The post Canon EOS R3: Eye-Control AF, 30 FPS, a BSI Sensor, and More appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon has introduced the EOS R3, a full-frame, mirrorless “high-performance professional camera,” designed for sports and action photographers.
As Canon explains, “The camera will put great emphasis on superb AF performance and speed,” and will lie “squarely between the EOS R5 and EOS-1D X Mark III cameras.”
In other words, while the EOS R3 will be Canon’s most powerful mirrorless model to date, don’t expect it to outcompete the EOS 1D X Mark III in every way. The EOS R3 won’t be a mirrorless 1D X replacement, and it likely isn’t a high-resolution action camera, either.
That said, the EOS R3 sounds pretty darn impressive. Here’s everything we know about this upcoming mirrorless powerhouse:
Canon EOS R3 specs
The EOS R3 will feature Canon’s own back-illuminated sensor. BSI technology packs key circuitry behind the sensor – rather than in front – to further expose photodiodes to light. This makes for enhanced high-ISO performance, and it also delivers superior dynamic range, a feature appreciated by photographers of all stripes.
The EOS R3 boasts a whopping 30 frames-per-second continuous shooting speed (using the electronic shutter, that is; Canon hasn’t released any information on continuous shooting via the mechanical shutter). And while many action photographers have resisted mirrorless technology, in part due to slow electronic shutter read-out speeds, Canon has made significant strides toward eliminating the problem; the company claims the R3 “provid[es] substantially faster read-out speeds during still-imaging recording,” and that the camera “is designed to produce less ‘rolling shutter’ distortion during electronic shutter operation.”
As for the AF system itself, brace yourself. The EOS R3 packs technology from the Canon EOS R5 and R6, both of which deliver lightning-fast AF performance. And the EOS R3 offers “even better performance during portrait and action-type shooting” thanks to Canon’s Deep Learning technology. If you’re a sports photographer, wildlife photographer, or photojournalist, the EOS R3 may soon be the camera to beat – even if Canon officially ranks it below the 1D X Mark III.
Build quality is on par with the 1D X Mark III series, and like the 1D X cameras, the EOS R3’s design sports an integrated vertical grip:
Last but certainly not least, the Canon EOS R3 will debut a never-before-seen mirrorless feature: Eye-Control AF, which promises to set focus basedon where your eye is looking.
Canon writes:
The electronic viewfinder of the EOS R3 will offer photographers the ability to select the initial area for AF tracking by simply looking directly at the viewfinder location where they want to begin AF. With Eye-Control AF and Servo AF activated, the camera will focus on and track moving subjects at that location in the frame.
Of course, we don’t yet know how well Eye-Control AF will work. Canon has implemented a similar feature in the past, with mixed results. But given Canon’s recent autofocus successes, I’m cautiously optimistic that Canon can offer a pro-level Eye-Control AF this time around.
Canon EOS R3 release date and price
The EOS R3 is still under development and has no official release date. The R3’s sports-focused marketing does hint at a pre-Olympics (i.e., June or early July) introduction, however.
The EOS R3’s price is also a mystery, though the camera’s position between the $ 3900 USD EOS R5 and the $ 6500 USD 1D X Mark III suggests a $ 4500 to $ 5500 price tag.
Final words
While we’re still missing plenty of information on the EOS R3, new tidbits will likely leak in the coming weeks and months.
So make sure to keep an eye out for the latest R3 news.
Now over to you:
What do you think of the Canon EOS R3? Are you impressed? Excited? Disappointed? How much do you think the camera will cost? Share your thoughts in the comments below!
The post Canon EOS R3: Eye-Control AF, 30 FPS, a BSI Sensor, and More appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post 15 Mountain Landscape Photography Tips for Stunning Images appeared first on Digital Photography School. It was authored by John McIntire.
Of all of the undertakings you can make with your camera, mountain landscape photography can be one of the most rewarding. Apart from the fact that mountains are straight-up beautiful, their imposing nature makes them a great landscape photography element.
This article will give you 15 quick tips – so you get better results the next time you go chasing after mountains.
1. Fill the frame
Mountains, by nature, are huge. You don’t have to get the entire thing in the frame. It’s just as acceptable to fill the frame with a certain element that draws your attention. This will make the mountain the background in your images.
Yes, it can be tempting to try and get a huge vista in the frame. But if you take a moment to look for smaller details that could make an interesting photo, you might find something unexpected.
Although the entirety of the mountain isn’t in the frame, it is still clear that the background is a mountain, and the tight crop gives a clue to just how big it is. Canon 5D Mark III | Canon EF 70-200mm f/4L IS USM | 200mm | f/5.6 | 1/2000s | ISO 200
2. Use reflections when possible
Using reflections in your compositions is a great way to show off mountains. Canon 7D | Canon EF 35mm f/2 | 35mm | f/16 | 1/50s | ISO 100
If the mountains you are photographing are near a body of water, you already have a ton of visual interest to use in your foregrounds.
If you can, wait until the water is still. Then you can use the reflections of the mountains in your composition. This may be personal taste, but it is always a winning combination in my book.
3. Show scale with smaller elements
This tiny village near the top of a mountain in Spain shows just how enormous the landscape is. Canon 7D | Canon EF 35mm f/2 | f/11 | 1/60s | ISO 100
Again, mountains tend to be huge, but when you shoot with an ultra-wide-angle lens, you wind up pushing the perspective back. And this makes it difficult to give your viewers a true sense of just how large things are within your frame.
You can combat this by including an element that shows the scale of things in the scene. Buildings, people, and animals all work well.
4. Include people in the landscape
As with the previous point, putting people in your mountain landscape photography can convey just how big the mountains are.
It does more than that, however. Because with the inclusion of a human element, you are adding something that your viewers can relate to.
5. Try a panorama
Stitching several images together into a panorama is a great way to ensure that you capture the entire scene. Canon 7D | Canon EF 35mm f/2 | f/16 | 0.4s | ISO 100
When you are photographing mountains, don’t be afraid to take a sequence of shots that you can stitch together as a panorama.
Mountain ranges tend to suit the panorama format especially well because there is just so much to see!
6. Fill your foreground
This may be standard landscape photography advice, but it still applies when shooting mountains. If you’re using a wide-angle lens, you will have plenty of space in your foreground – and you’ll need to fill it with something interesting.
So pick a foreground subject and get up close to it. This could be flowers, an interesting rock formation, or something simple like a sign.
Then take a shot that combines the interesting foreground and a beautiful mountain background, like this:
Having lots of visual interest in the foreground of your images can help your viewers stay engaged. Canon 7D | Sigma EF 10-20mm f/3.5 | 10mm | f/11 | 1/60s | ISO 100
7. Include a human element
Not all mountains are wild places. Including signs of human habitation can be a good way to capture something interesting. Canon 5D Mark III | Canon EF 70-200mm f/4L IS USM | 169mm | f/11 | 1/60s | ISO 100
By human element, I don’t mean people. Instead, I advise you to find something human-made that will show your viewers how the people that live nearby incorporate the mountain into their lives.
On their own, mountains are impressive. But as part of our world, they are also part of our lives. If you can show this in your images, you might be able to convey an interesting narrative.
8. Use a different focal point
In mountain landscape photography, the mountain doesn’t need to be the focal point of your image. Even in this case, where there’s a mountain, a glacier, and a volcano! Canon 7D | Canon EF 35mm f/2 | 35mm | f/11 | 0.5s | ISO 100
In your mountain landscape photography, the mountain does not need to be the focal point of your image. Instead, you can find a different focal point and use the mountain as environmental information.
Of course, you can still take a photograph of the sweeping vista. But once that is done, look smaller – and see if there are other subjects to be found in the scene.
9. Use your GND filters
Graduated neutral density filters are a great way to control your exposures. Canon 7D | Sigma EF 10-20mm f/3.5 | 10mm | f/16 | 0.3s | ISO 100
To help you get good exposures while in the field, don’t forget to pack your graduated neutral density filters. These will allow you to even out your exposures at the time of capture, making it easier to process your images when you get back home.
10. Wait for the light
Here, I waited from 4 AM to 8 AM for the fog to break. If you can, always, always try to wait out the weather. Canon 7D | Sigma EF 10-20mm f/3.5 | 11mm | f/16 | 0.5s | ISO 100
This tip cannot be understated. If you want the best-looking mountain landscape photography images that you can produce, wait for the light to be at its best. If you get on location early and find the composition that you want, don’t be afraid to stay until the light shifts – even if it takes a couple of hours.
Yes, I know it can seem boring, and it’s hard to justify the effort, but please, trust me. It is very much worth the time and effort.
11. Use longer lenses
When you are packing for your trip into the mountains, don’t forget to take your longer lenses with you. Standard-length primes can be great for panoramas, but telephoto lenses can help you pick out smaller details in your scenes.
In other words:
There is a lot of room in landscape photography for lenses aside from the wide angles that dominate the genre.
12. Plan for the light
With the technology available to us, it’s easier than ever to know exactly which direction the light is going to come from on any given day of the year.
So once you know when and where you are going, do your research and figure out where the sun is going to rise or set. Then plan your shots based on that.
13. Plan for the weather
Like planning for the light, it’s also a good idea to plan for the weather. Knowing the weather will help you determine if you need to pack any extra gear like rain covers and waterproof clothing.
Of course, it’s also in the best interest of personal safety to have an idea of when snow or rain might appear. This is even more important if you intend to be on the mountain, especially after golden hour.
14. Don’t avoid bad weather
After an entire day of low visibility, the fog broke for a total of five minutes, just long enough for a shot. Don’t avoid bad weather, even if you ultimately fail to get a photo. Canon 7D | Sigma EF 10-20mm f/3.5 | 20mm | f/16 | 1/30s | ISO 100
While planning for bad weather is good, you don’t always need to stay indoors. Many times, the most interesting photos will come in the worst weather.
In fact, some of the best light I have ever seen has been during a break in a storm; these breaks allow just enough light to make things look like a fairytale.
And if you lock yourself away when the weather is bad, you’ll never get to experience such moments.
15. Be safe
Above all, strive for safety. Mountain landscape photography can be incredibly rewarding, but don’t risk your personal well-being for a great shot.
Watch where you’re going, take weather-appropriate clothing, be aware of the forecast, and tell somebody where you are going to be. And if you’re going to stay out until after blue hour, make sure you know exactly how to get back.
Mountain landscape photography: the end
I hope this article has inspired you to get out and create your own mountain landscape photography.
The next time you’re out shooting mountains, remember these tips – and have fun!
Have you photographed mountains before? Do you have any tips of your own? Share them in the comments below!
What type of lens is best for mountain landscape photography?
All lenses have their uses. Wide-angle lenses are the most popular, but standard and telephoto lenses can work, too.
What’s the best time of day to photograph mountains?
It entirely depends on where the light is hitting the mountain. The golden hours are best as long as the sun isn’t behind your mountain.
How do you show how big a mountain is in a photograph?
You include an element that is easy for the viewer to identify, such as a person. This will give your images a sense of scale.
Why do the mountains in my photographs look so far away?
Wide-angle lenses distort perspective, and this can push everything back in the frame. Use a standard focal length (35mm to 50mm) for a perspective close to the human eye’s. To include more in the frame, consider shooting in a panoramic format.
The post 15 Mountain Landscape Photography Tips for Stunning Images appeared first on Digital Photography School. It was authored by John McIntire.
The post Affinity Photo vs Photoshop: Which Photo Editor Is Best in 2021? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Which is the better photo editor, Affinity Photo vs Photoshop CC?
Adobe Photoshop was released in 1988 and has become the most widely used digital image editing tool in the world. The program is so popular that its name has become a verb – and Photoshop is now the de facto standard for industry-leading professionals and amateurs alike.
Photoshop has also spawned a host of competitors, including Affinity Photo, a worthy alternative for anyone who wants a full-featured image editor without the expense of Photoshop. But is Affinity Photo now the superior choice? Or are you better off sticking with Adobe’s classic program?
In this article, I’m going to compare Photoshop and Affinity Photo. I’m going to give you the benefits and drawbacks of each program – and you’ll leave knowing which program is right for you.
Affinity Photo vs. Photoshop: overview
When considering Affinity Photo and Photoshop, it’s important to remember that there is no one single correct program for everyone. Both are highly capable photo editors, and either one will serve the needs of most photographers. They each have advantages and drawbacks, as well as very different pricing models, and both work well for many photographers.
So try not to think of this as a binary choice or even a competition. It’s not about which program is better, but which program suits your needs.
Before getting into the weeds of how these programs are different, it’s a good idea to take a look at how they are alike. This helps establish a sense of common ground, or perhaps a starting point, that will make the differences stand out.
Both Affinity Photo and Photoshop offer a layer-based workflow, meaning all edits are non-destructive and can be combined with other edits. Both include RAW converters, which allow you to open and manipulate the lossless file formats used by amateur and professional photographers around the world.
Affinity Photo opens RAW files and lets you manipulate the same properties and parameters as Adobe Camera RAW, the RAW editor used by Photoshop.
Affinity Photo and Photoshop both feature a dizzying array of tools to let you edit images any way you want. You can create detailed selections, use complex layer masking, warp and transform parts of your images, use dozens of filters and adjustments, go back to earlier edits with a history panel, insert and manipulate text…the list goes on.
Comparing the two programs, then, becomes less about looking at a bulleted list of features and more about value. Affinity is significantly cheaper with a one-time price of $ 50 USD. Adobe Photoshop is much more expensive and is available only as part of a Creative Cloud subscription, the cheapest of which is about $ 120/year. And while you certainly get a lot for that yearly fee, Affinity Photo is no slouch.
Photoshop is available as part of the Adobe CC Photography plan or for a standalone subscription. You can also find it bundled with other, more expensive plans, as well.
Affinity Photo doesn’t have the sheer quantity of features that Photoshop offers, but many of the tools in Photoshop aren’t used by a lot of amateur and semi-professional photographers, so it might not matter to you. For instance, Photoshop has tools for manipulating 3D objects and video, but if you just want to edit static 2D images, that probably isn’t important. Photoshop is also updated more frequently and has some interesting AI-based tools to alter faces and other image elements, but for some people, these aren’t worth the yearly fee.
User interface
Both programs follow a similar design language: tools on the left, options for customizing the selected tool on top, editing panels on the right, and a huge space in the middle of the screen for working on an image. Their tools share many core functions, as well. Both have tools for cropping, brushing, making selections, fixing blemishes, working with text and objects, and more.
The editing interface in Photoshop (shown here) is similar to the interface in Affinity Photo. They’re not identical, but they’re similar enough that if you’re familiar with one program, you can probably use the other.
The interface is not altogether dissimilar from Lightroom, Luminar, and other photography software. If you are new to Affinity Photo or Adobe Photoshop, it won’t take you long to figure out how to edit and where to find the tools and adjustments you need.
Adobe has a key advantage in terms of user interface design because it has built up so many tools and options over the years. But this is also its Achilles’ Heel and can be seen as a disadvantage, as well. Photoshop’s ever-expanding repertoire has resulted in a program with a staggering learning curve, and even simple options like changing the white balance on an image or refining a selection can lead to inordinate amounts of head-scratching and online searching.
Photoshop contains visual tooltips to help new users acclimate themselves to the buttons and options.
This has put Adobe in a bit of a tough spot – one that makes Affinity Photo seem quite attractive by comparison. Adobe must walk a fine line between catering to its professional customers, many of whom have been using Photoshop for years, and catering to new customers who find the growing feature set to be complicated and frustrating. Welcome screens, popups, tooltips, and other helpful hints stem the tide of confusion – but while these do help, it can still be difficult to locate the options you need to get your work done.
By contrast, the simplified nature of Affinity Photo seems downright pedestrian but remains quite powerful. Tools on the left are bright and colorful, and the adjustment panels on the right are a bit more streamlined for common use-case scenarios.
For example, adjusting the white balance is as simple as clicking the White Balance option and adjusting some sliders. In Photoshop there isn’t a White Balance option; you have to apply a Curves adjustment layer or use a filter to achieve the same effect.
Affinity Photo includes familiar adjustments like White Balance that are more complicated to implement in Photoshop.
This theme is prevalent throughout any comparison of Affinity Photo vs. Adobe Photoshop. Affinity Photo has a fresh, modern take on the interface elements that Photoshop invented. If you prefer a cleaner, simpler layout, then Affinity Photo might be the best option for you, but if you crave raw power and a slew of options, you might be better off with Photoshop.
It is worth noting that Affinity Photo also has a few tricks up its sleeve that Photoshop can’t yet match. Namely, speed: Adobe Photoshop is built on decades-old legacy code that makes some simple operations confoundingly slow. Tools like Liquify and even simple transformations are much snappier in Affinity Photo, and while Photoshop has made some great strides in recent years, there’s no denying that aspects of the program still feel slow and outdated.
Workflow tools
While both Affinity Photo and Adobe Photoshop have a huge number of editing tools, each program is at its best when you learn to use those tools to accomplish your work with minimal effort. Photoshop has a bit of an edge here if you want to make complicated, in-depth edits, but Affinity Photo is no slouch either.
For example, most of the items in Photoshop’s toolbar have sub-options with different variations on the same tool. There are three selection tools: Marquee, Lasso, and the Magic Wand. And each of those has its own subset of tools.
The tools in Photoshop are more comprehensive and contain a greater number of options and customizations compared to Affinity Photo.
From a workflow perspective, this bevy of options can be invaluable. You can get in, make your selections, and get on with your editing. And in that regard, Photoshop gets the nod over Affinity Photo. Once you learn all the options at your disposal and get familiar with the myriad keyboard shortcuts, Photoshop can dramatically cut your editing time. But getting to that point can take a lot of learning and a lot of patience, so some might prefer the relative simplicity – and fewer options – of Affinity Photo.
Both programs have all the standard adjustments you would expect: Brightness/Contrast, Exposure, Invert, and many others. These are applied using layers, and the layers can be blended using virtually the same sets of blend modes, including Darken, Multiply, Color Burn, Difference, Exclusion, Subtract, and so on. Layers can be moved up and down and combined in both programs, and both give you access to dozens of effects that can be applied, as well.
The Layer Effects panel in Photoshop contains many options for enhancing and editing your images, and it lets you customize the blend modes, as well.
The Layer Effects panel in Affinity Photo is similar but lacks the depth that Photoshop offers. Still, it should suffice for most people.
If you are thinking of transitioning away from Photoshop, there is one important thing to note:
While Affinity Photo does replicate many of the common keystrokes and shortcuts used in Photoshop, they’re not 1:1. You might find yourself pressing familiar keys and using shortcut commands out of habit only to realize that nothing happens, or worse, something happens that you didn’t intend. It can make the transition a bit rocky but might be worth it if it saves you time or money in the long run.
Compatibility
When you work with image editors, compatibility can be an issue. Photoshop’s PSD file format is the gold standard – but not necessarily because it’s the best, and certainly not because it’s the most efficient in terms of file size. Rather, after more than 30 years in this business, Photoshop’s PSDs have simply become the most widely used. PSD files are nondestructive, meaning they contain all the layers, history steps, adjustments, effects, and other elements of an image as it’s being edited.
Affinity Photo has a similar non-destructive file format, AFPHOTO. But as you might expect, it is not well known; it’s simply too new compared to the PSD format. While Affinity Photo can open PSD files and also export its own files in PSD format, Adobe Photoshop can’t do anything with AFPHOTO files. This can end up becoming a time-consuming hassle if you use Affinity Photo but find yourself collaborating or sharing files with Adobe Photoshop users (or vice versa).
Affinity Photo can export images in AFPHOTO (as well as nearly a dozen other formats). But Photoshop won’t open Affinity Photo documents and likely never will. Adobe has almost no incentive to do so.
It’s currently Adobe’s playground, and we have to play by their rules for the time being. Adobe doesn’t need to spend time and money making Photoshop compatible with Affinity Photo files, but Affinity needs to work with PSD files if it is to be relevant in the image-editing space. The old saying, “If you can’t beat ’em, join ’em” comes to mind.
So if you go with Affinity Photo because you like the price or appreciate its tools and features, just know your documents won’t always play nice with Photoshop.
Support
Learning any new tool takes time and effort, and this is doubly true for image editors. There are so many options and features in both Affinity Photo and Photoshop; it’s enough to make you want to give up and go with the one-click simplicity of a program like Luminar. Especially if you’re new to digital photography.
Just imagine trying to explain these Photoshop brush options to someone who has never used the program before.
When considering Affinity Photo vs. Photoshop, it’s important to take this into account and make sure you have access to the knowledge and training you need to get your editing done. While Photoshop has too many features to count, it also has over three decades of support behind it. The internet is jam-packed with every kind of Photoshop tutorial you can imagine: websites, forums, social media groups, YouTube tutorials, podcasts, classes, lectures, and Adobe’s own help files and rich knowledge base.
What’s more, since so many people use Photoshop, it’s not hard to find someone who can help you. Most friends, coworkers, and even casual acquaintances who use Photoshop will be happy to show you a few tricks or help you learn how to use the program.
I knew Photoshop could do a simple border with rounded corners, but I didn’t know the exact steps. A quick video call with my cousin, who uses Photoshop professionally, got me all the information I needed.
This is hardly the case with Affinity Photo. Affinity has its own set of video tutorials, as well as sample images you can import and experiment with to learn the basics. But while these are a good place to start, they’re just not at the same level as what you’ll find in Photoshop.
Tutorials will improve as more people use Affinity. But until then, you might find yourself frustrated when you can’t figure out more advanced features and aren’t able to find the help you need.
Editing and the cloud
As photo editing moves away from the desktop and into the cloud, it’s important that your tools can keep up with your workflow (and that you can adapt them as needed). Many photographers today want to edit images on tablets or even phones and have their pictures available whenever and wherever they want.
Thankfully, both Affinity Photo and Adobe Photoshop are up to the task, but they approach it in different ways.
Affinity Photo has an iPad app, available for a very reasonable fee, that mimics most of the functionality of the desktop version. It can’t do things like batch export, but it reads AFPHOTO files, and edits on the iPad are also available on the desktop version.
However, Affinity does not have a cloud-based infrastructure to support file syncing and storage. This means you have to transfer your images manually or sync them to a service like iCloud – then you must make sure all your files are properly synced again after you edit, lest you lose some of your changes.
Photoshop handles this differently, and it’s all due to the subscription fee you pay to use the program. Since every Photoshop plan comes with some degree of cloud storage from Adobe, it’s possible to have a cloud-based workflow where everything is stored remotely. This means you can load all your PSD files and other assets into your Adobe Creative Cloud storage, edit your images on desktop or mobile, and everything is automatically synced in real time.
Adobe gives you the option of storing files in the cloud; this is part of your Photoshop subscription.
Neither one of these approaches is necessarily better, but it’s important to determine which you prefer. Affinity Photo’s one-time pricing structure means it can’t support the ongoing costs of cloud servers for its customers. But if you already pay for cloud storage through another platform, then you might prefer Affinity’s approach.
On the other hand, Photoshop’s method is great for a lot of people, especially those who want a cloud-based workflow.
Affinity vs Photoshop: Which editing program is right for you?
At some point, you have to stop reading and just make a decision. There are definitely some good reasons to go with Affinity Photo, and there are some advantages to Photoshop. Here’s my advice if you’re on the fence and not sure which one is right for you:
Get Affinity Photo if you want an inexpensive, full-featured photo-editing program. While it doesn’t have decades of history in the photography community, it has an extensive list of features and workflow tools to suit the needs of almost anyone. Certainly, it’ll handle everything a casual or hobbyist photographer requires, and if you aren’t actively earning money with your images, then a one-time fee of $ 50 makes Affinity the better choice.
You can create some amazing artwork in Affinity Photo. And if you need inspiration, you can download sample images like this one (which are designed to help you learn the program).
Subscribe to Photoshop if you want a mile-wide set of features developed over several decades, as well as an endless supply of websites, articles, videos, books, and entire courses to help you learn how to use them. There are also many plugins you can get to extend the functionality of the core application; that way, you can tailor Photoshop’s capabilities to your needs. In terms of sheer product ecosystem, Photoshop is the clear winner.
While some have accused Adobe of resting on their laurels now that they have a steady stream of subscription income, that’s not really a fair criticism when it comes to their flagship product, Photoshop. Photoshop continues to add new options for demanding professionals while making the onboarding process easier for beginners. Adobe has also been incorporating artificial intelligence tricks such as allowing you to age (or de-age) human faces, alter smiles, and even change the direction that people are looking.
Adobe’s AI-based Neural Filters let you apply all sorts of strange, interesting adjustments such as changing expressions, smoothing skin, and aging (or de-aging) people.
The heart of the Affinity vs. Photoshop debate comes down to a simple question: What do you want to do to your photos? By identifying your needs first and then looking for a solution, you can be sure that the program you choose will more closely align with your requirements. It might be Affinity, it might be Photoshop, or it could even be something else.
Both Affinity Photo and Adobe Photoshop have free trials, and I recommend going that route before spending any money or getting too invested in one particular application. Download both products, try them, and see what you think. Then you can decide the Affinity Photo vs. Photoshop question for yourself.
Now over to you:
Have youused Affinity Photo and Photoshop? Which program did you prefer? Share your thoughts in the comments below!
The post Affinity Photo vs Photoshop: Which Photo Editor Is Best in 2021? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Real estate photography is often the underdog of the photography world, living under the shadow of the more glamorous photography niches like headshots, portraiture, or landscape. Real estate photography can be not only fun, but also profitable. In this article, we’ll discuss how you can become a real estate photographer and also if it is worth it for you. How Continue Reading Photodoto
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The post Triangle Composition in Photography: A Quick Guide (Plus Tips) appeared first on Digital Photography School. It was authored by Megan Kennedy.
Speaking about triangle composition, artist Wassily Kandinsky once said, “The impact of the acute angle of a triangle on a circle produces an effect no less powerful than the finger of God touching the finger of Adam in Michelangelo.”
Recognizing the momentum within a triangular shape, painters have regularly capitalized on the visual drama of triangular structures. But painters aren’t the only ones to utilize triangles; photographers have also made extensive use of the shape to add impact, lead the eye, and emphasize spirited angles unfolding within the photographic frame.
In this article, we’ll take a look at the dynamics of triangles in photographic composition.
What is triangle composition in photography?
Triangle composition relies on the use of triangular shapes or concepts to create a better image.
Triangles can be found everywhere. Signs, architecture, geography, sailboats, food, arrows, aviation, wallpaper, optical illusions (see the Penrose triangle); the list goes on!
Why are triangles useful?
Triangles are useful in composition for many reasons. Perhaps one of the most obvious selling points of triangles is their striking versatility.
For instance, triangles can represent direction and orientation; they can signal stasis or momentum. A triangle that recedes into the horizon creates the impression of perspective and depth. Off-kilter triangles paired with vivid colors create impactful shapes that express energy and dynamism. And depending on whether a triangle is facing left or right, it can represent progress, forward motion, or backtracking (just think of the symbols on a TV remote!).
Triangles in composition can also create order in chaos. That’s why triangles can be helpful in planning a photograph or figuring out why an image works the way it does.
Over time, artists have developed different compositional concepts to help create appealing imagery. The golden triangle is a visualization that divides the frame into four triangles, like this:
The golden triangle suggests one of three approaches:
Fill one of the triangles with a main subject.
Align some diagonal subject matter with at least one of the diagonal golden triangle lines.
Line up a significant point in the composition with a point of intersection.
Canon 5D Mark IV | Canon EF 50mm f/1.8 II with extension tubes | f/2.5 | 1/50s | ISO 100
Triangles found in both the natural and modern landscape can visually unite or disrupt a photograph.
And by incorporating triangles or the golden triangle overlay into a photographic composition, you can control the energy and focus of an image.
Common triangle types
There are several types of triangles you should know:
Self-contained triangles can be found throughout the natural and urban environment. These distinct shapes can command attention and often serve as a key component or structural element within a photograph.
(Interestingly, some triangles do extend beyond the frame, thus becoming more indirect triangular compositions.)
Other triangular formats include triangles with rounded edges, which deliver a softened visual effect.
Triangular patterns found in nature. Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/5 | 1/160s | ISO 100
Implied triangles are more subtle arrangements of subject matter that can generate the impression of a triangle composition. Implied triangles aren’t a single specific triangular subject. Instead, they borrow from different elements in an image to form a triangle-like arrangement.
Implied triangles formed from points of light. Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/4 | 1/100s | ISO 250
The type and behavior of triangles can significantly impact a photograph.
To create stability or instability within an image, triangles can teeter on a point or rest firmly on a vertical line. Symmetrical triangles can signal equilibrium whereas asymmetrical triangles can represent an object to overcome or act as a symbol of intensification.
A triangle pointing at the sky can represent the peak of a goal or journey toward success. A triangle pointing at the ground can represent direction, a downfall, or a lessening of intensity.
Other triangles can point to specific subjects or even represent the main subject.
Tips for working with triangles
Triangles are intriguing shapes, and working with them doesn’t have to be hard.
Here are a few tips for creating beautiful triangle compositions in photography:
1. Use variety
Triangles come in many shapes and forms. To add variety to your photos, include different triangle sizes, types, and orientations (this will also help you develop an eye for the shape).
Triangles can disrupt patterns and direct the viewer. Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/8 | 1/125s | ISO 100
2. Try the golden triangle rule
As I explained earlier, the golden triangle is a visual device used to help create harmonious compositions.
While the golden triangle takes practice to visualize (see the overlay displayed above), it encourages you to make the most of the available subject matter. The rule also draws attention to areas in a composition that might otherwise be ignored.
3. Rules can be broken
Although triangle composition is an engaging approach to photography, compositional rules can be bent and broken.
The golden triangle serves as a guide or exercise rather than a definitive rule – and can therefore be manipulated or ignored.
And using triangular subject matter in a composition is pretty flexible. For example, rounded points or points that extend off the edge of the photograph can still suggest engaging and cohesive triangle-based compositions.
Triangle composition in photography: final thoughts
Over the centuries, triangles and triangle composition have come to represent strength, vitality, energy, and momentum.
By incorporating triangles (and the golden triangle rule) into your compositions, you can create dynamic, eye-catching photos.
So the next time you’re out with your camera, look for triangles – and create some powerful compositions!
Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/9 | 1/250s | ISO 100
Triangle composition FAQ
What is triangle composition?
Triangle composition is either the incorporation of triangular shapes into photographic work or adherence to the golden triangle compositional rule.
What is the golden triangle?
The golden triangle is a compositional device. By mentally dividing an image into triangular sections, you can arrange elements to create beautiful compositions.
Where can I photograph triangles?
Triangles make up our world in many ways. Triangles can be found in the urban landscape as well as the natural environment. Once you start looking, you’ll find plenty of opportunities to photograph triangles.
How can I use triangle composition?
There are several ways to incorporate triangular compositions into a photograph. The most obvious ways involve photographing triangular shapes themselves and using the golden triangle rule to guide your compositions. You can also use implied triangles to loosely organize subjects in a triangular format.
The post Triangle Composition in Photography: A Quick Guide (Plus Tips) appeared first on Digital Photography School. It was authored by Megan Kennedy.
Following a complaint and subsequent review by the Advertising Standards Authority (ASA) in the UK, Apple has changed the marketing for its $ 5,000 Pro Display XDR. Per 9to5Mac, the ASA asked Apple to remove the term ‘Far beyond HDR’ from its marketing materials for its flagship display, a request which Apple abided, at least in the UK. In the US, the phrase ‘Far beyond HDR’ remains live.
The phrase ‘Far beyond HDR’ has become a sticking point because some customers believe it’s misleading. The Pro Display XDR displays 99% of the P3 wide color gamut, and complaints have alleged that the term ‘Far beyond HDR’ suggests that the display shows 100% of the P3 color gamut.
On Apple’s US store, the term ‘Far beyond HDR’ remains present.
In response to the complaints, Apple has taken two steps. It has removed ‘Far beyond HDR’ from its UK website, as mentioned. Still, Apple has also added a footnote following the sentence, ‘A P3 wide color gamut provides a color palette capable of creating the most vibrant imagery.’ This footnote corresponds to small text at the bottom of the product page, which states, ‘Pro Display XDR supports 99% of the P3 wide color gamut.’ No such footnote currently exists on the product page in the US.
On the other hand, in the UK, the term ‘Far beyond HDR’ has been removed.
The ASA has also taken issue with Apple’s claim that its XDR display has a 1,000,000:1 contrast ratio. As of now, that claim remains on Apple’s website. 9 to 5 Mac reports that Apple is having independent tests completed, which Apple hopes will corroborate its contrast ratio claim.
As you can see in this screenshot from Apple’s US store, there’s no footnote about color space performance on the Pro Display XDR’s product page.
On the ASA’s website, the complaint against Apple is listed as informally resolved. Since the complaints were in the UK, they have no impact on Apple’s obligations in other markets.
When Apple first announced the Pro Display XDR in 2019, the California-based company made many lofty claims. Some of them can be verified, such as claims about color space and contrast ratio, while others are more difficult to confirm.
In the UK, however, the text in the ‘Show your truest colors’ section now includes a footnote that corresponds to the text, ‘Pro Display XDR supports 99% of the P3 wide color gamut.’ Click to enlarge.
For example, Apple says the Pro Display XDR is the ‘world’s best pro display.’ What does that even mean? It likely means something different to different users. For what it’s worth, reviews for the display have been generally very positive, with many claiming that the display features incredible build quality and fantastic performance.
Apple’s popularity and position mean that the company attracts a lot of attention, not all of it positive. The company is no stranger to complaints, investigations and general government oversight across the many markets it operates. It’s merely part of doing business, big business in Apple’s case. Does Apple’s Pro Display XDR go ‘far beyond HDR?’ Well, I guess that depends on who, or rather, where you ask.
The post Canon to Unveil 3 RF Lenses, but Discontinues 9 EF Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
This past week brought both good news and bad news for Canon fans.
The good news: Later this month, Canon will unveil three new RF lenses, including two pro-level super-telephotos.
The bad news: Canon has discontinued nine EF lenses, with plans to drop at least four more lenses before 2021 is out.
Let’s take a closer look.
Canon unveils new RF lenses
According to Canon Rumors, Canon will likely be announcing three RF-mount lenses before April is out:
Canon RF 100mm f/2.8L IS USM Macro
Canon RF 400mm f/2.8L IS USM
Canon RF 600mm f/4L IS USM
The 400mm f/2.8L and the 600mm f/4L will go a long way toward making Canon’s full-frame mirrorless lineup appealing to professional sports and wildlife shooters, who frequently work with snappy f/2.8 and f/4 super-telephotos. While Canon currently offers a handful of long RF lenses (including the well-reviewed RF 100-500mm f/4.5-7.1L IS USM), the narrow maximum apertures are a dealbreaker for serious action and low-light photography.
The Canon RF 100mm f/2.8L Macro will debut as a mirrorless successor to the popular Canon EF 100mm f/2.8L Macro, an ultra-sharp, close-focusing lens used by macro enthusiasts and professionals alike, plus product photographers and event photographers for key detail shots. Of course, the price remains to be seen (currently, the Canon EF 100mm f/2.8L goes for around $ 1300 USD, though when I bought mine – around five years ago – the price was a more tolerable $ 750 USD). But close-up photographers will undoubtedly appreciate the addition of another powerful lens to the list of macro options.
So if you do wildlife photography, sports photography, or macro photography, keep an eye out for Canon’s announcement later this month.
Canon discontinues a long list of EF lenses
While Canon’s dedication to the new RF lineup is praised by many (myself included), it’s sad to see the flip side: the wasting away of the EF/EF-S lineup.
Here’s the list of EF and EF-S lenses Canon has discontinued in the last month, as tracked by Canon Rumors:
Canon EF 14mm f/2.8L II USM
Canon EF-S 35mm f/2.8 Macro IS STM
Canon EF 135mm f/2L USM
Canon EF 180mm f/3.5L Macro USM
Canon EF-S 10-22mm f/3.5-f/4.5 USM
Canon EF-S 15-85mm f/3.5-5.6 IS USM
Canon EF 24-70mm f/4L IS USM
Canon EF-S 55-250mm f/4-5.6 IS STM
Canon EF 70-300mm f/4-5.6L IS USM
And according to Canon Rumors, these lenses will also be discontinued in 2021:
Canon EF 35mm f/2 IS USM
Canon EF 300mm f/2.8L IS II USM
Canon EF 400mm f/4 DO IS II USM
Canon EF 500mm f/4L IS II USM
While some of these discontinued lenses undoubtedly have RF replacements on the way, others will be forgotten, at least for the foreseeable future. So if any of the above glass interests you, I’d highly recommend you buy while products remain available.
Now over to you:
How do you feel about Canon’s decision to discontinue these lenses? Did you expect such a fast break with the EF lineup? Share your thoughts in the comments below!
The post Canon to Unveil 3 RF Lenses, but Discontinues 9 EF Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Tokina’s atx-m 23mm F1.4 is one of two of the company’s new primes available for Fujifilm X-mount shooters. With a 35mm full-frame equivalent focal length, this lens is perfect for casual, candid, and street photography, even in low light.
Focus is snappy, accurate and near-silent when shooting at wider apertures. But the lens does occasionally hunt and can sometimes miss focus when stopped down. Sharpness looks good in the center of the frame, but corners show softness at wider apertures.
There’s no weather-sealing, but the build quality is impressive nonetheless. The lens mount and body are constructed of metal; the focus ring seems to be plastic. In terms of handling, the Tokina feels just right on the Fujifilm X-E4; heavy enough that you know it’s there but not too heavy. We’re not crazy about the clickless aperture ring for stills work, but an ‘auto’ setting at least lets you control the aperture from your camera body.
For a sense of the Tokina atx-m 23mm F1.4 X’s optical characteristics, including bokeh and lens flare examples, jump into our sample gallery below.
The post Does Your Photo-Editing Program Really Matter? [Video] appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
If you’ve ever spent time agonizing over different post-processing programs, trying to determine the perfect software to edit your photos, then this is the video for you.
Expert photographer Mark Denney edits a single image using three different editing programs – Photoshop, Capture One, and Lightroom.
Then he shows you the three results, side by side, for comparison.
Are there differences between the final edits? And which program (if any) does the best job?
Watch and find out. And then, when you’re finished, leave a comment below this article telling us what you thought about the different editors!
The post Does Your Photo-Editing Program Really Matter? [Video] appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post 11 Tips for Posing People With Confidence (+ Examples) appeared first on Digital Photography School. It was authored by Andrew S. Gibson.
How can you pose people in photography with amazing results?
In this article, you’ll discover 11 simple tips to start people posing like a pro (plus plenty of example images).
So if you’re ready to take your portrait photography to the next level, then let’s get started!
(Also, if you’re looking for posing inspiration, check out our handy Portrait Posing Guide, which offers a whopping 67 sample portrait poses.)
Before the shoot
Here are some points to think about before you even pick up your camera:
1. What kind of shoot is it?
The posing requirements for a family portrait shoot are very different than the requirements for a fashion shoot.
So don’t think about posing until you’ve determined the type of shoot you’re doing!
2. Look for inspiration online
Chances are that you have a few photographers you follow on websites like Flickr and 500px. You’ll find some good poses in their portfolios.
So download your favorite poses to your smartphone (or use Pinterest to create a mood board; I cover this in more detail in my article, How to Plan the Perfect Portrait Shoot). That way, you have something you can show to your model.
Don’t try and commit the poses to memory – you will forget them under pressure!
3. Match the pose to your model
This is important.
You’ll see some wonderful poses in fashion magazines. But many of them need a professional model to pull them off.
And your model may not be able to do those – so tailor the pose to your model (not the other way around!).
4. Buy the Posing App
The Posing App gives you over 300 poses that you can access on your smartphone.
Screenshots from the Posing App. The line drawings are easy to understand and follow.
The best way to use the app is to select five to ten poses and add them to your favorites. Then you can show them to your model so they know what you want them to do.
(In fact, the author of the app has written several articles about posing for Digital Photography School you will find useful!)
During the shoot
No matter how experienced or inexperienced your model is, here are some tips to help you capture the perfect pose during the shoot:
5. Build rapport
This is essential. If your model likes you and sees what you are trying to achieve, they will work harder.
Talk to your model about things they like; this will help produce more life in their eyes and get better expressions, including natural smiles. And they’ll be more relaxed.
But if your model is tense, you are going to struggle to get natural-looking portraits. In that case, take the pressure off the model and bring it back on yourself. Assure them that if the photos don’t work out, it’s your fault, not theirs. Build their confidence.
6. Look for natural expressions
As you talk to your model, you will notice natural expressions and mannerisms that you can capture.
Don’t be afraid to say “Hold that pose!” or “Do that again.”
I noticed that this model had an interesting mannerism, so I asked her to repeat the gesture. The result turned out to be one of her favorites!
7. Adapt poses
When you suggest a pose to your model – such as a pose used in another photo or a pose from the Posing App – treat it as a starting point. Then adapt it to suit the model.
In other words: If your model looks unnatural in a certain pose, then change it! Adjust each pose to suit your model’s body and clothes.
The pose on the left is one I found in the Posing App. For the second portrait, I asked my model to drop her left arm so I couldn’t see it. Don’t be afraid to tweak poses; sometimes a small change makes a big difference.
8. Simplify
Keep everything as simple as possible. This applies to composition, as well as the clothes and jewelry your model is wearing.
If your model has too much jewelry, ask them to remove some. It’ll improve the composition.
If you’re struggling to find a good full-length pose, move in closer and shoot from the waist up, or do a head-and-shoulders portrait. The background will go more out of focus, and there will be less of the model in the photo (i.e., the shot will be simplified!).
Simplification in action. The closer you crop, the easier it is to pose your model. This is a good technique to use if you are struggling to make a certain pose work.
9. Pay attention to detail
Pay special attention to hands, which often look better turned sideways. Look at photos where the model’s hands look elegant or are nicely posed, and ask your model to do the same.
Check your model’s hair to make sure stray strands aren’t blowing across their face or eyes. Look at their clothes to make sure they aren’t wrinkled or creased in a strange way.
10. Find something for your model to lean on
This makes it much easier to create a natural-looking pose.
Two different ways to use a wall to give a model something to do. The Posing App has lots of poses for leaning.
11. Use props
If the model has a prop to hold or otherwise interact with, it gives them something to do.
The model in this photo was into hooping. Using the hoop as a prop gave her something to hold and added interest to the portrait.
And if they’re having fun with the props, you’re more likely to get a great expression!
I suggested the model bring her horses along to the shoot. The horses are a natural prop, and her interaction with them led to photos like this one.
Posing people with confidence: conclusion
There you have it:
11 easy tips for posing people!
So the next time you’re photographing a person, make sure to try some of these tips out!
Now over to you:
Do you have any tips for our readers about people posing? What has worked for you? Share your experiences, tips, and images in the comments below.
The post 11 Tips for Posing People With Confidence (+ Examples) appeared first on Digital Photography School. It was authored by Andrew S. Gibson.
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