The post How to Create Your Own Lightroom Presets (2021) appeared first on Digital Photography School. It was authored by Andrew S. Gibson.
How can you create and save presets in Lightroom?
In this article, I’m going to take you through the simple process, step by step. By the time you’re done, you’ll be able to confidently make presets of your own – and I’ll even show you how to make and apply import presets for high-quality, lightning-fast edits.
Let’s dive right in.
When should you create and apply Lightroom presets?
There are mundane edits in Lightroom that you should carry out on almost every photo.
And you can save time by creating presets that perform these jobs automatically upon import. That way, you don’t have to do editing later.
In other words: I highly recommend you apply presets to pretty much every photo you take.
(You can also apply presets during the editing process, but you’ll want to use these more sparingly.)
The fact is that RAW photos need edits to look good. And presets will help you do those edits faster than a standard editing workflow. Look at this unedited RAW file:
A straight-out-of-camera RAW file from an EOS 5D Mark II. This is the sort of image you’ll see when you import images into Lightroom without applying a Develop preset.
And look at it after applying a simple preset:
The same photo, but with the Profile set to Landscape, lens corrections applied, chromatic aberrations removed, and white balance set to Auto. This is what you would see after importing the photo into Lightroom if you applied an import preset similar to the one I show you how to make in this article. The biggest benefit is that it saves you time.
That’s what I’m going to teach you how to do in the next section:
Create a simple preset that you can apply upon importing. But note that you can use these instructions to create a preset of any type, whether you plan to apply it on import or not.
How to prepare a useful Lightroom preset: step by step
Now let’s take a look at the simple instructions for making a useful Lightroom preset:
Step 1: Open a photo in the Develop module
Start by selecting the photo you plan to use as your preset base. Open it in the Lightroom Develop module.
Hit the Reset button to zero out any existing settings:
(You may find it helpful to make a Virtual Copy of the photo first so you don’t undo any edits you have already made.)
Step 2: Set your Profile in the Basic panel
Next, you’ll need to pick a Profile. Think of this as a starting point or base layer, on top of which you’ll make all your edits.
So head up to the Basic panel and click to open the Profile fly-out menu:
Lightroom’s default Profile is Adobe Color, and this is where I often leave my photos – but if you’re a frequent landscape photographer, you might try Adobe Landscape, portrait photographers might try Adobe Portrait, and black and white photographers might try Adobe Monochrome. Really, it’s all about experimenting. Test out a few options and see what you like!
Remember that you can always change these settings after applying the preset if you decide they don’t work for a particular shot.
(Also, note that your Profile options may vary depending on your camera, so if you can’t find one of the options I suggested, don’t worry; you probably have other cool Profiles to try out instead.)
If you shoot a number of different genres or in a number of different styles, or if you simply like several profiles, you might consider creating a preset for each one!
Step 3: Apply profile corrections and remove chromatic aberration
Most shots suffer from slight issues due to lens aberrations. The specifics depend on your lens, which is why Lightroom comes with profiles for a huge number of lenses:
Just a few of the many lens profiles included in Lightroom.
So head down tothe Lens Corrections panel and check Enable Profile Corrections:
If Lightroom offers a profile matching your lens’s make and model – and it almost certainly will! – the profile corrections will be applied automatically.
I’d also recommend checking Remove Chromatic Aberration, which will get rid of unwanted fringing and is always a good idea.
Step 4: Make sure the Basic panel is ready to go
Now it’s time to look at the Basic panel. Make sure the white balance is set to As Shot:
And make sure all the other sliders are zeroed:
If you’re a fan of Lightroom’s automatic settings, you can hit the Auto button. This will automatically set the exposure, contrast, highlights, shadows, whites, and blacks, along with the vibrance and saturation. I don’t do this myself, but if it’s helpful to you, then go ahead and try it!
Also, if you shoot a mix of color and black and white, consider creating one preset for color photos and a second preset for black and white shots. Simply set the Treatment to Black and White:
Creating a preset in Lightroom
Now it’s time to actually make a Lightroom preset. The process is extremely simple:
Step 1: Click the Create Preset option
Make sure you’re in the Develop module, then click the Plus icon next to the Presets panel:
And select Create Preset:
Step 2: Determine which settings should be a part of your preset
The New Develop Preset window should come up:
Give your preset a name and select a folder to save it in:
Then select the settings you’d like to save as your preset. Hitting Check All works fine if you’re creating the preset I discussed above – though if you’ve decided to create a more targeted editing preset, you may want to only check certain boxes.
Step 3: Hit Create
Finally, once you’re ready to save your preset, press Create:
And that’s it! It’s a simple process that doesn’t take very long and can save you a lot of time when importing or editing your photos.
Applying presets upon import
To apply the preset you just created upon importing your photos, launch the Import window:
Then head over to the Apply During Import panel and set the Develop Settings menu to the appropriate preset:
(This is where creating several presets helps saves time, as you can pick the best preset for the photos you are importing.)
Then, when you click the Import button, Lightroom applies the settings from your selected preset!
Adding copyright info
While you’re in the Import window, it’s worth setting up another preset to automatically add copyright information to photo metadata upon import.
So go to the Metadata menu in the Apply During Import panel and select New.
Lightroom will open the New Metadata Preset window, where you can add information such as your name and copyright details:
So give the preset a name, then click the Check Filled button (so the relevant boxes are checked as you go along):
Under IPTC Copyright, set Copyright Status to Copyrighted and fill in the other fields appropriately (my entries are shown below).
Under IPTC Creator, add your name, website, email address, and any other appropriate details. Personally, I leave out my address – I move around a lot so it’s constantly changing (plus identity theft is a risk).
Click Done when you’re finished. Then, when you import photos, simply select the preset from the Metadata menu:
How to create your own Lightroom presets: your turn
Hopefully, you’re now ready to create Lightroom presets of your own (and you have some ideas for useful presets).
That way, you can save time and speed up your workflow!
Now over to you:
What kind of presets do you plan to create? How do you plan to use them on your photos? Share your thoughts in the comments below!
The Mastering Lightroom Collection
My Mastering Lightroom ebooks will help you get the most out of Lightroom. They cover every aspect of the software – from the Library module to creating beautiful images in the Develop module. Click the link to learn more or buy!
The post How to Create Your Own Lightroom Presets (2021) appeared first on Digital Photography School. It was authored by Andrew S. Gibson.
The post The Best Camera for Travel Photography in 2021 appeared first on Digital Photography School. It was authored by Matt Murray.
I love photography and I love to travel, so I often get the question, “What is the best camera for travel photography?”
When I bought my first camera in 1994, I really wasn’t thinking too hard about the decision. Growing up in Australia, I always longed to travel the world. When I was 20 years old, I got my chance – I bought my first camera and my first overseas airline ticket on the same day.
At the time, I wanted a camera that was compact, light, affordable, and weather resistant. I didn’t know much about photography, but I ended up walking out of the duty-free camera store with a Pentax Zoom 90WR. This compact point and shoot traveled with me all over Europe for the next two years and made a ton of memories. It was also my doorway into photography.
Since buying that first Pentax, I have traveled with dozens of cameras – film, instant, and digital. Although technology has changed, what I look for today is the same as what I looked for 25 years ago.
What should you look for in a travel camera?
Here is my list of ideal travel camera characteristics:
Compact and lightweight
An excellent fixed lens (or a good range of lenses available)
A good range of features
Good battery life
Weather resistant
A competitive price
Note that I used the word “ideal,” as there are very few cameras that offer everything on the list. In fact, one of my favorite travel camera and lens combinations is the Fujifilm X-T3 and the Fujifilm 50-140mm lens, and it’s not exactly a pocketable option.
But for this list of best cameras for travel photography, I focused on compact and lightweight models, starting with my number one pick:
1. Canon PowerShot G1 X Mark III
The Canon PowerShot G1 X Mark III is the third iteration of a popular point and shoot series from Canon. It’s sleek, it’s stylish, and it almost looks like a mini DSLR.
Many compact cameras have a tiny sensor – one inch or smaller – but not this one. The PowerShot boasts an impressive APS-C sensor, which is one of the biggest sensors offered in a camera so compact. It also features a handy zoom range of 24-72mm and an optical stabilizer for shooting in low light.
The PowerShot is easy to use and produces images with high clarity and outstanding colors. The only downside is the price tag; at around $ 1000 USD, it may be on the high end for some enthusiast photographers.
Pros
Large APS-C sensor
Compact size
Articulating screen
Cons
Premium price
2. Sony RX100 VII
The Sony RX100 VII is a small camera with an impressive zoom range.
Sony keeps improving the RX100 line, and the VII is their best model yet. It may have a smaller sensor than the Canon PowerShot featured above, but the RX100 VII is still a powerful performer. It boasts impressive autofocus, a flip-screen for vlogging and selfies, a mic socket, and a huge zoom range equivalent to 24-200mm in full-frame terms.
The RX100 VII also borrows tech from Sony’s flagship models, which is why it can shoot up to 20 frames per second with no viewfinder blackout.
If you’re a watersports fan, there’s an added bonus: the RX100 has underwater housing available for surfing, diving, and snorkeling photos. At around $ 1300 USD, the RX100 VII is on the pricier side, but for serious travel photographers, it’s an excellent choice.
Pros
Impressive autofocus
Handy zoom range
Up to 20 frames-per-second shooting
Mic jack
Cons
Expensive for a compact camera
Smaller 1-inch sensor
Battery life could be better
3. Fujifilm X-T30
The X-T30 has many features of the flagship X-T3, yet it’s lighter and more affordable.
In 2016, I bought a Fujifilm X-T10 as a backup camera for trips to Indonesia and the Faroe Islands. It was so good I couldn’t tell the difference between images shot on the X-T10 and my X-T1.
The X-T30 is the latest Fujifilm model to take the best features from the flagship camera but in a smaller, lighter body. The X-T30 features the same 26-megapixel APS-C sensor as the X-T3 and can shoot up to a whopping 30 frames per second. And like other Fujifilm cameras, the X-T30 has face- and eye-detection autofocus, which is a big help for travel portraits and street shots. It also includes Fujifilm’s renowned film simulations for JPEG files.
You’ll get around 30 lenses to choose from (the hard part is deciding which is the best for you!). My personal go-to lens for travel photography is the XF 18-55mm f/2.8-4 lens. While there is no stabilization in the X-T30 body, there is optical image stabilization in the 18-55mm lens, and it delivers the quality you’d expect from much more expensive glass but at a fraction of the cost.
Unfortunately for photographers who like to shoot in tough conditions, the X-T30 isn’t weather resistant – it seems there are some trade-offs for a lighter, less-expensive body.
Pros
Excellent lens lineup from the affordable XC lenses to enthusiast and professional XF lenses
Stunning image quality with a range of JPEG film simulations
Many of the features of the flagship X-T3 model
Cons
No weather sealing
The price point isn’t especially competitive
4. Nikon D5600
This next brand needs no introduction; Nikon SLRs were favored by many famous travel photographers in the 1980s and beyond. The D5600 is the latest camera in Nikon’s midrange APS-C series, and it’s a perfect choice for beginners and enthusiast photographers alike.
The D5600 boasts Nikon’s excellent ergonomics, and the camera feels reassuringly comfortable in your hand, although it’s not as compact as other models on this list. Image quality is superb and low-light shooting is very impressive. Plus, you get a fully articulating screen (for selfies, vlogging, and tough compositions), along with excellent battery life.
Pros
Excellent image quality
Good ergonomics and handling
Good battery life
Cons
No 4K video
Not as compact as other cameras on this list
5. Ricoh GR III
Stylish minimalism: the Ricoh GR III.
Ricoh has been producing super-compact GR cameras since the film heydays of the late 1990s. Those classic point-and-shoot GR models were known for their sharp wide-angle lenses and minimalist controls, and the digital line of GR cameras is no different.
The Ricoh GR III is a perfect mix of portability, optical quality, and impressive features. You get a fixed 28mm full-frame equivalent f/2.8 lens capable of producing good images, and four-stop shake reduction that ensures sharp files even in challenging light.
The GR III is often compared to another camera in this list, the Fujifilm X100V. Consider the Ricoh if you prefer a smaller camera with a wider angle of view.
Pros
Truly pocketable
Four-stop shake reduction
Fantastic wide-angle lens
Cons
The straight-out-of-camera JPEGs are not as good as Fujifilm’s
Battery life could be better
6. Sony a6600
The Sony a6600 has an impressive spec sheet that includes Real-Time Eye AF.
It’s easy to see why Sony has grabbed a big share of the mirrorless camera market in recent years: the company produces an impressive range of cameras that appeal to professionals and enthusiasts alike.
The Sony a6600 may not have a full-frame sensor like some of its stablemates, but its compact body and impressive specs make it a strong candidate for the best camera for travel photography. The a6600 features a 24-megapixel APS-C sensor, along with Real-Time Eye AF for photography and video, plus five-axis optical image stabilization. The 180-degree flip screen also makes the a6600 handy for vlogging and selfies. I do think that the layout and controls could be improved, but it’s one of the only drawbacks to an otherwise excellent camera.
Quick note: if you like the look of the a6600 but you’re on a tighter budget, also consider the a6400. It may not be as up to date as the a6600, but it offers excellent value for money.
Pros
Small and light
Great lens lineup
Real-Time Eye AF
Cons
Handling and ergonomics could be improved
7. Olympus Tough TG-6
Shockproof, dustproof, crushproof, and fogproof: the Olympus Tough TG-6 can handle pretty much anything.
Going on an extreme adventure? The Olympus Tough TG-6 could be the best travel camera for you. This compact point and shoot can withstand a lot of punishment, thanks to its shockproof, dustproof, and crushproof body.
The TG-6 can also work in temperatures as low as 14 degrees Fahrenheit (-10 degrees Celsius), and it’s fogproof, even during sudden changes in temperature. As I found out on a recent trip to Indonesia – where I was frequently moving from an air-conditioned hotel room to the outside heat and humidity – a foggy camera can be a real inconvenience.
For snorkeling and diving fans, the Tough TG-6 loves being underwater as much as you do. It’s waterproof up to 49 ft (15 m), and it boasts several underwater modes, including a microscope mode that can focus on objects 0.39 in (1 cm) away.
Pros
Super tough
Compact
Affordable
Cons
Only 12 megapixels
More suited to adventurers than enthusiast photographers
8. Fujifilm X100V
I’m a huge fan of the Fujifilm X100 series cameras (I’ve owned three of the five models released over the last decade). Even photographers loyal to other brands buy an X100-series camera as their “take everywhere” body.
The X100V is small and light, yet it features an incredible 35mm f/2 fixed lens. Other useful features include its leaf shutter and built-in neutral density filter. And of course, Fujifilm’s range of stunning JPEG film simulations are ready to use as soon as you turn on the X100V.
The best compact camera ever? The Fujifilm X100V.
While the entire X100 series is great, note that the latest model, the X100V, does have an important improvement over its predecessors: it’s weather resistant. This makes it an excellent choice for photographers who shoot in sand, rain, snow, and more.
Pros
Excellent lens
Built-in ND filter
Fujifilm JPEGs
Weather resistant
Cons
Fixed lens
No in-body image stabilization
More expensive than its predecessors
9. Panasonic Lumix LX100 II
For travel photographers, there’s a lot to like about the Panasonic Lumix LX100 II. The camera has a stylish design, with an aperture ring on the lens and a shutter speed dial on top of the camera for full manual control.
The Lumix LX100 II sports a fast lens with a handy 24-75mm zoom range. It also features optical image stabilization and can shoot 4K video up to 30 fps.
Although it has a smaller 17-megapixel Four Thirds sensor, the Lumix makes up for this in other ways. It can focus as close as 1.2 in (3 cm), it offers a focus stacking feature, and it even includes the ability to change focus in an image afterward.
Pros
Excellent image quality
Fast lens
Small and compact
Cons
Fixed rear screen
Only 17 megapixels
10. Olympus OM-D E-M5 Mark III
Olympus has a reputation for making some of the most innovative compact cameras in photographic history. Their mirrorless cameras are no exception, and it’s easy to see why Olympus models have been popular with the travel influencer crowd. I’ve spoken to many people who’ve downsized to Olympus from full-frame systems, and they couldn’t be happier.
The OM-D E-M5 Mark III is one of Olympus’s latest weather-sealed Four Thirds cameras. It’s lightweight, yet it boasts impressive autofocus and excellent image quality. Other features include a fully articulating 3-inch screen, in-body image stabilization, and built-in focus stacking.
Olympus also boasts a wide range of lenses. A perfect choice for a lightweight setup is the 14-42mm EZ lens, though if you want more range, take a look at the 14-150mm.
The Olympus OM-D E-M5 Mark III is a favorite among travel influencers.
Pros
Compact and light
Excellent image quality
Good range of lenses
Weather sealed
Cons
Smaller Four Thirds sensor
Battery life could be better
What is the best camera for travel photography?
Choosing the perfect travel photography camera is a difficult task, and one that depends on many factors. I recommend looking at the list of ideal features offered earlier in this article. Determine what you value most, then evaluate the different cameras I’ve discussed based on those criteria.
So what is the best camera for travel photography? Only you can answer that question! Research different models. And if you need to, go to a camera shop, where you can talk to the staff and hold each camera in your hands. Also try talking to people who own your top picks and ask for their honest opinions. Then, when you’re ready, buy a camera – and hit the road!
Now over to you:
What camera do you currently use for travel photography? Which of the cameras on this list is your favorite? Share your thoughts in the comments below!
The post The Best Camera for Travel Photography in 2021 appeared first on Digital Photography School. It was authored by Matt Murray.
The post How to Do Noise Reduction in Lightroom (2021 Guide) appeared first on Digital Photography School. It was authored by Helen Bradley.
Are you struggling with noisy photos? You’re not alone.
Noise is a huge problem, and it can easily ruin an otherwise great photo – but fortunately, Lightroom’s noise reduction tool allows you to quickly and easily remove unwanted noise. Once you’re done, you’ll be left with clean, beautiful-looking images.
That’s what I talk about in this article. I’m going to show you the step-by-step process for getting rid of noise in Lightroom. And I’ll share plenty of tips along the way!
So if you’re ready to master noise reduction in Lightroom, then let’s get started.
A word of (noise reduction) warning
Noise reduction is great, and it can easily improve your images.
At the same time, it’s important to note that noise removal is generally achieved at the expense of image detail.
This is because the noise removal process smooths out noisy areas; this compromises fine detail. Also, the main Lightroom noise removal tool applies its fix to the entire image and not just the areas where noise is most visible – meaning that you’ll lose image quality even in low-noise locations.
Because of this, if you are a purist and noise reduction is an ongoing and significant need, then you should consider a dedicated program such as DeNoise AI, Neat Image, or Photo Ninja.
However, for most photographers – including many professionals – the noise reduction tools offered in Lightroom, assuming they’re applied judiciously, will suffice.
The two kinds of noise
There are two types of noise in photos: color noise and luminance noise.
Color noise appears as multicolored pixels. In the crop below, you can see many flecks of color, yet the area is supposed to be a solid blue:
Luminance noise is monochromatic, so it’s less colorful and more like grain. Here is luminance noise in an early morning sky:
Lightroom noise reduction: step by step
Now let’s take a look at how you should approach noise reduction in Lightroom.
Step 1: Open the Detail panel
First, to remove noise from a photo, you’ll need to open the Detail panel in the Develop module. You’ll find sliders for luminance noise and for color noise:
For RAW images, Lightroom automatically applies color noise reduction during the import process. By default, the Color slider will be set to 25 (with Detail and Smoothness set to 50). The Luminance slider will be set to 0, with Detail set to 50 and Contrast set to 0 (see the screenshot above).
Step 2: Identify the noise
Now comes the fun part. You’ll need to carefully observe your image – I recommend zooming in to 100 percent or more – with the aim of determining the type of noise present. In some cases, you may have both noise types; in other cases, only one noise type will be a problem.
(Quick tip: If you’re not sure what type of noise is in an image, boost both the Color and Luminance sliders to their maximum values and see what happens. If you have a lot of color noise, adjusting the Color slider should make a big difference, and if you have a lot of luminance noise, the Luminance slider will have the greater effect.)
Step 3: Increase the corresponding sliders
Once you know the type of noise you are trying to remove, drag the corresponding slider to the right. Aim to reduce the noise to an acceptable level, but avoid going too far. After all, the more noise reduction you use, the more detail you lose.
Step 4: Fine-tune additional sliders
Once you’ve adjusted the Luminance slider, adjust the Detail and Contrast sliders just below it. The Detail slider controls, well, detail – the higher the value, the more detail that’ll remain in the image. Of course, the more you boost the Detail slider, the less you’ll remove the actual noise. (And if you use a low Detail value, you will get a smoother result but with less detail).
The Contrast slider controls luminance contrast. The more you boost this slider, the more contrast you’ll get in the final image. You’ll also end up with more noise and mottling. Of course, lower Contrast values will give you a smoother, lower-noise result, but at the expense of reducing contrast.
For color noise, you also get two extra sliders: Detail and Smoothness.
The Detail slider controls the amount of detail left alone by Lightroom’s color noise reduction; boosting the slider will protect detail. Lower Detail values will give you some added smoothing of the color noise, but you may notice that colors bleed into each other. (Adjust the Smoothness slider to help reduce low-frequency color mottling artifacts.)
In this image, removing color noise leaves some luminance noise:
Then, once the color noise is removed, the Luminance slider can remove the remaining luminance noise:
When removing noise from an image, it helps to zoom to 100 percent. That way, you can see what is happening on a pixel level. (Though you also want to look at your image zoomed out! I recommend periodically zooming in and out to check the result.)
Local noise reduction
What if you want to target your noise reduction to a specific part of your image? Is that an option in Lightroom?
Yes, you can do this – sort of. You see, Lightroom does offer a Noise slider as part of its targeted adjustment panel. So you can apply noise reduction via the Adjustment Brush, the Radial Filter, or the Graduated Filter, and you’ll be able to limit noise reduction to the areas you want to affect, leaving the rest of the image unchanged.
But there is a major downside to this feature:
It only removes luminance noise (not color noise), and there’s no additional Detail or Contrast slider to help you fine-tune the results.
Still, for images suffering from luminance noise, it can be useful, so I do recommend you try it out.
Select the area you want to denoise, then boost the Noise slider. The selected area of your image will instantly become less noisy.
By the way, if you sharpen your images after removing noise, make sure to use a light touch – increasing sharpness can increase noise. I’d recommend using the Masking slider in the Detail panel to keep the sharpening applied only to areas with lots of detail.
How to do noise reduction in Lightroom: conclusion
Now that you’ve finished this article, you can confidently reduce noise in Lightroom – for clean, beautiful files.
So grab some noisy images, then test out your new noise reduction skills. And don’t be afraid to experiment with different slider strengths; if you don’t like a change, you can always adjust it right back.
Now over to you:
How do you do noise reduction to your images? Do you struggle? Share your thoughts in the comments below!
The post How to Do Noise Reduction in Lightroom (2021 Guide) appeared first on Digital Photography School. It was authored by Helen Bradley.
The post The Best Lens for Street Photography: Top 11 Picks (in 2021) appeared first on Digital Photography School. It was authored by Simon Bond.
What’s the best lens for street photography on the market today?
In this article, I’ll share my favorite street photography lenses, including options for all budgets and camera brands. I’ll also explain how you can pick the perfect street lens for your needs – by taking into account important factors such as focal length, sharpness, and low-light performance.
So if you like street photography and you’re looking to buy a new lens to improve your photos, then read on.
Which direction will you go with your street photography? Canon 5D Mark II | Canon 50mm f/1.2L | f/8 | 1/800s | ISO 320
1. Canon EF 50mm f/1.2L USM
If you’re prepared to pay the price, then the Canon 50mm f/1.2L is one of the best lenses for street photography available today. The large aperture lets you photograph in low-light conditions without needing to boost the ISO, and the optics and build quality are outstanding. The 50mm f/1.2 works well for both street photography and street portraits (i.e., posed portraits with people on the streets), and the standard focal length offers enough reach for intimate compositions.
Low-light performance: Stellar; not many lenses have an aperture as large as f/1.2
Quality: Excellent build, just what you’d expect from a flagship Canon lens
Price: On the expensive side ($ 1399 USD)
Weight: Pretty heavy, thanks to the solid build quality and wide maximum aperture
2. Canon EF 50mm f/1.8 STM
Like the 50mm f/1.2, above, the Canon 50mm f/1.8 STM is a great lens to have in your street photography bag – in fact, there are plenty of reasons to buy it over the f/1.2 version. For one, the cheaper price is going to be much more appealing, especially if you’re new to photography and not yet ready to commit to more expensive gear. And the 50mm f/1.8 is also much smaller and lighter than its bulky f/1.2 sibling. While low-light performance isn’t on par with other lenses on this list, you can still count on the 50mm f/1.8 in the shade and at night.
Low-light performance: Pretty good, thanks to a relatively large maximum aperture
Quality: Good, but not as solid as the f/1.2 version (above)
Price: You can pick up this lens for just over $ 100 USD – it’s just about the cheapest lens you can buy
Weight: The size and weight of this lens make it easy to carry around
3. Canon EF 135mm f/2L USM
Those looking for a longer street photography lens could do a lot worse than the Canon 135mm f/2L. At 135mm, you’ll be able to photograph your street scenes from a distance, though the size of the 135mm f/2 makes discreet shooting difficult. It’s a great lens for separating your main subject from a busy background – you can use that extra focal length to compress the scene, and the f/2 aperture helps achieve outstanding background bokeh. And while the 135mm f/2 isn’t as forgiving as a 50mm lens, you can use it in low light, especially at f/2.
Low-light performance: Good for the longer 135mm focal length
Quality: A great build that’s usable in all weather conditions
Price: Reasonable ($ 999 USD) for a high-level lens
Weight: Relatively heavy, but much lighter than a 70-200mm f/2.8
4. Nikon AF-S 50mm f/1.8G
Nikon users looking for an affordable street photography lens should consider the 50mm f/1.8G. It offers good quality with an aperture that’s large enough for most situations, plus the 50mm focal length is a street photography classic. Nice build, weight, and size make it a great option for any Nikon street photographer.
Low-light performance: Good for most situations
Quality: Well built
Price: The most affordable lens for Nikon street photographers (that offers a decent maximum aperture)
Weight: The slightly smaller aperture means less lens glass, which means it’s easy to carry
5. Nikon 24-85mm f/2.8-4D
Thanks to its zoom range, the Nikon 24-85mm offers a little more flexibility than other options on this list – and it can double as a general-purpose lens, too. It’s a step up from a kit lens and offers you an aperture of f/2.8 on the wide end. This lens covers the 50mm focal distance that many consider optimal for street photography, and you’ll be able to zoom in and out, a major advantage if you want to frame a photo quickly without needing to move. The major downside is the 24-85mm’s low-light capabilities; the f/2.8 to f/4 maximum aperture just won’t be enough for some situations.
Low-light performance: Decent, but not what you get with a prime lens
Quality: Good overall quality for street photography
Price: In the midrange price bracket (around $ 750 USD). You’re paying for a zoom lens with a large maximum aperture.
Weight: The lens is heavier than a prime lens (a compromise for more focal length flexibility)
6. Sony 35mm f/2.8 Sonnar T FE ZA
While 35mm is on the wider side for street photography, the Sony 35mm f/2.8 is great for those with an APS-C sensor who want to photograph with a 50mm field of view. Build quality is good, so you can shoot in most conditions. And while the f/2.8 aperture isn’t ideal for nighttime outings, it’s more than enough for daytime and twilight street photography.
Low-light performance: It’s going to be more of a challenge to use this lens in dim light, though the wide focal length means you can handhold at a slightly slower shutter speed.
Quality: It’s a nice lens, and its compact size is a definite plus for street photography
Price: In the midrange price bracket ($ 799 USD)
Weight: Coming in at just 4.2 oz (119g), this lens isn’t heavy
7. Sony E 50mm f/1.8 OSS
If you’re just getting into street photography, you’re a Sony APS-C user, and you want an affordable option, then the Sony 50mm f/1.8 could be the lens for you. The sleek, compact design makes it ideal for the street photographer, and its fast focusing is important for nailing the perfect shot. You get a 75mm effective focal length, which is a bit tight for some photographers – but if you like the narrower field of view, then the 50mm f/1.8 is a perfect choice.
Low-light performance: The larger maximum aperture is good for most low-light situations
Quality: Well built; ideal for both beginners and more experienced photographers
Price: Offers great value (around $ 350 USD)
Weight: Standard primes aren’t usually heavy, and this lens weighs just over 7 oz (200 g)
8. Fujinon XF 35mm f/1.4 R
The Fujinon 35mm f/1.4 is a great lens for any Fujifilm camera user, whether you’re interested in street photography, portraits, or simply creating abstract bokeh. The lens is sharp, has decent focus speeds, and offers an f/1.4 for nice blurred-out backgrounds and nighttime photography. The bokeh effect is especially good (and can produce very nice street photography backgrounds).
Low-light performance: With a 35mm focal length and a maximum aperture of f/1.4, this lens is ideal for low-light shooting.
Quality: A solid, dependable lens; will keep up with the fast pace of street photography
Price: Midrange ($ 599 USD), thanks to the wide maximum aperture
Weight: Decent to carry around for a day on the street
9. Fujinon XF 56mm f/1.2 R
The Fujinon 56mm f/1.2 offers a wide maximum aperture, one that’s perfect for low-light street photography, plus it can generate beautiful backgrounds. The focal length is on the long side – on Fujifilm APS-C cameras, it’s an effective 84mm – but you can use it for close-ups, tighter scenics, and intimate street portraits. And for an f/1.2 lens, the price is pretty reasonable!
Low-light performance: You’re not going to get a better lens than this for low-light scenes
Quality: This is a great piece of glass that produces excellent images
Price: Quality lenses cost a lot; this lens will set you back around $ 1000 USD
Weight: It’s heavier than most of the primes on this list, but that’s one of the tradeoffs for such a wide maximum aperture
10. Sigma 35mm f/1.4 ART DG HSM
Sigma has been making excellent lenses with its ART series, and the 35mm f/1.4 is no exception. The lens comes in mounts for all the major camera manufacturers, including Nikon, Canon, and Sony, and while it’s a third-party lens, it does well against the other glass on this list. The large aperture and medium-wide focal length make this an ideal lens for any street photographer, whether shooting in the day or at night. It really is one of the best lenses for street photography available today, and it’s cheaper than the high-end lenses offered by other major manufacturers.
Low-light performance: Strong. This is a fast lens that allows for great images in tricky lighting
Quality: Very nice; Sigma is one of the best third-party manufacturers, and the ART series is top-notch
Price: For around $ 700 USD, you’re picking up excellent glass at a midrange price.
Weight: The Sigma 35mm f/1.4 is on the heavier end of the scale
11. Tamron 24-70mm f/2.8 Di VC USD G2
Looking for a versatile street photography lens? The Tamron 24-70mm offers a similar focal range to a kit lens but with a fast f/2.8 aperture. You get significant flexibility thanks to the wide-to-telephoto zoom capabilities, so you can easily capture street photos that require rapid changes in composition. The downside is this lens’s size and weight (f/2.8 zoom lenses are always on the heavier side). For a zoom lens, the f/2.8 aperture is impressive and will let you blur out backgrounds, though you might prefer a larger-apertured prime lens in low light. Bottom line: The 24-70mm is a good daytime street photography lens, and it’s also perfect for other types of photography, such as travel.
Low-light performance: Not the best; you’ll primarily use this lens in the daytime
Quality: Good quality, with image stabilization compensating for the smaller aperture
Price: On the pricier side ($ 1200 USD), though it is multifunctional thanks to its range of focal lengths
Weight: Pretty heavy, but the zoom range lets you carry one lens rather than several
Factors to consider before buying a street photography lens
All the lenses on this list are great, but the final decision is up to you – and should depend on your shooting style and preferred type of street photography.
So here are the key items to consider when looking for the perfect street photography lens:
Focal length
Many photographers say the best focal length for street photography is 50mm, and 50mm lenses do offer a great perspective (plus, this field of view has been popularized by many famous street photographers). Those who like the 50mm focal length but use crop sensors should go for a 35mm lens.
That said, you don’t need to feel constrained by what has come before, and wider focal lengths are becoming more popular among street photographers.
Nighttime street photography needs a larger aperture or a high ISO. Canon 5D Mark II | Canon 50mm f/1.2L | f/2 | 1/400s | ISO 500
Low-light performance
For moody and dramatic street photos, you’ll often need to shoot in low light. You might find yourself doing street photography in a dingy indoor market, at twilight, or at night – and in all of those situations, a lens with a large aperture provides a major advantage. Yes, modern cameras perform well at high ISOs, which negates the need for a high aperture to some extent. However, a large aperture is still required if you want beautiful bokeh lights in the background of your low-light photos.
Size and weight
To get great street photos, you’ll need to be out walking for much of the day. This means a smaller, lighter setup is a big help. Try to pick just one lens and keep it as light as possible.
Autofocus speed
Street photography is often done in fast-paced and dynamic environments, so if your lens is too slow to focus, you’ll miss a lot of shots. You need a lens that focuses almost instantly, especially if you hope to capture action-oriented street images.
Sharpness
Pretty much all forms of photography require sharpness, and street photography is no exception. Look for a lens that gives you crisp, clear, detailed photos. Some street photographers do like a softer, grainier look, but you can add this in post-processing. Generally speaking, the sharper the lens, the better.
Canon 5D Mark II | Canon 50mm f/1.2L | f/2 | 1/60s | ISO 1000
Time to choose the best lens for street photography
Now that you’ve finished this article, you should be ready to choose the right street photography lens for your needs.
Remember: the best street photography lens is the one that matches the aesthetic you want to create. So don’t think too much about the popularity of different lenses; instead, ask yourself how they’ll work with your interests and style.
Now over to you:
Which of these lenses is your favorite? Is there one in particular that appeals to you for street shooting? Share your thoughts in the comments below!
The best lens for street photography will allow you to get close to the action! Canon 5D Mark II | Canon 17-40mm f/4L | 24mm | f/4 | 1/60s | ISO 2500
The post The Best Lens for Street Photography: Top 11 Picks (in 2021) appeared first on Digital Photography School. It was authored by Simon Bond.
The post The Best Gear of 2021? TIPA Announces Its Winners appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The Technical Image Press Association (TIPA) has released its 2021 World Awards recipients, celebrating the best cameras, lenses, and other photography gear released over the past year.
Hailed as the “most coveted photo and imaging awards worldwide,” TIPA aims to “both recognize and honor [photography] industry companies and their products.” Winners are chosen by TIPA member magazine representatives, who vote for class-leading gear across dozens of categories, including Best APS-C Camera (Entry-Level, Advanced, and Expert), Best Tripod, Best Telephoto Zoom Lens, and much more.
All the usual suspects took prizes, with Sony grabbing an impressive six awards (including Best Full Frame Professional Camera, Best Photo/Video Camera (Expert), and Best Photo Smartphone). Sigma snagged four awards, Canon and Nikon each snapped up three, while Fujifilm and Tamron took two.
Olympus was notably absent for the second year running, but Pentax made the list – thanks to its K-3 Mark III – for the first time since 2015.
While the TIPA awards can only reveal so much, this year’s awardees do seem representative of the broader camera world – where Sony, Canon, and Nikon dominate headlines, Olympus and Panasonic cater to a niche audience, and third-party manufacturers such as Tamron and Sigma offer highly respected alternatives to Canon, Sony, and Nikon glass.
In fact, out of nine lens awards, six were handed to third-party lens manufacturers. And the trend is hardly new. Last year, six out of eleven lens awards went to third-party manufacturers, and the year prior saw six out of twelve. It highlights the outstanding products offered by “optics-first” companies such as Tamron, Sigma, and Laowa.
Below, I’ve included the full list of awards and the corresponding winners. Give it a read – and once you’re done, leave a comment. Did any equipment deserve to be awarded that was skipped? What do you think of TIPA’s picks? Share your thoughts!
The TIPA World Awards 2021 winners
Best APS-C Camera (Entry-Level): Canon EOS M50 Mark II
Best APS-C Camera (Advanced): Fujifilm X-S10
Best APS-C Camera (Expert): Pentax K-3 Mark III
Best Full Frame Camera (Advanced): Nikon Z6 II
Best Full Frame Camera (Expert): Nikon Z7 II
Best Full Frame Professional Camera: Sony a1
Best Photo/Video Camera (Advanced): Sigma fp L
Best Photo/Video Camera (Expert): Sony a7S III
Best Medium Format Camera: Fujifilm GFX 100s
Best Prime Wide Angle Lens: Laowa 15mm f/4.5 Zero-D Shift
Best Prime Standard Lens: Sony FE 50mm f/1.2 GM
Best Prime Telephoto Lens: Canon RF 600mm f/11 IS STM
Best Wide Angle Zoom Lens: Nikon Nikkor Z 14-24mm f/2.8 S
Best Standard Zoom Lens: Tamron 17-70mm f/2.8 Di III-A VC RXD
Best Telephoto Zoom Lens: Tamron 70-180mm f/2.8 Di III VXD
Best Ultra-Telephoto Zoom Lens: Sigma 100-400mm f/5-6.3 DG DN OS | Contemporary
Best Portrait Lens: Sigma 85mm f/1.4 DG DN | Art
Best Macro Lens: Sigma 105mm f/2.8 DG DN Macro | Art
Best Vlogger Camera: Sony ZV-1
Best Professional Video Camera: Panasonic Lumix DC-BGH1
Best Fine Art Printing Solution: Hahnemühle Print – Protect – Authenticate Product Range
Best Photo Printer: Canon imagePROGRAF PRO-300
Best Imaging Software Expert: Zoner Photo Studio X
Best Imaging Software Professional: DxO PhotoLab 4
Best Lighting Technology: Profoto AirX
Best Portable Flash: Godox Pocket Flash AD100Pro
Best Tripod: Vanguard VEO 3GO series
Best Tripod Head: Gitzo Ball Head Series 4
Best Gimbal System: Manfrotto Fast Gimboom and Gimbal series
Best Enthusiast Photo Monitor: ViewSonic VP2768a
Best Professional Photo Monitor: LG UltraWide Thunderbolt 4
Best Professional Video Monitor: LG UltraFine OLED Pro
Best Photo Smartphone: Sony Xperia 1 III
Best Power Accessory: NITECORE SCL10 2-in-1 Smart Camera Light & Power Bank
Best Video Accessory: RØDE Wireless GO II
Best Photo Accessory: Hoya PROND GRAD Circular Graduated ND Filters
Best Retail Finishing System: CEWE Photocenter
Best Photo Lab: WhiteWall Room View
Best Photo Service: CEWE Photo Calendar A2 Gold Edition
Best Imaging Computer: Asus ZenBook Pro Duo 15
The post The Best Gear of 2021? TIPA Announces Its Winners appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The best entries so far for the 2021 Comedy Wildlife Awards
Now in its 7th year, the annual Comedy Wildlife Awards showcases some of the funniest wildlife moments caught on camera. Here are some of the best entries, out of thousands submitted from around the world, so far, that the judges and organizers felt the urge to share with the public.
‘A lot of wildlife shown in these images are facing threats to their populations and habitats that are heart-breaking. With this competition, we wanted to capture people’s attention and energy by giving them a giggle. In order to protect animals, we need people to fall in love with them. We think these wondrous shots show a side of wildlife that we don’t often get to see. They remind us of the beauty, and comedy, in our natural world that needs protecting,’ says Tom Sullam, the competition’s co-founder.
You still have six more weeks to enter the 2021 Comedy Wildlife Awards. Photographers are allowed to submit up to 10 images. The grand prize includes a safari to Maasai Mara in Kenya. 10% of the competition’s total net revenue will be donated to the Save Wild Orangutans charity.
Entry: ‘Bald Eagle Gets a Surprise’ by Arthur Trevino
Location: Hygiene, CO
Animal Description: Bald Eagle & Prairie Dog
Artist Description: When this Bald Eagle missed on its attempt to grab this prairie dog, the prairie dog jumped towards the eagle and startled it long enough to escape to a nearby burrow. A real David vs Goliath story!
Entry: ‘Monday Morning Mood’ by Andrew Mayes
Location: Rietvlei Nature Reserve, South Africa
Animal Description: Pied Starling
Arist Description: I took this shot while photographing a group of Pied starlings perched in a tree at the Rietvlei Nature Reserve in South Africa. It perfectly sums up my mood on most Monday mornings 🙂
Entry: ‘ROFL’ by Giovanni Querzani
Location: Serengeti National Park, Tanzania
Animal Description: Young Lion
Artist Description: A young lion in the Serengeti National Park, Tanzania, who apparently is laughing at my photography skills.
Entry: ‘Quarantine Life’ by Kevin Biskaborn
Location: South Western Ontario, Canada
Animal Description: Raccoon
Artist Description: Isolated inside with your family eager to get out and explore the world? These eastern raccoon kits are too. Just when you think there’s no more room in the tree hollow, mother raccoon appears and displays just how compact the space is. The babies clambered all over their mom and each another, struggling to take a look at the exact same time.
This photo was taken in Southwestern Ontario, Canada. After exploring a particular area with numerous tree hallows, I identified it as a hot spot for raccoon families. Since raccoons will move from den to den, often not spending more than one night at a time in a particular den, locating an area with numerous options is key to locating the animals.
I stumbled across this family and immediately worked on leveling the camera with the hole to prevent an upward angle. When the camera and tripod were ready, the baby raccoons were extremely curious (and cooperative), sticking their heads out for a closer look!
Entry: ‘Yoga Bittern’ by KT Wong
Location: Satay By The Bay, Singapore
Animal Description: Yellow Bittern
Artist Description: A Yellow Bittern was trying very hard to get into a comfortable hunting position. I got this shot when it was between 2 stalks of lotus flower.
Entry: ‘Missed!’ by Lea Scaddan
Location: Perth, Australia
Animal Description: Western Grey Kangaroo
Artist Description: Two Western Grey Kangaroos were fighting and one missed kicking him in the stomach.
Entry: ‘Yay – It’s Friday!’ by Lucy Beveridge
Location: Kgalagadi Transfrontier Park, South Africa
Animal Description: Springbok
Artist Description: A young springbok, all ears and spindly legs, caught in midair while pronking as the sun started to rise over the Kgalagadi Transfrontier Park. There’s not much information on why the Springbok pronk but some theories suggest it is a way of showing fitness and strength to ward off predators and attract mates. It has also been said that this small, dainty and largely unappreciated antelope also pronks out of excitement, jumping for joy!
Entry: ‘Sweet Lips Are For Kissing’ by Philipp Stahr
Location: Curaçao, Dutch Caribbean
Animal Description: Boxfish
Artist Description: This picture was taken at Curaçao, Dutch Caribbean. Usually box fishes are difficult to take pictures of, since they do not have a problem of a diver coming close, but if you show interest, they always turn the back and not the face to you. That’s why I tried to swim 0.5m above the fish and showing no interest at all to him.
The same time I had my camera not in front of me, but below at my chest pointing to the bottom. When the right moment had come, I turned the camera 90 degrees to the front and just point and shoot, hoping to have the fish in focus. Never expected to have its beautiful lips that close!
Entry: ‘Cranky Hippo’ by Rohin Bakshi
Location: Vwaza Game Reserve, Malawi
Animal Description: Hippo
Artist Description: The baby hippo wanted his mother’s attention, but it seems he wasn’t getting any.
Entry: ‘Happy’ by Tom Svensson
Location: Falklands
Animal Description: Penguin
Artist Description: These penguins was surfing on the waves on to land and looked so happy each time.
Entry: ‘Houston – We’ve Got a Problem!’ by Txema Garcia Laseca
Location: Pantanal (Brazil)
Animal: Amazon Kingfisher
Artist Description: This fish is astonished when has been trapped for a fisher bird.
The post How to Batch Resize in Photoshop: A Step-by-Step Guide (2021) appeared first on Digital Photography School. It was authored by Helen Bradley.
What’s the easiest way to batch resize in Photoshop?
In this article, I’m going to take you through a simple, step-by-step process for resizing your images. It’ll take seconds – and when you’re done, you’ll be able to resize dozens (or hundreds!) of photos at once.
Let’s get started.
Batch resizing in Photoshop: step by step
Batch resizing isn’t hard, and it takes very little knowledge.
To start, make sure you open some files in Photoshop (though note that you don’t need to open all the files you’re aiming to resize; a random file or an empty canvas will do just fine). As you can see below, I’ve opened a blank document:
I’m going to cover the Image Processor method of batch resizing. Pretty much anyone can do it, and it generally works well. However, if you have more complex batch resizing requirements, consider writing an action; that way, you can tailor the resizing to your particular needs.
Now let’s take a closer look at the batch resizing process, starting with:
Step 1: Open the Image Processor
Choose File>Scripts>Image Processor.
The Image Processor dialog box will open, where you’ll see a simple, four-step process for resizing your images:
Step 2: Select your images for batch resizing
In the first section of the Image Processor dialog box, you’ll need to identify the images you want to batch resize.
You can choose to resize all open images by selecting Use Open Images:
Or you can pick a folder from your hard drive via the Select Folder button:
If you do select a folder, you can tell Photoshop to resize images in all subfolders as well; just hit the Include All sub-folders checkbox:
Step 3: Determine your export location
Now it’s time to determine where you want your resized images to go.
To save the resized versions alongside the originals, simply select Save in Same Location:
Then, when the resizing begins, Photoshop will create a subfolder next to the original files. (Because your resized versions will retain the names of the original files, creating a subfolder – rather than simply saving the images in the original folder – prevents any overwriting.)
Alternatively, you can select a different folder for the resized files:
Step 4: Input your preferred image sizes
This is the most important step of the entire process:
The moment where you dial in resize settings for your files.
First, determine your output file type. You can choose from JPEG, PSD, and TIFF (JPEG is the default and generally works well, but if you’re working with layered files, then PSD is a good choice).
If you do decide to save JPEGs, you can adjust the output quality; 12 will give you large, great-looking photos, whereas 1 will give you tiny, low-quality results.
For better color when displaying your photos on the web, select Convert Profile to sRGB:
I also recommend checking the Include ICC Profile box at the bottom:
Finally, select Resize to Fit, and type in your preferred file size!
Note that the dimensions you dial in are maximums. So if you type in 300 for the width and 300 for the height, the files will be resized so that the longest side of every image is 300 pixels.
(In other words, the images won’t be cropped or skewed to fit your preferred dimensions; they’ll be scaled up or down for the most natural-looking results.)
Also note that the width and height measurements don’t have to be the same. You could specify a width of 400 and a height of 300 – then all images would be constrained to a width of 400 or a height of 300, whichever comes first.
By the way, you do have the option to save your images in a second (or third) format, as well. Just select the Save as PSD or Save as TIFF checkboxes, and PSD and/or TIFF folders will be created alongside your JPEG folder!
Step 5: Run the script
When you’re ready, click Run.
The images will be automatically opened (if they’re not open already), resized, saved, and closed again.
To find your resized images, simply head to the folder you specified in Step 3 (above). If you chose to save JPEGs, the images will be in a subfolder called JPEG; if you chose to save TIFFs, the images will be in a subfolder called TIFF, etc.
Like this:
How to batch resize in Photoshop: final words
Well, there you have it:
The easiest way to batch resize your images in Photoshop.
So whenever you need to resize a lot of images for uploading on the web, use the Photoshop Image Processor.
It makes the job quick and painless!
Now over to you:
Do you have a favorite method of batch resizing images in Photoshop? If so, share it in the comments below!
The post How to Batch Resize in Photoshop: A Step-by-Step Guide (2021) appeared first on Digital Photography School. It was authored by Helen Bradley.
Winning photos from the Pink Lady Food Photographer of the Year 2021 contest
Editor’s note: There are images in this gallery that show animal carcasses being butchered (slide 8 and 9, in particular). Keep this in mind going forward if you would rather not see this content.
The winning photographs for the Pink Lady Food Photographer of the Year 2021 contest have been announced, with the overall prize being taken by Chinese photographer Li Huaifeng for their photograph Taste, which shows a young family enjoying a meal in their home as the sun cast rays through the smoke-filled room.
The Pink Lady Food Photographer of the Year awards is celebrating its tenth anniversary. The finalists and winning images were whittled down from nearly 10,500 entries submitted from more than 70 countries around the world.
In lieu of an in-person event, due to the COVID-19 pandemic, the winners were announced in a livestream, which can be watched in its entirety, below:
In addition to the usual categories, this year’s contest also featured a ‘very special category’ to honor Claire Aho, ‘Finland’s greatest woman photographer,’ according to contest organizers. The inaugural winner of the Claire Aho Award for Women Photographers was Marina Spironetti for ‘her magnificent portrait Female Butchers of Panzano – Martina, one of the women trained by Dario Cecchini, world-famous butcher of Panzano.’
As for the judges of this year’s contest, the event organizers say:
‘This year’s global judging panel, chaired by legendary food photographer, David Loftus, includes Fiona Shields, Head of Photography, Guardian News & Media, Susan Bright, Writer and Curator, Nik Sharma, Cookbook Author and Photographer, Chef Simone Zanoni, Restaurant Le George, Four Seasons Paris, Alison Jacques, Founder, Alison Jacques Gallery and Vitalie Taittinger, President, Champagne Taittinger.’
An exhibition for the 2021 finalists will premiere at The Royal Photographic Society in Bristol from November 20 through December 12. Entry is free.
The following gallery will showcase images from twelve of the more than three dozen categories in this year’s contest. You can see all of the finalists and winning images on the Pink Lady Food Photographer of the Year 2021 contest website.
Taste, Overall Winner
Credit: Li Huaifeng via Pink Lady Food Photographer of the Year
Photographer: Li Huaifeng, China
Image Description: The photograph was taken in Licheng, Shanxi, on a warm and sunny day, and shows a young family sharing in the joy of preparing food.
Drying Okra, Bring Home the Harvest
Credit: F. Dilek via Pink Lady Food Photographer of the Year
Photographer: F.Dilek Uyar, Turkey
Image Description: Drying okra flowers in Tokat, Turkey. Women pick okra flowers from the field and arrange them on a rope, then the dried flowers fall and the okra becomes ready to be used in winter
A Grape View, Errazuriz Wine Photographer of the Year – Overall
Credit: Oscar Olivera via Pink Lady Food Photographer of the Year
Photographer: Oscar Oliveras, Spain
Image Description: The photograph captures the filling up of Semillon grapes ready to be pressed at the cellar. It was taken on the first day of the harvest of Sauvignon Blanc at Chateau des Ganfards, in Saussignac, France. The harvesting machine is unloading the fruit into the tractor, ready to take them into the winery for pressing. The tractor is being driven by M. Jean Claude Géraud, the owner of Château des Ganfards. Oscar took the photo whilst working there as a winemaker.
Breakfast at Weekly Market, Food at the Table
Credit: Thong Nguyen via Pink Lady Food Photographer of the Year
Photographer: Thong Nguyen, Vietnam
Image Description: People enjoy their Pho (beef of chicken noodle) for breakfast at a local weekly market.
Making Rice Noodles, Fujifilm Award for Innovation
Credit: Abdul Momin via Pink Lady Food Photographer of the Year
Photographer: Abdul Momin, Bangladesh
Image Description: A worker is inspecting rice noodles if they got dried rightly or not.
Old Friends, Politics of Food
Credit: Sandro Maddalena via Pink Lady Food Photographer of the Year
Photographer: Sandro Maddalena, Italy
Image Description: Tskaltubo – Refugees from the Abkhazian – Georgian conflict gather in the basement of an abandoned sanatorium to share their food. Almost thirty years after the conflict, Abkhazian refugees are still living in abandoned buildings in conditions of poverty.
Female Butchers of Panzano-Martina, The Claire Aho Award for Women Photographers
Credit: Marina Spironetti via Pink Lady Food Photographer of the Year
Photographer: Marina Spironetti, Italy
Image Description: Part of a project about the female butchers at Dario Cecchini’s, the world’s famous butcher from Panzano in Chianti. For some time now, Dario has been training a team of young ladies, who came to Tuscany from all over the world to learn the art of deboning. Traditionally, women butchers have always existed in Tuscany.
Head to Head, The Philip Harben Award for Food in Action
Credit: David Thompson via Pink Lady Food Photographer of the Year
Photographer: David Thompson, Taiwan
Image Description: Taken at Wanhua District night market, Taipei, Taiwan the photo depicts a butcher preparing cuts for the daily traditional market, here seen working on a pigs head cutting out the cheeks.
Family, WFP Storytellers Award
Credit: Ziney Abdulhakim Ibrahim via Pink Lady Food Photographer of the Year
Photographer: Ziney Abdulhakim Ibrahim, Iraq
Image Description: The importance of all family members meeting around one dining table at least once a day, as this habit helps to strengthen family ties and gives family members a sense of emotional warmth and provides an opportunity for dialogue, exchange of ideas and problem-solving.
Orishas Tribal Markets, Young – 11 – 14
Credit: Indigo Larmour via Pink Lady Food Photographer of the Year
Photographer: Indigo Larmour, India
Image Description: The tribal markets in Odisha are some of the most colourful in all of India. Vendors commonly sit on the ground and spread-out vegetables that they are selling.
Spill the Tea, Young – 15 – 17
Credit: Dewi Hollema via Pink Lady Food Photographer of the Year
Photographer: Dewi Hollema, Egypt
Image Description: Men gather round on the side of the street in old Alexandria to share the local gossip with a cup of black sweet tea and snacks. This is a common sight in Egypt where their national drink is enjoyed throughout the day: tea ???.
The post The Best Camera for Street Photography in 2021 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Choosing the best camera for street photography doesn’t have to be difficult, but it can take some time to weigh the options. Fortunately, with all the cameras available today, it’s tough to make a bad choice!
That said, there are some street photography cameras that stand out among their peers – thanks to a unique combination of features.
Fujifilm X100F | f/16 | 1/30s | ISO 200
While street photography can be done with almost any camera, from mobile phones to medium format, there are a few characteristics to look for when choosing your gear. A small size, easy-to-use manual controls, a quiet shutter, and a fast response time are all very much appreciated when capturing slices of life in public spaces.
Other features like a tilting screen, a built-in ND filter, a bright viewfinder, and weather sealing are nice, but not deal-breakers for most photographers. Ultimately, you’ll need to decide what’s important to you and choose accordingly, but if you’re not sure where to start, this list will hopefully be of use.
(Note: In terms of ranking, the top three picks are ranked in order; after that, every camera is about equally good, followed by four honorable mentions that don’t quite make the cut.)
1. Fujifilm X100V
Back in 2010, Fujifilm released the original X100, which featured a groundbreaking set of features including a hybrid optical/electronic viewfinder and an APS-C sensor. It quickly became a runaway hit.
The X100V is the fifth iteration of this camera, and over the years Fujifilm has steadily refined it for street photography. Aperture, shutter speed, ISO, and exposure compensation each have their own control dials, which makes them dead simple to adjust on the fly. The hybrid viewfinder lets you shoot with an old-school rangefinder or an ultra-modern mirrorless, and the flip-out touchscreen makes it easy to compose from low angles.
Other benefits for street photographers include a 23mm fixed lens mated to an APS-C sensor, which results in a 35mm equivalent field of view – perfect for street photography. The lens is sharp and bright with a maximum aperture of f/2, so you can take pictures with ease and never worry about missing a shot due to poor light. The built-in leaf shutter makes photography virtually silent, which is great if you value discretion.
The X100V is small but not exactly pocketable, and it has a full suite of customizable buttons and dials to suit your style. If you want a virtually no-compromises camera designed from the ground up for street shooters, the Fuji X100V is a fantastic option; it is, in my opinion, the best camera for street photography today.
Pros:
Stellar image quality
Easy-to-use controls
Hybrid optical/electronic rangefinder-style viewfinder (the only one of its kind among all the cameras on this list)
Beautiful JPEG files with a wide variety of available film simulations
Cons:
Weather sealing requires the purchase of an adapter ring for the front of the lens
Autofocus isn’t as fast as some of its peers
Expensive, especially for casual photographers
No image stabilization
2. Ricoh GR III
The Ricoh GR line of cameras has been a favorite of street photographers for years, and with good reason. The third iteration of this venerable camera series continues the tradition of being small in size but packing quite a punch, and it offers nearly everything a street photographer could want.
An 18mm lens mated to the APS-C sensor results in a 28mm field of view; this is a bit wider than the Fujifilm X100V, and more like what you might see on a mobile phone. Some people like the wider angle, but I find the 35mm field of view much more pleasing and versatile. Image quality is outstanding, and high-ISO shots look great. Lots of photographers swear by the Ricoh black and white JPEGs, so if you like to shoot in monochrome, this might be a good option.
The Ricoh GR III has plenty of buttons but not as many dedicated controls as the Fujifilm X100V and other cameras on this list. It’s not quite as easy to rapidly change settings, but many custom functions can be mapped to specific buttons to make things easier. The maximum f/2.8 aperture isn’t as bright as the Fuji X100V, but the camera compensates with built-in image stabilization; this makes low-light photography a bit more practical as long as you are shooting still subjects. A non-tilting touchscreen makes composing shots a cinch, but the lack of a dedicated viewfinder is certainly something to consider if you prefer composing your shots by bringing the camera up to your eye.
Pros:
Small size makes it easy to carry in a pocket or handbag
Much more affordable than the Fuji X100V and some other options on this list
Excellent image quality
Built-in image stabilization
Cons:
f/2.8 lens is not as bright as the Fujifilm X100V
The lack of a built-in viewfinder means photos must be composed using the rear LCD screen
Battery life isn’t great, so you might consider carrying a spare
3. Sony RX100 VII
The Sony RX100 line has been around for many years and has gone through myriad iterations to adapt to the demands of photographers. The most dramatic change in recent years is the lens, which used to have a much smaller focal range but now goes all the way from 24mm to 200mm (in equivalent 35mm measurements). This makes the RX100 VII an outstanding camera for many genres, including street photography.
While the lens isn’t nearly as bright as the Fuji X100V’s or Ricoh GR III’s, its maximum f/2.8 aperture on the wide end is great for daytime street photography. This quickly shrinks to a maximum f/4.5 aperture as you zoom in, but most street photographers typically shoot wide as opposed to telephoto.
The 1″ sensor in the Sony RX100 VII is what enables this camera to have such a versatile lens. And while it’s no match for its APS-C and full-frame siblings’ image quality and high-ISO performance, Sony makes up for it in terms of sheer technological prowess.
The RX100 VII camera is packed to the gills with features normally found on high-end mirrorless cameras costing thousands of dollars. Autofocus is snappy and reliable and includes subject tracking and eye AF, video recording is outstanding, and the pop-up viewfinder is a boon for street photographers. A rear touchscreen, a relatively robust set of manual controls, and several customizable buttons mean you can set the camera to shoot how you want to get the street photos you might otherwise miss. At the end of the day, the reason this camera earns a spot on my list is due to its unique combination of features and size; no other camera offers so much in so small a body.
Pros:
Very small size makes the camera extremely portable and pocketable
Incredible technology, from 4K video to fast, reliable autofocus
Versatile lens with a 200mm focal length at the long end
Optical stabilization helps you get clear shots of still subjects in low light
Cons:
f/2.8 aperture is only available at the widest end of the focal range
The small image sensor results in less depth of field and inferior high-ISO performance compared to other cameras
The pop-up viewfinder isn’t instantly accessible
4. Panasonic Lumix LX100 II
While the Panasonic Lumix LX100 II isn’t as feature-packed as other cameras on the list, it nonetheless acquits itself nicely in the world of street photography. It’s easy to use and packs fast autofocus and responsive controls, including dedicated dials for shutter speed and exposure compensation. The built-in 24-75mm (35mm equivalent) lens is great for wide-angle shots as well as tighter crops, and the bright f/1.7 aperture is perfect for low-light photography, though it does shrink to f/2.8 when zoomed to 75mm. Street photographers will love the small size of this camera, though the lens does stick out from the body enough to cause problems in a pocket or handbag.
Panasonic packs a lot of technology into its cameras, and the Lumix LX100 II has a range of high-tech features that make it well suited to street photographers. The autofocus points cover nearly the entire frame so you can focus almost anywhere, and built-in crop modes let you frame your shots in a variety of different aspect ratios.
The touchscreen makes focusing a breeze, which can be useful for on-the-spot candids, and the electronic viewfinder is great for thoughtfully composing your photos. Street photographers will also appreciate the aperture ring, which gives you full control over the aperture without requiring a trip to the camera menus.
Pros
Manual control dials for shutter speed and aperture
Built-in zoom lens covers a useful focal range for street photography
Small size
Cons
Image quality isn’t as good at higher ISO values
f/1.7 aperture is only available at the widest end of the focal length range
The viewfinder isn’t as sharp and crisp as others on this list, which makes composing some shots a little frustrating
5. Canon G1 X Mark III
The Canon G1 X Mark III combines the best of compact cameras and their larger-sensor DSLR/mirrorless brethren; the result is an imaging tool that is quite well suited to many types of street photography.
The G1 X Mark III’s overall appeal is a bit hampered by its size as well as some limitations of the built-in lens, but anyone after a street photography camera would be wise to consider it. The huge APS-C image sensor on the G1 X III makes for superb shots in a variety of lighting conditions, and a long list of impressive technical specifications makes this camera great for street shots.
Composing is simple with the rear LCD, and Canon goes one step further than most by offering a fully articulating touchscreen. Autofocus isn’t particularly noteworthy, especially when tracking moving subjects, but that’s usually not a primary concern for street photographers.
The 24-72mm (35mm equivalent) focal range of the zoom lens means you can get wide shots and street portraits, but the aperture range on the lens is definitely less than ideal. The f/2.8 maximum aperture (when zoomed out) is respectable, but the f/5.6 aperture when zoomed in severely limits this camera’s functionality in low light.
However, high-ISO shots look great, and street photographers will love the abundance of control dials and function buttons to access commonly used settings. The electronic viewfinder is crisp and sharp, and while not as nice as Canon’s high-end cameras, it’s certainly good enough for street photography.
Pros:
Excellent image quality, especially compared to some cameras on this list with much smaller sensors
Leaf shutter lets you use very fast internal flash sync speeds
Built-in neutral density filter lets you explore more creative possibilities
Cons:
Small maximum aperture limits the usefulness of the built-in lens, especially when zoomed in
Battery life is not great
The lens isn’t as sharp as others on this list
6. Nikon Z5
The inclusion of the Nikon Z5 on this list might seem a bit strange, but hear me out. The Nikon Z5 isn’t specifically designed for street photography like the Ricoh GR III or Fuji X100V, and it’s larger and heavier than the Canon G1 X Mark III. You also need to attach a lens because it doesn’t include one like the Panasonic LX100 II and others.
But it has one standout quality for street photography: it is currently the cheapest full-frame mirrorless camera on the market. So for street photographers who value image quality above all else, the Nikon Z5 is definitely worth a look.
In addition to a full-frame sensor, the Nikon Z5 has plenty of other features to make street photographers sit up and take notice. Its flip-out touchscreen lets you shoot from up high and down low, and it has more than enough manual controls and customizable settings. It features a bright viewfinder, fast autofocus, built-in image stabilization, and an (optional) fully electronic shutter for discreet shooting.
The Nikon Z5 can be paired with Nikon’s Z lenses, many of which are outstanding for street photography. Bear in mind that the Z5 is expensive, heavy, and downright cumbersome next to its nimble, pocketable counterparts. But for full-frame street shooters, it’s one of the best options available.
Pros:
Exquisite image quality and autofocus performance
Dual memory card slots
Built-in image stabilization helps you get great shots with slower shutter speeds
Cons:
Larger than almost every camera on this list; it will not fit in a pocket
Very few small Z-mount lenses available, which limits its appeal for street photography
7. Olympus PEN E-PL10
The Olympus PEN series has long been beloved by street photographers, and while not up to the standards of some of its peers, the PEN E-PL10 definitely holds its own in key areas. It sports a Micro Four Thirds sensor, which sits comfortably between the 1″ sensor of the RX100 series and the APS-C sensors offered by cameras such as the G1 X Mark III and Fuji X100V. It strikes a nice balance between size and capability, with features that appeal to many street photographers.
Like the Nikon Z5, the PEN E-PL10 requires a separate lens, but Micro Four Thirds lenses are much smaller than their Nikon/Canon/Sony counterparts. For example, the 14-42mm lens (28-84mm equivalent) shown in the photo above makes the E-PL10 about the same size as the Fuji X100V when the lens is zoomed out to 14mm. And there’s a huge variety of MFT lenses, many of which are great for casual street shooting.
The PEN E-PL10 isn’t as feature-rich as some of its more pro-oriented siblings like the OM-D E-M1 Mark III, but it has a full complement of manual controls so you can get precisely the shot you’re after. Some street photographers might lament the lack of a dedicated viewfinder, but the articulating rear touchscreen makes composing photos easy and enjoyable.
The E-PL10 also stands out thanks to built-in image stabilization and fast, reliable autofocus. And the PEN E-PL10 is much less expensive than other cameras on this list, which makes it a great option for people wanting to get started with street photography.
Pros:
One of the smallest interchangeable lens cameras on the market
Excellent manual controls and built-in image stabilization
Inexpensive, even when factoring in the cost of a lens
Cons:
A Micro Four Thirds sensor means high-ISO shots aren’t top-notch
No dedicated viewfinder
Serious street shooters might outgrow the feature set of the camera rather quickly
Honorable mentions
The cameras listed below are all well-suited to street photography, but I generally consider them outliers in this type of discussion. While they are all worth considering, each is limited by some important factors, and I would generally recommend one of the initial cameras on this list over one of the honorable mentions.
However, if money, size, or access to the latest technology are not your primary concerns, then by all means, look at the models listed below.
8. Leica Q2
The Leica Q2 is a no-compromise street photographer’s dream. Everything about this camera is ideally suited to street photography, from its full-frame sensor to its exquisitely sharp 28mm f/1.8 lens to the brilliant optical viewfinder, durable construction, and weather sealing.
While you could buy several Fujifilm X100Vs and a Ricoh GR III for the same price as a Leica Q2, you would be making some compromises and tradeoffs in the process that you simply don’t have to think about with the Leica. So if money is no object and you don’t mind a massive lens protruding from the camera body, the Leica Q2 is my top recommendation.
9. Sony RX1R II
If you’re searching for an ideal street photography camera but can’t afford the Leica Q2, then the Sony RX1R II should sit at the top of your list. It’s similar to the Leica in many ways, with specs that surpass almost every camera at the top of this list, even if it doesn’t quite reach the same soaring heights as its German-made counterpart.
If the Q2 sits at the top of the podium, the RX1R is a very close second place. It’s expensive, but not quite as much as the Q2. It has a 35mm f/2 lens that isn’t quite as wide or bright as the Q2. It has a viewfinder, but it pops out like a periscope instead of being elegantly embedded in the camera body. While the rear screen flips out for greater versatility, the camera sacrifices weather sealing as a result.
In short, the Sony RX1R II is an outstanding camera for good reasons, but generally not one I would recommend for most casual street shooters.
10. Sony a6100
The Sony a6100 isn’t designed for street photography, but don’t overlook it. It’s a small, well-rounded, highly capable camera that also happens to serve the needs of street photographers quite well.
The Sony a6100 is a full-featured APS-C camera that accepts all of Sony’s E-mount lenses, and it packs some impressive technology to help you capture the images you’re after. Everything you would expect in a proper camera is here: manual controls, a bright viewfinder, great autofocus, and a flip-out rear screen. It’s small enough to tote around but not as pocketable as the Ricoh GR III or Sony RX100 VII. I would recommend pairing it with the 20mm (30mm equivalent) f/2.8 pancake lens, which essentially transforms this camera into a Fujifilm X100V.
Strictly from a street photography perspective, I prefer the X100V – but some might appreciate the technology and the ability to change lenses offered by the a6100.
11. Fujifilm X-E4
It almost doesn’t seem fair to relegate the Fujifilm X-E4 to the bottom of the honorable mentions category. In many ways, it seems like one of the best cameras for street photography you can buy! But while this camera has an extensive list of features that appeal to street photographers, I can’t recommend it over the Fuji X100V.
The X-E4 and the Fujifilm X100V share many common elements, from sensor size to flip-out screen to manual controls and even an integrated viewfinder. But while the X-E4 is newer and less expensive, it doesn’t come with a lens, and by the time you add one that is suited to street photography, the price is almost the same as an X100V.
And the X100V has a wide-aperture lens, better manual controls, and a hybrid optical/electronic viewfinder that will appeal to a lot of street photographers. As a small, capable, interchangeable lens camera, the X-E4 is great. But for street photography, the X100V is the better choice.
Fuji X100F | f/2 | 1/600s | ISO 200
The best camera for street photography: final words
Street photography is all about capturing the candid everyday moments that make up the world around us. And almost every camera is capable of getting those shots – mobile phones, pocket cameras, and even DSLRs with big lenses.
There’s no rule that says the camera you already have isn’t going to be well suited to street photography. And your only inherent limitations are the ones you set for yourself. But if you’re looking for the best camera for street photography, I hope this list was helpful and gave you a few things to think about!
Street photography camera FAQs
Can I use my mobile phone for street photography?
Mobile phones are great for street photography, as long as you have plenty of light. When the lights go down, photo quality decreases dramatically, especially if you are shooting moving subjects. (Night Mode on mobile phones almost always requires your subjects to be very still.)
What focal range is best for street photography?
This one is largely a matter of personal taste, but anything between 25mm and 35mm is generally ideal for street photography. Much wider than 25mm and people start to look a bit distorted. Much narrower than 35mm, and you will have trouble fitting everything into the frame.
Can I use a DSLR for street photography?
While traditional DSLRs can certainly be used for street photography, I don’t recommend them when there are so many excellent mirrorless options available. DSLRs are large and conspicuous, and Live View shooting often uses contrast-detection autofocus (which is highly unreliable for dynamic street photography settings).
Do I need weather sealing on my camera?
Unless you are shooting in extreme weather conditions, you probably don’t need weather sealing. It’s nice to have for peace of mind and I wouldn’t recommend against it, but as long as you’re careful not to let your camera get soaked with rain or covered in dust, you’ll probably be fine.
Do I need to focus manually when shooting street photos?
Many street photographers enjoy shooting manually, which is very simple thanks to focus peaking on modern mirrorless cameras. However, autofocus works perfectly fine, and there is nothing wrong with using it for street photography.
The post The Best Camera for Street Photography in 2021 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
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.
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