Pro continues to provide the essential tools needed to edit and composite video, record, edit and mix multi-channel audio, and render and convert to a variety of formats for streaming or delivery via a DVD or Blu-ray disc. From independent filmmakers, to YouTube artist and broadcast video producers, VEGAS Pro stands ready to be your creative partner.

Articles: Digital Photography Review (dpreview.com)

 
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Twitter is using AI to intelligently crop image previews

26 Jan

Twitter added the ability to upload images back in 2011, and while many people take advantage of that feature, one of its big drawbacks is crappy cropping. As Twitter engineers explained in a recent post, the platform automatically crops image previews for the sake of consistency, but these crops usually focus on the center of the image… often at the expense of the photo’s subject.

A poorly cropped image may hide the most interesting aspect of the photo—instead presenting a glimpse of a wall, empty sky, or something else similarly boring. And that adorable photo of Fido is a lot less adorable when it’s cropped right through the center of his head.

According to Twitter engineers Zehan Wang and Lucas Theis, the company at one point used facial recognition to somewhat solve this issue. With that, the system would identify the most prominent face in an image and base the crop around it. The system wasn’t perfect, though, nor relevant to images without faces.

A better system, the researchers explain, is one that focuses on saliency—that is, on the parts of the image that are prominent and mostly likely to be noticed. In other words: the most ‘eye-catching’ part of the photo.

“In general, people tend to pay more attention to faces, text, animals, but also other objects and regions of high contrast,” the duo explain. While a neural network can be trained to identify the salient parts of an image, it presents its own issue: it is too slow to put into production.

However, the team found a solution to that problem—one that enables Twitter’s platform to immediately detect the most ‘eye-catching’ part of an image and then crop with that at its center. The end result are image previews more likely to contain interesting elements that, as demonstrated in the screenshots above.

Twitter began rolling out its improved image preview cropping earlier this week, which means all of those really pretty landscape photos and product shots that pop up on the DPReview Twitter should be cropped a lot better in short order.

Articles: Digital Photography Review (dpreview.com)

 
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Tips for Doing Digital Painting with the Mixer Brush in Photoshop

26 Jan

If you have ever felt the need to be a bit more creative with your photos, then Photoshop contains a multitude of ways to make that happen. In fact, it offers such a variety of options it can be a bit overwhelming to figure out which one might be the right one for you in a given situation. In this article, I will go over a method of digital painting using Photoshop to give you one technique you can add to your toolbox.

Mostly you can get some great effects without having to purchase any other software or features, but those options are available and can extend your portfolio of choices.

Perhaps you might want to create a birthday card or give someone an extra special present. This digital painting technique is ideal for use on an image which is not 100% in focus. Everything else might be perfect but if it’s a tiny bit blurry, apply a painting technique and no one will notice.

Tips for Doing Digital Painting Techniques with Photoshop

NOTE: Please be advised I am using CS6 so things may be in different places if you are using the CC subscription model.

Mixer Brush

The Mixer Brush is a very effective way of getting a painted look for your image because you actually paint over your image in Photoshop. It can be quite fiddly and time-consuming but the end result can look really good. My recommendation would be to do this with a graphics tablet and a pen, otherwise, you will get a cramp in your hand from the mouse. Plus you have more control in areas of fine detail with a tablet.

Any image can be used, but because the mixer brush picks up colors from your image and adds paint texture, you need to keep that in mind. All the brush strokes will be visible so the direction in which you paint may affect the final visual outcome. It took me 2-3 goes before I finally got the hang of this, so stick with it.

STEPS

Step #1. Open your image, add a new layer and select that one as your active layer. You can delete this later if you need to without affecting the original image.

Step #2. The Mixer Brush is found on the toolbar, left mouse click on the Brush icon, it should be in the drop-down box.

Mixer Brush open, showing settings on Adjustment Tool Bar

Step #3. On the top toolbar, you can make adjustments to the settings. Set them up as follows (as a starting point):

  • The drop-down box set to Custom.
  • Wet: 100%.
  • Load: 1% (this sets the paint color load on the brush to a minimal setting).
  • Mix: 100% (this uses the color from the original file – Load and Mix work opposite each other that way).
  • Flow: 50% (medium pressure on the brush).
  • Airbrush set to OFF.
  • Sample All Layers must be ticked – this is important as it allows us to pick up the color from the original image.

NOTE – all these settings are adjustable depending on what works for you, so feel free to experiment.

Choose your brush, make sure you are working on the new layer, and begin to paint.

Tips

  • Start with the dark areas of the image first.
  • Use the textures in the image to help direct the flow of the brush strokes.
  • The paint is very wet and colors will mix and blend readily which can be used to your advantage where colors change in the image. It can be a bit tricky to get the hang of at first.
  • Adjust your Flow value to get harder or softer strokes.
  • You may want to use a layer mask to show fine details like eyes or whiskers after painting to bring back a bit of sharpness in those areas.
  • Adjust the brush size to suit the areas you are working in, fine detail needs a smaller brush, and larger areas may support bigger brush strokes (a bigger brush covers more area quicker which is an added bonus).
  • If the background is not ideal, you can also replace it with a painterly texture instead. This is a great treatment for when you have a really good shot but not the cleanest background. So do a background replacement, add the painting and it becomes artistic instead.

Image results using the Mixer Brush

Tips for Doing Digital Painting Techniques with Photoshop

Photo of a Jabiru bird, with digital painting done over the feathers.

This image of a Jabiru I quickly painted for this article. The lovely colors in the feathers, plus all the different directions they lay in made it a good choice for digital painting.

Tips for Doing Digital Painting Techniques with Photoshop - Jabiru bird

Original Jabiru image

This is the original photo for comparison. You can see how the feathers around the eyes are much smaller and finer and you can see the different directions in which the feathers lie. In the painted image where the rainbow colors are on the top of the head, it’s visible how they have blended in softly, even picking up the hints of gold in the purple feathers at the top.

Tips for Doing Digital Painting Techniques with Photoshop

When you view the digitally painted layer by itself, you can see all the brush strokes, plus the areas that might have been missed. This is a useful step to check and make sure you have enough coverage. Additionally, this layer can have its opacity adjusted down if you wanted to bring back some of the original feather detail.

I tend to adjust the flow down to around 30% and fill in the gaps. It can also help to soften the transitions in direction as well. Also useful for extra blending across areas where colors change.

My first experiment with using the Mixer Brush was this portrait of my cat Cognac. You will notice I have left the whiskers, eyelashes and fine hairs around his ears unpainted as I felt it looked better that way. I was careful to follow the flow of the fur so it looked natural and picked up the subtle color differences.

This was probably my third go at this technique – so be patient with yourself if you aren’t happy with the first one you try. Keep at it.

Summary

This technique isn’t complicated, is fully contained within Photoshop and requires only one extra layer. A graphics tablet will make it much more comfortable to do as it is a lot easier to use than a mouse. The thing you need most is time and a careful steady hand. With those things you can elevate your photo to a new creative level, perhaps print it out on canvas as a gift.

Have you tried this method of digital painting before? Please share your results in the comments below.

The post Tips for Doing Digital Painting with the Mixer Brush in Photoshop by Stacey Hill appeared first on Digital Photography School.


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6 Tips to Master Panning Photography

26 Jan

You must have seen those photos where the car or the motorcycle appears sharp and in focus whereas the background appears to be in motion with a blur effect. At first, you might have thought that it is a Photoshop trick or assumed it to be something only a professional sports photographer can achieve. Well, let me tell you it is called panning photography and this technique is easy to learn.

All you have to do is keep practicing this technique until you master the art of panning photography. To help you do so, I have listed six easy to understand tips that will help you capture perfect panning photos.

1 – Set your camera on Shutter Priority mode

6 Tips to Master Panning Photography

Shutter Priority (Tv for Canon, S for Nikon and others).

The first thing that you have to do as you hold your camera to capture a panning photo is to set the camera mode to Shutter Priority. Panning photography is all about the correct choice of shutter speed – the aperture and ISO values do not play that major role here.

This mode allows you to adjust the shutter speed while the aperture and ISO values are taken care of by the camera and will vary depending on the lighting conditions.

2 – Choose a slow shutter speed

6 Tips to Master Panning Photography

Shutter speed set to 1/30th of a second for panning.

As we discussed above, the most important exposure element of panning photography is the shutter speed. So in order to make the subject appear sharp and the background to appear in motion, you must allow the shutter to remain open for an adequate amount of time.

To capture perfect panning photos, the ideal shutter speed is anything between 1/30th of a second and 1/125th (the faster the subject is moving the faster the shutter speed needs to be). This range of shutter speed allows enough time for the camera to register movement in the photo, while keeping the subject in sharp focus.

3 – Use a tripod

6 Tips to Master Panning Photography

Clicking photos handheld at a slower shutter speed might introduce slight shake in your photos. To ensure that you capture sharp panning photos, mount your camera on a tripod or a monopod to minimize the camera shake during panning.

It is possible that while you are panning your camera along with the moving subject, you are also moving your body and that shall introduce a slight shake in your camera. Using a tripod or a monopod will minimize the upwards or downwards movement of the camera and will only allow the camera to pan side to side.

4 – Focus accurately

6 Tips to Master Panning Photography

As the subject is moving swiftly across your frame, so it is really important to lock the focus on the subject accurately. There are two ways you can do this in order to make the subject appear in sharp focus, whereas the background appears to be in motion.

  • Automatic focus technique: If you are just starting with panning photography or if you are not sure about the distance of the subject from the camera, always use the automatic focusing technique. To make sure that you focus on the subject accurately, switch on the continuous focus tracking mode (AF-C on Nikon, and AI Servo for Canon). This helps your camera to continuously focus on the subject as it moves across the frame.
  • Manual focus technique: If you are sure about the distance at which your subject will pass by, then the best method is to use a manual focus technique. Focus on the point where your subject will be beforehand and then switch the focusing mode to manual. This ensures you to click at a much faster rate as your lens will not be constantly hunting for the subject. Simply pan your camera along with the moving subject and click multiple photos, later choose the best among all.

NOTE: Remember to also set your camera to continuous or burst mode to shoot multiple images when the shutter is held down.

5 – Position yourself correctly

6 Tips to Master Panning Photography

Try and keep some distance between your camera and the moving subject in order to allow your camera enough space to swiftly lock the focus on the subject. If you position yourself too close to the moving subject, there are chances that your lens will fail to focus on the subject because of the distance being shorter than the minimum focusing distance. It’s also harder to keep the subject in the frame when it is really large (close up).

Panning photos look eye-catching when there is a contrast and there are at least two or more colors in the background. Imagine a background which lacks contrast and has only one color, it would hardly add any impact to your panning photo.

6 – Move along with the subject

6 Tips to Master Panning Photography

The whole idea of panning photography is to shoot a photo of a moving subject while panning your camera along with the subject. One thing you need to make sure is that the speed at which you are panning the camera should match with the speed at which the subject is passing by your frame. Follow the subject left to right (or vice versa) at the same speed and don’t stop when you get to the middle (follow-through like in golf).

One golden tip that I would like to share as per my experience is that press the shutter release button only when the subject is parallel to your camera. This will ensure that your subject is completely in focus and appears sharp, while you get to perfectly capture blur motion in the background.

The post 6 Tips to Master Panning Photography by Kunal Malhotra appeared first on Digital Photography School.


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