The post The 3 Must-Have Camera Lenses Every Photographer Should Own appeared first on Digital Photography School. It was authored by Guest Contributor.
What are the essential camera lenses every photographer must have?
In this article, I’m going to share the three key lenses that no photographer should be without. These recommendations come from personal experience; I rely heavily on these three lenses in my own photography.
They offer enough versatility to shoot in almost any situation, and they’re available for just about every camera system and lens mount on the market, from DSLR to mirrorless, from Nikon to Sony.
So if you’re ready to discover the must-have camera lenses for every photographer, let’s dive right in, starting with…
1. The general-purpose zoom
A general-purpose (standard) zoom goes from around 18mm to 70mm. At the wide end, you get an expansive field of view for environmental shots. And at the long end, you get a field of view close to that of the human eye.
These zooms are hugely popular and come in many shapes and sizes. For instance, you can grab an 18-55mm kit lens or a (more expensive) 24-70mm lens.
Out of all my lenses, a standard zoom sits on my camera the most. It lets me shoot fairly wide while also offering decent zoom for objects off in the distance. You can shoot landscapes at 18mm, environmental portraits at 24mm, street shots at 50mm, and tighter portraits in the 60mm+ range.
Ideally, your general-purpose zoom packs a wide maximum aperture for low-light shooting and precise depth of field control (f/2.8 is best, but f/4 also works). Of course, if you can’t yet afford a wide-aperture zoom, that’s okay; a standard kit lens will work fine in most situations.
Consider these general-purpose zooms from Canon:
Canon EF-S 18-55mm f/4-5.6 IS STM
Canon EF 24-70mm f/4L IS
Canon EF 24-70mm f/2.8L II USM
Canon RF 24-70mm f/2.8L IS USM
These general-purpose zooms from Nikon:
Nikon AF-S DX 18-55mm f/3.5-5.6G II
Nikon AF-S 24-70mm f/2.8G
Nikon Z 24-70mm f/2.8 S
Nikon Z 24-70mm f/4 S
And these general-purpose zooms from Sony:
Sony 16-50mm f/3.5-5.6 OSS
Sony 24-70mm f/2.8 GM
Sony 24-70mm f/4 Vario-Tessar OSS
2. The macro lens
A macro lens lets you get up close and personal to your subject so you can capture stunning details of insects and flowers – as well as close-ups of clothing, jewelry, and more.
Note that the length of your macro lens isn’t as important as its magnification capabilities (a 1:1 magnification ratio or higher is best; it’ll let you get insanely close to your subjects).
I currently keep a 50mm f/2.8 macro in my bag because it’s small and light. I carry it around with me all the time, and when I need it, I whip it out for a detail shot or two. My macro lens also doubles as a decent portrait lens (it’s very sharp and the f/2.8 maximum aperture provides a shallow depth of field). And the level of detail you can get when shooting objects up close is fantastic.
Having a macro lens opens up a whole new world of tiny objects to photograph. Also, if you do any type of product photography (jewelry, food, etc.), this lens will allow you to capture a much greater level of detail than is possible with non-macro lenses.
Consider these macro lenses from Canon:
Canon EF 100mm f/2.8L IS Macro
Canon RF 85mm f/2 Macro IS STM
Canon EF-S 35mm f/2.8 Macro IS STM
These macro lenses from Nikon:
Nikon AF-S Micro 60mm f/2.8G
Nikon AF-S Micro 105mm f/2.8G VR
And these macro lenses from Sony:
Sony 90mm f/2.8 Macro G OSS
Sony 30mm f/3.5 Macro
3. The telephoto zoom
The most useful telephoto zooms span from around 70mm to 200mm – so you can capture standard field of view shots on the wide end and tight shots on the long end.
For instance, you might shoot full-body portraits at 70mm, tighter landscapes at 150mm, and headshots at 200mm. You can also use a 70-200mm lens to photograph sports, architecture, weddings, and more.
Regarding the maximum aperture: f/4 is acceptable and will get you decent low-light capabilities plus a shallow depth of field (especially when shooting at 200mm). But an f/2.8 maximum aperture is the holy grail of 70-200mm lenses; the depth of field is gorgeous at f/2.8, plus you can shoot indoors for basketball games, wedding ceremonies, graduations, etc.
The wider aperture will also let you shoot at faster shutter speeds so you can capture moving subjects such as birds and other wildlife. And a 70-200mm lens is a handy portrait lens; the focal length minimizes distortion and narrows the field of view to fill the frame with your subject.
So check out these telephoto zooms from Canon:
Canon RF 70-200mm f/2.8L IS
Canon RF 70-200mm f/4L IS
Canon EF 70-200mm f/2.8L IS III
Canon EF 70-200mm f/4L IS II
These telephoto zooms from Nikon:
Nikon Z 70-200mm f/2.8 S
Nikon AF-S 70-200mm f/2.8E VR
Nikon 70-200mm f/4G VR
And these telephoto zooms from Sony:
Sony 70-200mm f/2.8 GM OSS
Sony 70-200mm f/4 G OSS
Wait, what about…?
I am sure that many of you reading this have other lenses you would consider essential.
For instance, a fast 50mm prime is great for portraits and street shots. A wide-angle zoom is perfect for landscape, architecture, and environmental portraits. A longer zoom lets you capture ultra-tight landscapes, birds, wildlife, and sports.
And it’s true:
All of those lenses are great to own.
But I’m trying to give you the three lenses that are most useful for every photographer, including folks who are new to photography or who have just bought their first camera.
And if you’re new to photography, these three lenses will give you the versatility to shoot in almost any situation.
You can use them for:
Family gatherings
Sports
Wildlife
Insects
Flowers
Landscapes
Events
Street scenes
Portraits
Then, once you hone in on the type of photography that most interests you, you might find that other lenses are essential for that specific subject – but until then, these are the lenses you should be carrying.
3 must-have camera lenses: conclusion
Well, there you have it:
The three camera lenses that every photographer should have, especially when starting out.
If you already own these lenses, great! And if not, consider adding them to your wish list.
Now over to you:
What lenses would you include on your own must-have lens list? Share your thoughts in the comments below!
About the author: Chris Folsom is a hobbyist photographer who spends much of his time photographing abandoned buildings. His photos have been published in newspapers and on numerous websites.
The post The 3 Must-Have Camera Lenses Every Photographer Should Own appeared first on Digital Photography School. It was authored by Guest Contributor.
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.
With technology rapidly changing and becoming better every year, many people are asking the age-old question “which camera is better?” You now have an array of options including DSLR Cameras, Mirrorless Cameras, Phone Cameras and Point and Shoot Cameras. Having so many options can become overwhelming and make you wonder, where should I invest my money? But the truth is Continue Reading Photodoto
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Are you struggling to capture incredible shots in a humid atmosphere? This is the story of almost every photographer. If you have worked in sweltering temperatures, you might be familiar with the preparations and care your camera needs to prevent condensation. Humidity and your camera are rivals. Photographers need to store their cameras and lenses in an ideal storage humidity Continue Reading Photodoto
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The post How to Reduce Camera Shake – 6 Techniques appeared first on Digital Photography School. It was authored by Natalie Norton.
Are you struggling with camera shake? Do your photos turn out blurry whenever you hand-hold the camera?
You’re not alone.
Camera shake is a huge problem. It’s the reason why beginners (and even experienced photographers!) end up with soft, blurry, unwanted photos.
Fortunately, there are a few simple techniques you can use…
…to ensure that your photos never suffer from camera shake again!
So here are six simple techniques for avoiding camera shake and achieving crisp, delicious images – no matter what.
Let’s dive right in, starting with the very first technique:
1. Tuck your elbows in
This technique is simple, yet it really works.
Just pull your elbows in toward your body and let them rest against your chest.
(You can press your elbows firmly into your chest for even greater stability.)
Like this:
It will give your arms a rock-solid foundation to work with so that your hands are utterly motionless.
And when you press the shutter button, you’ll have no camera shake to speak of.
Another quick tip:
Once you have your elbows tucked in, exhale completely before hitting the shutter.
Why?
Because even the slightest movement can cause unwanted shake, especially as you increase your shutter speed.
2. Raise your left shoulder
If you’re a right-eyed photographer, then you’ll need to shift to your left eye to use this technique. If you’re a left-eyed photographer, then you won’t need to change a thing!
Here’s what you do:
Raise your left shoulder high. Then brace your left elbow against your ribcage.
For further stability, you can pull your right elbow into your chest (as discussed in the previous technique).
Also, make sure you exhale completely before pressing the shutter button to avoid introducing additional camera shake.
3. Create a tripod with your knee
If you’re taking a photo low to the ground…
Or you don’t mind getting a little dirty…
Then this is the camera shake reduction technique for you!
And it’s pretty darn easy to pull off.
Simply sit down.
Bring your knee up.
Then rest your elbow on it, like this:
Again, bring in that other elbow for greater support.
You’re essentially creating your own tripod – so you have solid support wherever you go.
4. Lie down on the ground
In general, this is the most effective way to avoid camera shake without a tripod.
All you do is lie flat and let the lens sit directly on the ground.
To prevent any downward tilt of the camera, you can put a hand underneath the lens barrel or lens hood.
(If that doesn’t do the trick, you can always create a fist.)
In the first image, you’ll notice that I placed my hand flat against the cement and balanced the lens on top to give myself some height:
In the second image, I created a fist with my hand to give myself even more room to shoot.
Of course, this technique isn’t always feasible. If your subject is high off the ground, you’re probably not going to want to shoot from such a low angle.
(Imagine doing an engagement session while lying flat against the ground!)
Plus, lying on the ground can be uncomfortable, especially if you’re shooting on cement, in mud, in water, etc.
So work with this technique when you can, but don’t be afraid to use one of the other options on the list if need be.
5. The machine gun hold
This next technique is sometimes referred to as the machine gun hold, because you hold your camera like, well, a machine gun.
Personally, I don’t use this technique much. I find it awkward and difficult to maintain for more than a second or two.
But just because it doesn’t work for me doesn’t mean it won’t work for you. So give it a try and see what you think!
Here’s what you do:
Hold your camera to your eye with your right hand. Then raise your left elbow until your lens barrel can rest on it comfortably.
For added stability, place your left hand on your right bicep.
Like this:
6. Cradle your camera
Here’s your final technique for reducing camera shake:
Cradle your camera!
Like this:
As you can see, I crouched down and placed my left elbow on my knee.
Then I created a sort of cradle for the lens between my shoulder and my wrist.
It’s a pretty solid hold. Unfortunately, it’s tough to change positions once you’re cradling your lens, so the hold works best if you’re shooting an unmoving subject (e.g., a model during a portrait session).
Six techniques to reduce camera shake: conclusion
Well, there you have it!
You now know six simple techniques for reducing – or eliminating – camera shake.
And I can assure you that they work well; they’re the exact techniques that I myself use to avoid “The Shake.”
Now over to you:
Which of these techniques is your favorite? Have you tried any of them? Share your thoughts on camera shake – and camera shake reduction techniques – in the comments below!
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The post How to Reduce Camera Shake – 6 Techniques appeared first on Digital Photography School. It was authored by Natalie Norton.
The post Nikon’s Future: A Flagship Z Camera, 8K Video, and Affordable Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Nikon will be releasing “a flagship Nikon Z-series mirrorless camera…within the year,” said Keiji Oishi, a Department Manager of Nikon’s Imaging Business Unit. The camera “is being developed with the goal of surpassing the D6.”
This comes from a recently published DPReview interview with Oishi, which touches on the past, present, and future of Nikon’s camera business, including new cameras, lenses, Nikon’s mirrorless sales success, and the pursuit of 8K recording.
The development of a flagship mirrorless model is welcome news for Nikon fans; it firmly reinforces Nikon’s commitment to growth and innovation in the face of supply struggles and questions about the company’s viability.
While Oishi didn’t offer many details on Nikon’s upcoming flagship camera, he did claim it “will respond to the advanced needs of professionals” and will “debut a newly developed, high-resolution stacked CMOS sensor.” The term “high-resolution” is a relative one, but this could signal Nikon’s intent to compete with the upcoming Sony a1, an all-around powerhouse packing a 50 MP sensor, class-leading autofocus, and 8K/30p recording.
In other words: Nikon’s flagship model may look to satisfy more than just professional sports photographers. Were the camera to pack 45+ megapixels while offering fast autofocus and shooting speeds in the spirit of the D6, it’d be capable of capturing sports, events, portraits, and even pro-level landscapes.
As for video:
Oishi claims that Nikon’s engineers “are considering powerful video features such as 8K that respond to the needs of all kinds of content creators and professionals.”
So while 8K video isn’t a guarantee, it’ll likely find its way into the upcoming flagship model. With the 2020 arrival of the Canon EOS R5 and the days-away release of the Sony a1, Nikon will soon be the only leading camera manufacturer without an 8K hybrid camera. And while Nikon is ostensibly a stills-centric brand, the 8K bandwagon is one that it won’t want to miss.
So when can we expect this high-resolution, high-performance, 8K powerhouse?
Given the lack of recent leaks, don’t hope for anything before summer 2021, and fall or winter is a realistic possibility. But we’ll definitely see the camera before the year is out, assuming all goes to plan.
A few other interesting tidbits from the interview:
Nikon aims to produce lenses “with a focus on more compactness and affordability” in the hopes of “mak[ing]…lenses more accessible to more people.” This will come alongside an effort to offer an expanded lineup of APS-C Z-mount cameras.
(Currently, Nikon only offers a single APS-C Z-mount model, the Z50.)
Nikon camera sales have “defied expectations” these last few months, especially with the launch of the Z6 II and the Z7 II. As Oishi explains, “In the last quarter, we reported record mirrorless sales, which was helped by strong performance of the Z7 II and Z6 II. We observed strong sales of new products, both mirrorless cameras and lenses.”
Oishi thinks the hot Z6 II and Z7 II sales come from DSLR holdouts; he states that “many loyal Nikon users [were] waiting on the second generation of the Z series,” and that, thanks to “the improvements we put into the second generation,” Nikon DSLR shooters have finally bought into the Z system.
This is all excellent news for Nikon fans, and while the company still has a long way to go, it’s clearly taking steps in the right direction.
Now over to you:
What do you think about Nikon’s upcoming flagship mirrorless camera? Where do you see Nikon headed over the next few years? And what affordable lenses would you like Nikon to produce? Share your thoughts in the comments below!
The post Nikon’s Future: A Flagship Z Camera, 8K Video, and Affordable Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post Canon to Announce a New Camera and “Many, Many Lenses” appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon will soon be announcing “more lenses at once than ever before,” according to the often-reliable Canon Rumors.
This information comes from an unnamed source “with a stellar track record.”
According to CR’s source, “Canon is going to make a ‘massive splash with a new camera and many, many lenses.’” And while the source – and Canon Rumors – offered no information as to which lenses and camera this will be, we can certainly speculate, based on the Canon RF lens roadmap and leaked information on upcoming Canon mirrorless models.
So what gear can we expect from Canon? And when can we expect it?
Regarding lenses:
Canon’s leaked roadmap is pretty sizable, featuring a whopping 15 lenses to be released over the next couple of years:
Canon TS-R 14mm f/4L
Canon TS-R 24mm f/3.5L
Canon RF 10-24mm f/4L USM
Canon RF 14-35mm f/4L IS USM
Canon RF 18-45mm f/4-5.6 IS STM
Canon RF 100-400mm f/5-6-7.1 IS USM
Canon RF 35mm f/1.2L USM
Canon RF 135mm f/1.4L USM
Canon RF 24mm f/1.8 IS STM Macro
Canon RF 100mm f/2.8L Macro IS USM
Canon RF 400mm f/2.8L IS USM
Canon RF 500mm f/4L IS USM
Canon RF 600mm f/4L IS USM
Canon RF 800mm f/5.6L IS USM
Canon RF 1200mm f/8L IS USM
As you can see, Canon’s new lenses cater to wide-angle landscape shooters and sports/wildlife super-telephoto photographers, with a few fast primes sprinkled in.
I could certainly see Canon announcing most or all of the super-telephoto glass in one breath, especially if their release coincides with the announcement of Canon’s flagship, sports-focused mirrorless camera, the highly-anticipated EOS R1.
And previously, Canon Rumors did claim that the EOS R1 will “show its face in 2021” – and that the R1 will likely be teased prior to the 2021 Tokyo Olympics.
So does Canon’s “massive splash” announcement refer to a summer reveal of the EOS R1 plus a series of super telephotos? This seems plausible; releasing sports- and wildlife-focused super-telephoto lenses alongside Canon’s highest-performance mirrorless model to date certainly makes sense, though hopefully Canon will include a couple of non-specialist lenses to keep other users satisfied.
Another camera possibility is an EOS R5s, rumored to pack 90+ megapixels into a 35mm sensor, or an APS-C RF-mount EOS R7, designed as a mirrorless successor to Canon’s popular 7D lineup.
Regardless, I do think a summer 2021 announcement date is likely, especially given Canon’s current “supply chain and manufacturing issues.”
So if you’re a Canon shooter looking for additional lenses, or you’re a non-Canon shooter considering a switch to Canon, make sure you keep an eye out for more information!
Now over to you:
Which Canon RF lenses do you think will be announced? And which camera? Share your thoughts in the comments below!
The post Canon to Announce a New Camera and “Many, Many Lenses” appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
If you use older camera lenses for your photography you might have run into the problem of lens yellowing. Don’t worry this isn’t an irreversible problem and we can help you to fix it. It’s much easier than you might expect. Before fixing the problem it’s sometimes worth understanding why this is happening. The reason for the yellowing is its Continue Reading Photodoto
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The post How to Take Creative Landscape Shots Using Intentional Camera Movement appeared first on Digital Photography School. It was authored by Richard Beech.
If you’re looking to capture some unique, creative photos, then I highly recommend trying out intentional camera movement photography.
Now, many photographic situations rely on ensuring your camera is still as possible during exposure for pin-sharp images. But is keeping your camera still always a good thing?
Instead, why not throw caution to the wind, move your camera while the shutter is open, and explore the range of creative opportunities this offers you as a photographer?
In this article, I’ll show you how to do exactly that!
What is intentional camera movement and why should you use it?
Intentional camera movement (or ICM for short) is a photographic technique where you move the camera as the image is taken.
One example of ICM is panning. The camera follows a moving subject in order to keep the subject sharp and the background blurred.
But while panning can get some great results, it’s actually a pretty tame form of ICM. Moving your camera during the exposure can open up many more creative options for you to try out.
In particular, intentional camera movement can be used to take some truly unique landscape shots. The technique can be exceptionally liberating, and by reducing the number of sharp details in a landscape, it allows you to concentrate on line, form, and color in your images.
In fact, with ICM, a scene that you may ordinarily consider too cluttered might just come to life – by letting you blend colors and shapes for an interesting abstract shot.
One of the reasons I have grown to love ICM is that it enables you to capture a landscape in a unique and personal way that cannot easily be reproduced. It can even breathe new life into overly familiar scenes, letting you see and capture something unique about a location you may have photographed many times before.
If you’re struggling to find inspiration for your next photographic project, or you want to get your creative juices flowing, intentional camera movement is a technique that you should try at least once.
In fact, it’s relatively easy to take some striking shots with ICM.
Plus, it can be a lot of fun!
So let’s take a look at how intentional camera movement photography actually works:
The best settings for intentional camera movement photography
A key factor to get right when using ICM is your shutter speed.
You see, the exposure needs to be long enough to capture significant motion blur (though different shutter speeds will give different effects).
In general, I recommend anything from 1/3s or 1/2s all the way down to multi-second exposures. Of course, you’re always free to experiment with faster or slower shutter speeds; the core of a creative technique like ICM is simply playing around.
Because of these lengthy shutter speeds, shooting in low-light conditions is ideal for ICM. During the daytime, it can be harder to achieve the required shutter speeds, even at your camera’s lowest ISO setting and your lens’s smallest aperture (i.e., highest f-stop number).
If you do decide to shoot in the day, you may need to use a polarizing filter, a neutral density (ND) filter, or a combination of both. Personally, I prefer to use a polarizing filter as a starting point, as this helps to boost colors and cut down on reflections and glare. I will then add a 2-stop or a 4-stop ND filter if the shutter speed needs to be slowed down any further.
When starting out with ICM, it can help to shoot in Shutter Priority mode. Set the shutter speed to around half a second to start, then turn the ISO to the lowest available setting on your camera.
Once you have practiced at this shutter speed, you can use longer exposure times thanks to a combination of low light and filters.
Make sure you focus manually in advance, and turn off the autofocus to prevent the camera from searching for focus during the long exposure.
Also, if you are using a lens that has image stabilization, remember to turn this off.
How to move your camera
Once you have taken control of the shutter speed, the next step is to determine how you’ll move the camera after pressing the shutter button.
Get creative; there are no rules! You can move the camera vertically, horizontally, or diagonally. You can move it fast or slow. Alternatively, you can rotate the camera 360 degrees to create a spiral effect, or change the focal length on a zoom lens during exposure to create a zoom effect.
With practice, you can combine two or more of these movements to create something truly unique. The look and feel of your final images will be determined by the speed, direction, and smoothness of your chosen movements.
Note that you can always use a tripod to control the camera movement. This will help you to capture a smoother result, which can be useful if you wish to retain a straight horizon line.
(Personally, I prefer to work handheld when moving the camera, as it offers greater flexibility and provides more opportunities to experiment with different movements.)
Bold movements can sometimes be more effective, as there is a risk that subtle movements may end up looking like camera shake in the final image.
So bear in mind:
While waving your camera around may not come naturally and may result in you getting some funny looks from amused onlookers, the end results will definitely be worth it!
What to shoot for the best results
Now that you know how to capture beautiful ICM photos, all that’s left is to pick your ICM subjects.
A good place to begin is by looking for locations that offer striking colors, lines, or patterns.
Forests are a favorite ICM subject of mine, particularly during the spring and autumn seasons. Clean, parallel lines provided by the trees, as well as the vibrant colors of nature (created by flowers in the spring and fallen leaves in autumn), lend themselves to a vertical camera movement shot. The movement can be from the top down or from the bottom up, and it can be fast or slow; it really just depends on the effect you wish to capture and how experimental you want to be.
Seascapes can be a good starting point for side-to-side camera movement, where you pan the camera in line with the horizon. Alternatively, in rougher waters, you can try to match the movement of your camera to the movement of the waves for an altogether different effect.
Shooting at sunrise or sunset can provide you with a greater variety of colors to work with, and shooting city lights after dark can also offer a wide range of creative options.
Once you’ve identified a suitable location, you will probably find yourself taking multiple shots with various different movements.
(I should warn you that intentional camera movement photography can sometimes be quite addictive, and you’ll often find your memory cards filling up quickly!)
You may find it useful to set your camera to shoot in burst mode so that you can take a series of shots in quick succession while moving the camera in a particular direction.
That way, you’ll end up with a lot of images to choose from – plus, every new shot will offer you a slightly different composition and effect!
A few intentional camera movement tips
As with any type of photography, images created using intentional camera movement are not going to be to everybody’s taste.
It’s a highly subjective art form, and what works for you will not work for others.
Also, keep in mind basic principles of photography, such as composition and exposure – these are still very important!
Also, while the ICM technique will give you a very abstract result, you may find it helpful to have at least one element of the scene sharp or recognizable in the final image.
Finally, there is an element of trial and error when starting out with intentional camera movement. You’ll quickly find out what works for you and what doesn’t; this will help you develop your own style.
And don’t be too concerned if you do not get an effect you like right away – the technique can be quite hit-and-miss sometimes. Take a lot of shots, and don’t be too quick to delete images that you feel haven’t worked. There is a chance that, after a few days, you may take another look and see something that you like, after all!
Intentional camera movement photography: The next step
One of the great things about intentional camera movement photography is that it is all about how you express yourself!
Think of your camera as your paintbrush.
Get creative, have fun, and start seeing landscapes in an exciting new way.
Now over to you:
Do you have any intentional camera movement photos you’d like to share? Please feel free to display them in the comments below!
The post How to Take Creative Landscape Shots Using Intentional Camera Movement appeared first on Digital Photography School. It was authored by Richard Beech.
UK-based photographer Brendan Barry has used his lockdown to grow closer to nature. He’s been taking regular neighborhood walks with his daughter and learning more about the area surrounding their home in Exeter and the city’s surprising nature. They have regularly picked wildflowers on the journey, which Barry has been photographing using a color reversal process he has been developing over the last few years.
Barry’s process is ‘long and laborious and the photographs hard to achieve.’ He tells us that it can take up to eight hours to create a successful exposure, and due to the nature of the toxic chemicals he uses, he often shoots at night to protect his toddler daughter. Plus, as he says, ‘it is so peaceful and quiet then.’
Barry shoots directly to 20″ x 24″ photographic paper using a camera obscura. He has been using a color reversal process that he’s developed over the last few years to make his images.
In a project commissioned by Maketank and filmed by Chen Liu (Lynd), we go behind the scenes with Brendan Barry as he creates a 20″ x 24″ color still life of wildflowers captured directly to photographic paper. Barry uses a camera obscura and his color reversal process, which he has been working on for the last few years. The image is from his series, ‘Wildflowers picked on walks with Bea.’
The ongoing photo series is a very personal project for Barry. The subjects are collected during walks with his daughter, and the images are time-consuming and difficult to make. The images are also a reflection of the times. The lockdown is very difficult for many, and the ongoing pandemic is even more challenging in and of itself. With that said, the lockdown has also given people like Brendan Barry the chance to connected differently with their neighborhoods.
Brendan Barry carefully arranges wildflowers for a new image. Each shot can take upwards of eight hours to create from start to finish.
For Barry, he feels it is ‘vital to capture and appreciate what is here, to remind ourselves of what we have all around us, literally on our doorsteps, in the hope that we may seek to retain some of this when normality, whatever form that will take, returns.’
If Brendan Barry’s name sounds familiar, there’s a good reason. He has created many fascinating cameras and photographic projects over the years, many of which we have featured. Last October, we shared how Barry was commissioned by the Exeter Canal and Quay Trust to convert an entire room into a camera obscura. If you’d like to learn how to do that, we also covered a tutorial from Barry about this topic last spring.
During the lockdown, Barry converted his backyard shed into a camera and darkroom, which he has used as part of his wildflower series.
In 2019, Barry transformed the 46th floor of the 101 Park Avenue skyscraper in New York City into a massive camera obscura. That same year, he also converted a shipping container into a camera, which he called ‘the world’s biggest, slowest, and most impractical Polaroid camera.’
If you’d like to see more of Brendan Barry’s work, visit his website and follow him on Instagram. He’s always up to something awesome.
Image credits: All images used with kind permission from Brendan Barry.
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