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Essential Portrait Photography Gear You Need When Starting Out

26 Nov

My last post was on equipment to have when starting out as a wedding photographer.

I am not reiterating what I have touched on in that article, although there are some slight overlaps. Still, I recommend that you read that first.

dps-equipment-portrait-photography .

In this article, I touch on the differences between wedding and portrait photography which I have not covered in the previous post. I also follow that with equipment you need for portrait photography.

Differences

1. Weddings are fast-paced. Portrait photography is slower in comparison.

2. Weddings require photojournalistic shots and a documentary style to the coverage. Portraits most often include must have looking photos or a well-composed artful photo.

3. Weddings can involve countless lighting conditions, many of which you have no control over. Portraits are more manageable than weddings, and you have more control and options.

4. Weddings require dealing with large numbers of people but with less personal face-to-face interaction. Portraits are the opposite – especially involving children.

Given the above differences, this is the equipment I suggest you have in your bag as a portrait photographer.

dps-equipment-portrait-photography

1. Zoom Lens – Wide and Long

An excellent example of a wide zoom lens is the 24-70mm f/2.8 or if you have a kit lens, the 18-55mm. While this lens is versatile for wedding photography, in a small studio, this helps when shooting portraits with many people in them. There is no need to change lenses every time you go from photographing one person to three or five. The important thing to remember here is the distortion you get when shooting with a wide focal length at close range to your subject. 35mm for a full body length is good, but you start getting distortions wider than that, especially shooting 24mm at close range.

However, if you have a big studio, then you could do with a prime lens like a 35mm for a crop-sensor or a 50mm/85mm for a full-frame camera.

The 70-200mm f/2.8 (Nikon also has an f/4 option) is an excellent zoom lens. I used this lens for the cherry blossom photos above. An inexpensive alternative is the 55-200mm f/3.5. Using long focal lenses are fantastic for separating the subject from the background.

2. Fixed Lens

Also called prime lenses, those with longer focal lengths, such as the 85mm, 105mm, and 200mm, are great for portraits. You get amazing compression and depth of field. If you only have a small studio, using these lenses may be tricky because you need to have enough space between you and the subject. However, if you are shooting outdoors, results can be dramatic and beautiful.

If you are a natural light photographer, having a prime lens with a wide aperture is your best friend. For example, you can shoot between f/1.4 – f/2.2 and still get sharp images. However, a word of caution, there are other factors to consider to get sharp images at these apertures. Including: how you hold the camera, your ISO and shutter speed settings, and the use of a steady surface or tripod/monopod where needed. Because you have more control over the time you spend on portraits, and it’s not fast-paced, you can afford to use a tripod. Slowing things down may help you to nail your focus or achieve the compositions you are after.

Here is an article I have written comparing natural light and the use of flash.

3. Tripod or Monopod

As mentioned above, using a tripod or monopod is helpful when photographing subjects using natural light – especially if you have a static set-up/backdrop. You don’t have to keep moving your camera, and you get the same frame and composition every time.

If you take the majority of your portraits in your studio, there’s no need to shell out for an expensive portable tripod. These tripods are generally expensive because they are sturdy and made from lightweight materials, and they are a small size. As long as your tripod is strong and stable, even if it is super heavy, it can do the job.

dps-equipment-portrait-photography

4. Artificial Light Source

If you don’t purely rely on natural light, consider other light sources such as continuous lights, LED lights, flashguns, and electronic flashes/strobes. With these, you can shoot at any time of day under any lighting conditions. You are then not dependent on sunlight, the weather or the season. This article on a portable started kit may help with how artificial light sources can look.

You may need remote triggers and receivers to work these with your camera. Unless, for example, you are using the built-in creative lighting system of your flashgun unit in the case of Nikon.

5. Light Modifiers

With the use of artificial light sources, it is crucial to pair them with modifiers to take the edge off and soften the light. There are many types you can go for and this article could help you decide.

dps-equipment-portrait-photography

6. Reflector

Reflectors are a handy tool for portrait photography, especially when using in a studio environment. Using the correct reflector has an undeniable impact on the image before applying any editing in post-production. Read this article for a side-by-side comparison of various reflectors. If you have space, it is a good idea to have one large reflector propped up on a stand in your studio (lockable castor wheels are handy).

As this is to do with portrait photography, this article on setting up a home portrait studio might help give you more of an idea of the basics.

I hope you found this article helpful. If there is any equipment you wish to add, share your thoughts in the comments below.

Top feature image by:

Alexander Dummer

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Essential Family Photo Session Preflight Checklist

26 Nov

Essential Family Photo Session Preflight Checklist 1

When preparing for a family photo session, there are plenty of things to keep in mind. Such as: making sure you know what time to meet, where you are going to do the shoot, and having all your gear handy. However, even the most seasoned family photographer can overlook some items from time to time though.

For people who are new to this type of work, it can be a headache trying to keep track of all the little things that can make or break a portrait session. A simple solution is to borrow a technique from the aviation industry known as a Preflight Checklist. Creating a checklist makes all the difference between happy clients and photographic disaster.

2 Essential Family Photo Session Preflight Checklist

A Preflight Checklist is a list with various items on it that you can physically check off. Pilots use them to make sure everything is in order before taxiing down the runway, and photographers can use them before they start snapping photos.

You could create one on your phone with any note-taking app, but I recommend a physical Preflight Checklist. Since you can keep it in your pocket, you don’t have to worry about accessing apps or unlocking your phone. You can also hand it to someone else if you need another pair of eyes to check it over.

Some of the items on a photographer’s Preflight Checklist might sound relatively obvious, but it’s a good idea to keep one handy to make sure you have everything in order. Simple mistakes can make or break a photo shoot, and it doesn’t hurt to double-check that you have every little thing set – especially when dealing with families and children.

Following are the items I advise you to put on your checklist. You may want to customize it to suit your needs and possibly even create your own from scratch using a word processing program. I have included explanations for each item on this list. You could remove them to save space and focus just on the items and not the rationale for including them.

3 Essential Family Photo Session Preflight Checklist

Checklist items

1. Format Your Memory Cards

Each photo session should use fresh memory cards. The best way to do that is to format them using your camera. Doing a complete reformat, using the instructions provided in your camera’s manual, is preferred over merely deleting the pictures one-by-one. Doing a complete reformat resets your memory card to a fresh state. Deleting pictures can leave certain bits of data intact that, over time, could cause problems and make it more difficult to recover images in the case of a card failure.

2. Charge All Batteries

Charging your batteries may seem painfully obvious, but most photographers have been in at least one situation where they forgot to bring fully-charged batteries to a session. Having this on a checklist ensures that this doesn’t happen to you.

4 Essential Family Photo Session Preflight Checklist

This engagement session lasted quite a while, but luckily I remembered to have plenty of fully-charged batteries. I almost forgot though, which would have spelled disaster for the entire shoot.

3. List the Camera Gear You Need

You probably don’t need to bring all your camera gear to every photo shoot. Having a checklist for family photo sessions (or other types of sessions, such as sports or weddings) is an excellent way to ensure nothing gets overlooked. This list should include camera bodies, specific lenses, flashes, filters, even specific equipment like camera straps and lens cleaners. Don’t just assume you will remember to bring these! Having them on a checklist can save you from a big disaster during the photo session.

4. List the Accessories You Need

Accessories can include something to write with, something to write on (such as a clipboard), blankets for people to sit on, benches, footstools, and even stepladders (depending on the location and situation). Be as detailed as you like with this. It may help to have different accessories listed for different types of sessions such as pictures involving young children, or elderly grandparents.

5 Essential Family Photo Session Preflight Checklist

I was so focused on getting the gear I needed for this shot that I nearly forgot to bring a blanket for this baby to lay on.

5. Edible Items

It never hurts to have food or snacks on hand. As well as pacifying fussy kids or calming nervous parents, it sends a message to your clients that you know what you are doing and have their needs in mind. Chewy granola bars, single-serve packs of fruit snacks, and bottles of water all come in handy at photo sessions. The clients appreciated it too. Just be sure to avoid food that leaves crumbs or stain clothes!

6. Specific Types of Shots

Wedding photographers know this well, but some family photographers can easily make the mistake of forgetting specific shots in the hustle and bustle of a session. Write out the shots you want (i.e., Mom and Dad, Mom and kids, Dad and kids). Consult with the family beforehand to see if they want anything unique to their shoot. Even if they don’t have something in mind, they may appreciate that you asked for their input.

6 Essential Family Photo Session Preflight Checklist

The family specifically requested this type of shot, so I made sure to include it on my checklist.

7. Specific Poses

It’s easy to get lost in the shuffle and chaos of a family photo shoot only to realize afterward that there were certain poses you wanted to get. Or worse, certain poses your clients requested that slipped your mind. Once, I looked through my photos in Lightroom after a session. I banged my head against my keyboard because I forgot to get a shot of the parents holding their daughter or all the brothers in one group.

If you take more of a freeform approach to your sessions, you might not be too concerned about certain poses. However, if you want to cover your bases, putting your poses in your checklist is a great way to get the ones you want.

8. Clear the Pockets

If I had a dollar for every time I looked through pictures from a photo session only to realize that someone had keys, a giant cell phone, a glasses case, or other sundry items sticking out of their pockets, I’d be a rich man. These types of imperfections can land an otherwise frame-worthy photo in the rejection bin. Alternatively, it requires hours of postprocessing to fix.

The easiest solution is to have clients empty their pockets before you start taking pictures. Family sessions can be so hectic that it’s easy to overlook. Put this item on your checklist, and you’ll be all set.

7 Essential Family Photo Session Preflight Checklist

I forgot to use a checklist on this photo shoot. As a result, I didn’t think to have everyone empty their pockets. Even though the family was very pleased with their pictures, the phone and handkerchief are glaring mistakes that could have been easily avoided.

9. Clothing Check

Similarly to pocket-clearing, this one is an easy fix but can cause you to pull your hair out in post-processing if you forget. Make a note on your checklist to see that shirts are tucked in, collars are down, and ties aren’t sticking into belts.

10. Names

Names are last, but it’s one of the most important things to remember. It can make the difference between a one-time client and years of repeat business. Leave space on your checklist to write all the names of your clients and take a bit to rehearse them before your clients show up. This helps to avoid an awkward scene when directing a person to stand somewhere or put a hand on another’s shoulder, but you can’t remember their name. Nothing says unprofessional like barking out, “Hey you over there, move your hand!” Write your clients names down and use them during the photo session as much as possible. It helps the entire event to run smoother.

8 Essential Family Photo Session Preflight Checklist

There were a lot of names to keep track of during this session, but writing them down on a checklist was an easy way to help me remember.

Every photographer is going to need different items on his or her checklist. Hopefully, these give you a good idea of where to start. Creating the list is as simple as opening up a word processor and starting a bulleted list. Once you have a basic one created, you can fine-tune it to meet your needs on each shoot. It might seem like much work to create a checklist, but in the end, it saves you far more time than you might realize. You create better results for your clients too.

If you’d like to use my checklist as a template, you can download it here. I strongly recommend using this as a starting point and adding, removing, or changing the items to suit your needs.

Do you already use a Preflight Checklist or other such devices to help you with your photo sessions? If so, what do you put on it? I would love to hear your thoughts in the comments below, and I’m sure other photographers would as well.

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Essential Tools for Making Videos on Your Mirrorless Camera

21 Nov

The mirrorless camera wars are heating up with the announcements of the Nikon Z7, Canon EOS R, and Panasonic full-frame. If you’re entering the world of mirrorless with the idea of making videos, you’ll need to consider a host of accessories to add to your camera kit. Here are some essential videography tools to add to your kit to help you make stellar videos on your mirrorless camera.

The Fujifilm X-H1 (left) and Sony A7rIII.

Camera

This article won’t deep dive into recommended cameras and lenses for filmmaking, since there’s a wide range of options out there. These days, you can even use a smartphone to shoot quality video. Also, the exact video specs needed will vary from person to person. But generally speaking, you’ll want to consider cameras that have these features:

Some form of in-body-image-stabilization (IBIS) to help reduce shake
The ability to shoot in at least 1080p, or ideally 4K resolution
The option to shoot in log (the video equivalent of RAW files), which give you more color grading options

Currently, the most popular mirrorless cameras for video are the Panasonic GH-5, Fujifilm X-H1, Sony A7sII, and A7III. The new Nikon Z6 and Z7 also look like promising full-frame mirrorless video camera alternatives.

Lens

As for ideal filmmaking lenses, this is also a highly debatable topic. However, it’s best to use lenses that have some form of stabilization. The exact terminology depends on the lens brand, but examples include Sony’s Optical Steady Shot (OSS), Nikon’s Vibration Reduction (VR), and Canon’s Image Stabilization (IS). Also, size matters when it comes to filmmaking lenses, so smaller tends to be better, especially if you plan on doing a lot of run-and-gun shooting. Personally, I’m able to pull off a majority of my video shoots with the Sony 24-70mm f/4, a moderately fast mid-range zoom with OSS that doesn’t break the bank.

Sony OSS -Essential Tools for Making Videos on Your Mirrorless Camera

This Sony lens has OSS (Optical SteadyShot) which gives it optical image stabilization.

Camera and Lens Cleaning Kit

Compared to still photos, it is significantly harder to remove dirt and dust spots from videos in post-production. As a result, it’s essential to carry a camera and lens cleaning kit when shooting video. At the very least, have a lens cloth and rocket blower with you.

Extra Batteries

Recording video takes much more power from your camera, so you’ll want to carry multiple batteries with you. Or consider investing in a battery grip to enhance your camera’s video recording life. Some cameras such as the Fujifilm X-H1 even offer more features (an extra audio socket) when using the optional vertical battery grip. If your camera has the ability to charge via USB (ie. Sony cameras), carry an external battery pack such as the Anker PowerCore 10000.

Microphone

While mirrorless cameras have decent built-in microphones, it’s always best to bring your own sound equipment to capture the best audio. Shotgun microphones such as the Rode VideoMicro are the most straightforward option. This ultra-compact mic is powered by your camera battery, so all you need is the included microphone, windscreen, and connection cable. Simply plug them in, and you’re ready to go! If your camera has an audio jack, also consider using headphones to monitor the audio while you’re shooting.

As you advance in video making, you may also need to add the following sound equipment to your gear kit:

a lavalier microphone
sound recorder (your iPhone may also work)
wireless lavalier mic system

Rode VideoMicro - Essential Tools for Making Videos on Your Mirrorless Camera

Fujifilm X-T3 with the Rode VideoMicro microphone and windscreen.

Camera Stabilizer

It used to be essential to use a stabilizer of some sort when shooting videos with older camera models. Thankfully, most mirrorless cameras are shipping with some form of in-camera stability. Some cameras (Fujifilm X-H1, Sony a7III) have in-body stabilization (IBIS), and many camera brands offer stabilized lenses. When using a camera with IBIS and/or stabilized lenses, you may be able to get away with shooting video without any extra stabilization. However, if your camera doesn’t have IBIS or you need absolutely smooth footage, you may want to invest in a couple of stabilization accessories.

The cheapest and most straightforward option is to use a tripod or monopod with a video head. This is great if you plan on remaining relatively still while shooting video. However, if you plan on walking or moving while capturing footage, a gimbal is an essential tool. The Zhiyun Crane V2 is a great option, as is the DJI Ronin S. Gimbals can be fussy and difficult to set up. If you’re on the market for a gimbal, be sure to do your research to understand how gimbals work and make sure it’s a good choice for you.

Zhiyun Crane V2 gimbal - Essential Tools for Making Videos on Your Mirrorless Camera

Fujifilm X-T3 mounted on the Zhiyun Crane V2 gimbal.

High Capacity Memory Cards

Modern mirrorless cameras are currently letting you record up to 4K video resolution. This is fantastic for getting crisp, details footage, but it can put a strain on your wallet. If you choose to shoot video in 4K, you’ll need memory cards with a fast enough write speed to ensure smooth video recording without dropped frames.

Additionally, it’s best to invest in large capacity memory cards since video takes up a lot of space. Personally, I never shoot with an SD card with less than 64GB, ultimately preferring 125 GB when possible.

External Hard Drives

Speaking of storage, fast hard drives are also essential to edit and store your video footage. You’ll run out of external hard drive space quickly as you shoot video (especially in 4K resolution). Thus, it’s a good idea to stock up on the largest capacity hard drives you can find. Per the 3-2-1 backup strategy, it’s best to have 2 but ideally 3 copies of your data, so multiple hard drives are always a good idea.

Thankfully, hard drives have dropped in price and are relatively inexpensive. I use these Samsung SSD hard drives for editing on the go. I also carry a couple of Lacie Rugged hard drives as secondary and tertiary backups. When editing at home, I back everything up on Western Digital MyBook desktop external hard drives.

Memory cards - Essential Tools for Making Videos on Your Mirrorless Camera

High-megapixel cameras come at a price as they eat up storage on your memory cards and hard drives.

Video Editing Software

The professionals’ choices for video editing are Adobe Premiere, Final Cut X or Avid Media Composer. However, another option worth investigating is DaVinci Resolve. There’s a free version of Resolve that offers enough tools to pull off a majority of the video editing techniques you’ll need, and the paid version unlocks even more features. Like Final Cut, Resolve is a one-time fee, unlike Adobe’s monthly or annual subscription model. Video editing software can be expensive, but it’s absolutely worth the investment for serious filmmaking.

In Conclusion

If this sounds like a lot of gear to invest in for making videos, don’t be overwhelmed! The good news is that modern mirrorless cameras make it easy to start making videos without too many extra gadgets. All of these accessories can definitely be acquired over time as your interest in video grows.

Do you have any other tools to add to this list? Let us know in the comments below!

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The essential pro feature that no mirrorless camera offers

27 Oct

In a low-light situation with a split-second to focus and capture the moment, the flashgun’s AF illuminator was essential. Mirrorless cameras tend not to offer this feature and their AF systems aren’t so good in low light that they don’t need it.
24mm F1.4 lens @ F2 | ISO 400
Photo: Rishi Sanyal

Mirrorless cameras have caught up with DSLRs in almost every measurable respect, yet there’s still one feature that’s essential for some professionals that every one of them lacks: flash AF illumination.

The failure to offer an AF illuminator target means mirrorless can’t compete with the best DSLRs in some shooting situations

Wedding and event photographers in particular will recognize the benefit of the AF assist target projected by flashguns and some flash commander units, yet no mirrorless camera maker implements this feature, even on their highest-end models. There are some technical reasons why they omit the feature, but this doesn’t negate the need for it.

‘IR’ illuminators on flashguns aren’t solely emitting infra-red: they also emit visible red light, or you wouldn’t be able to see their telltale grid pattern

It won’t affect everybody’s day-to-day photography, but the universal failure to offer some sort of AF illuminator target for mirrorless cameras remains a major shortcoming and means mirrorless can’t compete with the best DSLRs in some shooting situations.

There are technical justifications for why they don’t: DSLR autofocus sensors can be sensitive to infra-red light, whereas mirrorless cameras aren’t. Because mirrorless cameras focus using their main imaging sensor, any IR has to be filtered-out to avoid skewing the colors in your images. But the AF illuminators on flashguns aren’t solely emitting infra-red: they also emit lots of visible red light, otherwise you wouldn’t be able to see the telltale red grid they project.

Note that the ‘IR’ illuminator in this instance is projecting a visible red target and, crucially, a target that provides a pattern for the camera’s AF system to bite onto.

Another complication is that phase-detection pixels live behind the colored filters that allow most cameras to interpret color in the scene, so may not even see any red light. A PDAF element behind a blue filter won’t see any red light and one behind a green filter will only see a very small amount. But even this shouldn’t be insurmountable: Canon’s Dual Pixel AF means every pixel (including the red-sensitive ones) is a PDAF pixel and, if it came down to it, the manufacturers could offer versions of their flashguns that emit a color that their mirrorless AF systems can see.

If mirrorless cameras are going to displace DSLRs for wedding and event photography, manufacturers need to find a way

Most mirrorless cameras have their own built-in AF illuminators but they’re not nearly as powerful as the off-board lamps on flashguns. Also, they tend to be bright, uniform orange or green lamps which are visually distracting, easily blocked by hands or large lenses and which miss one of the key properties of off-board illuminators: a grid pattern. This grid pattern effectively creates some hard-edges for the AF system to bite onto, even if you’re shooting something that may not have enough inherent contrast to easily focus on. You know, like a white wedding dress in low light.

If mirrorless cameras are going to displace DSLRs for wedding and event photography, manufacturers need to find a way, even if it involves selling (or modifying) flash units that emit a faint green or blue grid pattern. Or doing what Godox does with its X1T command units: firing its red target, just as it would for DSLRs, because in many cases this is better than nothing.

Articles: Digital Photography Review (dpreview.com)

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Roundup: essential news from Photokina 2018

26 Sep

Introduction

You might not have been expecting much from Photokina this year. The industry’s two biggest brands have already unveiled their major products and it’s the final Photokina before the show tries to re-schedule itself into irrelevance. So, a couple of lens announcements and a chance to get hands-on with the Nikon Z7, Canon EOS R, Fujifilm X-T3 and Sony 24mm GM, right?

You could not be more wrong. It’s been a cracking opening day at the show, with some of the most exciting news in years. ‘What did I miss?’ you might ask. Well, let me tell you…

Panasonic and Sigma collaborate on Leica L mount

Sixteen years after Olympus and Kodak announced the formation of the Four Thirds system, three members of that consortium: Panasonic, Sigma and Leica, announced they will collaborate on a shared system.

All three brands have settled on Leica’s L mount (originally the ‘T’ mount, when the APS-C Leica T model was announced back in 2014). All three brands have said they’ll be making lenses and cameras for the new system, which is arguably the biggest coming together of major brands since Four Thirds.

Click here for more about the collaboration

We’ll look separately at what Panasonic and Sigma is intending to do with the system, since they’re both pretty big news. We won’t be looking so much at Leica, since they celebrated the event by launching a new S-series camera.

Panasonic developing S1 and S1R full-frame mirrorless cameras

They exist only as mockups at this point, but Panasonic has given a fair amount of detail about its first two L-mount full-frame mirrorless cameras.

The S1R will be a 47MP high-res model, while the S1 will be a more flexible 24MP camera. Both will offer in-body image stabilization and will be able to shoot 4K video at up to 60 frames per second.

The company also announced three lenses: a 50mm F1.4, a 24-105mm of unspecified brightness and, in an indication of who they’re targeting with these cameras, a 70-200mm F2.8.

Click for more details of the Panasonic Lumix S1 and S1R

The company reiterated its commitment to developing the Micro Four Thirds system in parallel, with the announcement of a 10-25mm F1.7 zoom for the smaller system.

Sigma adopting L mount and building full-frame Foveon

Sigma’s contribution to the L-mount collaboration extends beyond the lenses that you might expect. It says it will use the L mount in future, rather that its own SLR-era SA mount.

The company also says it’s working on a full-frame camera that will use one of its own Foveon sensors behind the L mount. Existing SA-mount lens users will either be able to have their lenses converted to L mount or can use an SA-L adapter that Sigma will make.

Perhaps most excitingly, Sigma says it will make an EF-L mount adapter, which immediately expands the system’s attractiveness, while we wait for all the stakeholders to deliver their promised lenses.

Click here for more information

Fujifilm to hit 100MP

Fujifilm also announced it will launch a 4K-capable, high resolution mirrorless camera with in-body stabilization. But in this case it’s talking about the GFX series of medium format bodies, and by high resolution it means 100MP.

Oh, and it’ll feature on-sensor phase detection for the first time.

Click here to read more

Ricoh working on significantly updated GR III

In any other year the major reworking of one of the industry’s few truly classic products would get higher billing, but not this year. Which is a shame, since Ricoh is promising to update and improve just about everything on the camera, without spoiling what makes it so attractive in the first place.

The GR III will still be a 28mm equiv. camera, will still be built around an APS-C sensor and will still feature the classic ‘GR’ styling that dates back to the small sensor GR Digital of 2004 (itself echoing the look of the GR series of film cameras before that). However, the GR III will include sensor shift image stabilization and on-sensor phase detection, both of which will be a major step forward for the series. It will also add a touchscreen for the first time.

The company says nothing of weather sealing, which is something of a shame, since the GRs (like all cameras with extending lenses) can suffer when the weather has periods of strong fluffy, blustery lint or dusty downpours.

Click here for more about the Ricoh GR III

Fujifilm GFX 50R

Maybe more unfair than taking so long to get to the Ricoh GR is that I’ve taken even longer to get to Fujifilm’s GFX 50R. A camera that’s long been hoped for and one that, unlike many other being discussed today, actually exists.

At heart it’s a redesigned variant of the GFX-50S but in a rangefinder-styled body. Essentially a hybrid of an X-E3 and a housebrick, the camera will sell at a considerable discount to the 50S, having launched for just $ 4500. Better still, and update to Fujifilm’s GF lens roadmap shows a 40mm-equiv GF 50mm F3.5 ‘pancake’ lens in the works.

There are also two stabilized zooms in the works, over the next two years.

Alongside the GFX 50R announcement, Fujifilm said that Phase One’s Capture One software will now support its medium format cameras both for Raw development and tethered shooting. This is a major addition for the brand, helping make its products fit more easily into some professionals’ workflows.

Click here for more about the GFX 50R

Sigma 56mm F1.4 for Micro Four Thirds and E mounts

As well as talking about its future system commitments, Sigma unveiled some actual lenses. You know, that you’ll be able to buy in the near future.

Most exciting to us is the Sigma 56mm F1.4 DC DN lens. It’s a small(ish) portrait lens for the Micro Four Thirds or Sony E-mount. It’ll behave as a 112mm F2.8 equivalent on Micro Four Thirds or a 84mm F2.1 equivalent on APS-C Sony cameras, giving a comfortable working distance for head-and-shoulder portraits and a good degree of control over depth-of-field.

If it’s anything like the existing 16mm and 30mm F1.4 lenses in Sigma’s DN lineup, I’d expect the 56mm F1.4 to be sharp, fast at focusing and sensibly priced. Which is a very likable combination.

Click for more about the Sigma 56mm F1.4 DC DN

Sigma lenses

As well as the 56mm, Sigma also announced a 28mm F1.4 and 40mm F1.4 as additions to its Art range of primes. Despite being competitively priced, many of the lenses in this series have a reputation for being among the best lenses one the market, optically. They also tend to be fairly sizeable, but if IQ is what you’re after…

Sigma also said it will introduce an updated stabilized 70-200mm F2.8 as part of its ‘Sports’ range. This will be available in Canon EF, Nikon F and Sigma SA mount. We’ll be interested to see whether a Sony E mount version becomes available at a later date.

There’s also a successor to the storied 50-500mm F4.5-6.3 ‘Bigma,’ in the shape of the 60-600mm F4.5-6.3 ‘even Bigma-er.’*

Click here to see Sigma’s forthcoming lenses

*As no one will ever call it.

Hasselblad lenses

Not to be outdone, Hasselblad used the show to announce three new lenses and a teleconverter. And even these are pretty exciting.

The XCD 80mm F1.9 is the brightest lens the company has ever made. This will be equivalent to a 63mm F1.5 on full-frame, which is a big step forward for the system. There’ll also be a 135mm F2.8, giving something akin to a 107mm F2.2 equiv. Add on the 1.7x teleconverter and it becomes a 230mm F4.8 (180mm F3.8 equiv).

Finally, there’s the 63mm F2.8 (50mm F2.2 equiv), which will compete head-on with the similarly-specced lens from Fujifilm. All three lenses add significantly to the system’s capabilities.

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Sony announces, err..

Apparently content to have a significant headstart on their full-frame mirrorless rivals (or perhaps content to highlight this headstart), Sony said little of substance at its press conference, beyond that it’s going to keep making lenses: twelve additional lenses (over an unspecified period).

In fairness, the company has only just released the 24mm F1.4 GM lens, so the product development teams probably aren’t actually in laurel-resting mode but, other than more lenses, the only thing its promised is Eye-AF that works on animals. Possibly on a new product, some time in the future.

Click to read (slight) more about Sony’s briefing

Wrap-up

For a show that’s about to surrender its relevance, Photokina 2018 has proven to be more lively than expected. There’ll be little bits and pieces over the coming days but this is likely to be it for industry-rocking announcements.

And, if you aren’t great at reading between the lines, our take on it is pretty simple: in a declining camera market, the enthusiast and professional are kings (and queens).

DPReview has been covering the show for 18 years and, while there have certainly been shows with more launches in the past, we can’t remember a time that heralded so many interesting products for people who really care about photography. In the space of a few weeks we’ve gone from there being two full-frame mirrorless brands to a point where there’ll be six by the end of 2019. Along with a what could be a fast 100MP medium format option. And a thoroughly-refreshed Ricoh GR, for the street shooters.

It’s going to be a busy year. In a good way.

Articles: Digital Photography Review (dpreview.com)

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5 Essential Shots You Need to Get for Street Market Photography

26 Jul

A favorite subject for many street photographers is the market. It’s no surprise either, as these places have a lot of life going on, and therefore many good photography opportunities. The best way to get the most out of your street market photography is to get organized.

That means going in with a plan, which for photographers means a list of photographs you intend to take. So in this article, you’ll get an idea of what those photos should be, read on to find out.

#1 – An overall scene-setting shot

Five Essential Street Market Photos You Need to GetFive Essential Shots You Need to Get for Street Market Photography

A scene-setting photo that shows the scale of the market will often need to be taken from a high vantage point.

This is the photo that tells the viewer about the scale of the market. It’s the entry point for the viewer into all the other photos that will go into this set. There will be different approaches to achieving this photo, and depending on the location of the market some options might not be available to you.

Bird’s eye view – To get this photo you’ll need to find a high vantage point of some description. The aim is to capture the whole market or as much of it as possible in one shot. You essentially want to show the size of this market before you present the more human photos. Your lens choice will depend on how far away from the market your vantage point is located. Typically you’ll want to use a wide-angle lens for this, although photographing from a distance means a longer focal length is always possible. A third possibility these days is using a drone (check the laws in your area first!), with this available you’ll not need to spend the time looking for a vantage point.
Wide-angle – Assuming you’re not able to utilize a bird’s eye view, the next option is a wide angle photo from street level. You won’t capture the whole market, but a sense of scale is still possible. These type of photos will work best with an indoor location where you can capture interior architecture.
The tunnel – Finally many markets will have market stalls along a road that seem to go off into infinity. The best method to capture this is to use a longer focal length lens to compress the scene. If the market stalls are on both sides of the road this may well give the effect of a tunnel.

Five Essential Shots You Need to Get for Street Market Photography - market near train tracks

Elements in the photo that give context to the scene are a good idea. Here you can see this is a railway market.

#2 – A staged portrait

Photographing strangers is a big part of market photography. In order to get a good photo of market vendors, there are several steps which you’ll need to take as a photographer.

Gaining permission – As this photo is staged, you’ll first need to ask the person for their permission. In some cases, this will be a simple request, which is either accepted or refused. In order to increase your chances of getting a “yes”, buying something from a street vendor will help, you may even offer to pay cash just for the photo. Are you in a location where you don’t speak the local language? Learning the simple expression, “May I take your photo please?” is a great idea, and failing that body language can be surprisingly effective.
Taking the photo – As you’ve gained permission for this photo, you’ll likely be standing close to your subject. The best lens for this is a prime lens that’s good for portraits such as the 50mm. It’s preferable that you spend time to build rapport with your subject before taking the photo, this will give you a more natural looking photo. Then take care of the usual things like a nice clean background, and light coming from the right direction to light up the person’s face.

Five Essential Shots You Need to Get for Street Market Photography - vendor selling fruit in large baskets

Gaining permission to take the photo allows you to control the scene a bit more.

#3 – A candid portrait

Candid street market photos will likely make up the majority of your photos of the market. Getting good photos here will require quick wits, and an ability to blend in.

The decisive moment – Capturing the decisive moment can make or break your photo. To increase your chance of getting this moment you need to position yourself in the right place. Look for spots where there are many human interactions, and anticipate the right moment. So this might be a customer interacting with a vendor, or perhaps a street hawker cooking some food.
Hip photography – One way to be more conspicuous with your photography, and get natural looking photos is to experiment with hip photography. If your camera is not at your eye most people will assume you’re not taking a photo of them. So if your camera is at your hip instead you can get close to your subject, and take the photo from the hip secretly, without drawing attention to yourself. To get this technique right takes a bit of practice. Focus your camera to a set distance before taking the photo, and keep the camera in manual focus to prevent it from refocusing. Use a small aperture of f/16 or smaller, so you have a large depth of field.

Five Essential Shots You Need to Get for Street Market Photography - man selling fish at a market on the train tracks

This photo is a candid, the rail lines frame the vendor nicely.

#4 – Detail photos

The produce you’ll find at the market can make for some excellent detail photos to go in your street market photography selection. In theory, these photos should be the easiest to come by. Because it’s still life photography you won’t need to get permission from a person to take the photo. However, you are taking photos of someone’s stock, so ask permission to take the photo first.

Repeating patterns – Items like fish or fruit make great subjects for repeating patterns. Often the vendor will have these lined up in an aesthetically pleasing manner, so as a photographer you just need to concentrate on good framing.
Contrast – Look for color contrast, perhaps between fruits of differing color, or table backgrounds against produce. Colorful images will look good in your street market photography collection.
Change the angle – The majority of detail photos are taken from the top down. Changing the angle can still give you an interesting detail photo though, but with more depth to it. If you use a low enough angle you may even get some bokeh background in your frame.

apples in baskets next to train tracks - Five Essential Shots You Need to Get for Street Market Photography

This is a detail photo, but once again context is inferred with the train track.

#5 – Something more creative

Finally, it’s always good to introduce a little creativity to your street market photography. These are the type of photos you’ll want to go for once you’ve bagged the other photos in this list.

There are many ways you can be creative with your market photography, below are a few ideas.

Low key – Markets are great places to find shards of light, a gap in the roofing perhaps that lets the sunlight through? You can use that light to create a low key portrait. Simply expose for the sunlit area, and underexpose the background. You will likely be exposing at -2EV or -3EV to create a photo like this. Wait for your subjects face to be lit up by the sun, and take your photo.
Blur – The use of blur can create a dynamic edge to your photo. Whether you attempt a panning photo, or put your camera on a tripod and expose for around 1/3 of a second to capture the motion of people moving about the market is for you to decide.
Crystal ball – A versatile object that can be applied to many different genres of photography. If you’re looking for a photo with a fish-eye like feeling but compressed into the ball, then this is a great option.

Five Essential Shots You Need to Get for Street Market Photography - low key portrait of a lady

Creating a low key photo is one option for more creative street market photography.

Now it’s time for you to do some market photography!

So do you enjoy street market photography? What’s your favorite type of photo to take while you’re in the hustle and bustle of a market?

What time of the day do you typically photograph markets? Do you like to go at the crack of dawn to see all the life at a fish market? Or do you go for the low light magic of a night market?

What tips do you have for getting the best results from this genre of street photography? As always please share your photos and ideas in the comments section of this article.

street market photography - vendors selling goods on train tracks

In this photo, the motion blur of a moving train can be seen behind the market vendors.

The post 5 Essential Shots You Need to Get for Street Market Photography appeared first on Digital Photography School.

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6 Essential Steps in any Post-Processing Workflow

26 May

We live in a digital age, a time when a post-processing workflow is an increasingly essential aspect of our photography. Cameras produce images with the expectation that they will be altered later, will be corrected, sharpened, tinted, etc.

What this means is that post-processing isn’t something that can be easily bypassed, especially if you shoot in RAW, which I recommend.

That isn’t to say that every photographer today has to love post-processing. Some photographers, I consider myself to be among them, greatly prefer working in the field to working on the computer. But while it’s possible to shorten one’s post-processing workflow, a minimum amount of editing is necessary to keep up with today’s artistic and technological standards.

macro photography abstract winter ice - Post-Processing Workflow

In this article, I will discuss that minimum and explain the six essential steps in any post-processing workflow. My examples are done in Lightroom, but this applies to all photographers, no matter what software you use.

Once you’ve gone through these steps, you may declare your images complete, and that’s okay. Or you may choose to work on them further, which is okay, too. The point here is only to suggest the six core elements that all post-processing workflows should include—after that, the choice is yours.

1. Crop (and straighten)

The first thing that I do as soon as I have opened my images in Lightroom is to crop and straighten them.

While it’s best to compose properly in camera, sometimes you see a slightly better composition when your image comes up on the screen. However, it isn’t good to rely on this too heavily. Cropping heavily reduces image resolution while also magnifying image imperfections.

Furthermore, when hand-holding your camera, it’s easy to take a slightly crooked image. This isn’t a problem, as long as you remember to straighten it out later.

daisy abstract macro photography flower - Post-Processing Workflow

Notice the slight change from original (right) to cropped and straightened (left) – look at the stem.

This image required a slight amount of cropping and straightening in order to balance out the frame. This is especially important when images have clear lines, as this one does (i.e., the daisy stem).

A word of warning: especially if you are a wildlife or bird photographer, you will be tempted to use cropping to compensate for a distant subject. Resist this temptation and focus on your stalking skills instead. If you find yourself consistently cropping a significant amount, recognize that you should probably make some changes while you’re in the field (get closer or use a longer lens).

2. Check the White Balance

I shoot in RAW. Thus, when I’m in the field, I leave my camera’s White Balance on Auto. Because the RAW file format allows for you to change the image temperature without any image degradation, this is perfectly acceptable (though it does mean slightly more time behind the computer).

snowy intimate landscape photography - Post-Processing Workflow

The left (final) image is after some adjustment; the right is adjusted in the other (warmer) direction.

A cooler (bluer) color temperature was necessary to recreate a snowy, cold feeling for this image.

Use the Temp and Tint sliders to adjust the White Balance.

Sometimes the goal is to reproduce the color temperature that you saw in the field. Other times, you might be trying to achieve an artistic look. Higher temperatures (high degrees K) make for a warmer image and counteract colder light, whereas lower temperatures (low K) make for a cooler image and balance out a warmer color cast.

macro photography flower abstract sunset - Post-Processing Workflow

The left image is what I ultimately decided on; the one on right is an exaggeratedly cool version of the same image.

Taken at sunset, this image required a higher color temperature to match what I saw at the moment of capture.

3. Check the exposure

After adjusting the White Balance, I generally turn to the exposure. This is an aspect of a post-processing workflow that is often forgotten. Yet you should scrutinize your image carefully before moving on. Is it too bright? Too dark? Just right?

This is where the histogram is your friend. It’s to your benefit to learn to read it. Look for blown out highlights or crushed blacks as peaks pressing up against either end of the graph, as well as gaps that indicate a lack of darker or lighter tones in your image.

The histogram can tell you a lot about your image. This one says the image it represents is slightly overexposed. There are no blacks (it’s not touching the left-side of the graph). An Exposure adjustment and the Black slider will solve this issue.

macro photography flower abstract - Post-Processing Workflow

This situation was unique: While the right image isn’t underexposed, I was interested in a slightly brighter one with more contrast. So I altered the exposure in Lightroom and ultimately chose the left image.

A darker image can be corrected in post-processing (this is easier to do with RAW files).

While it is ideal to expose perfectly while in the field, post-processing allows for a bit of leeway here. For instance, you can use the general Exposure slider in Lightroom to correct small exposure mistakes. And if you want to take this further, you can also work with the more narrowly focused Highlights, Shadows, Whites and Blacks sliders.

4. Check the Vibrance and Saturation

Saturation allows you to increase the intensity of all colors in the image, and Vibrance allows you to increase the intensity of the less saturated colors only. In most photo-editing programs, these are easy to change.

macro photography flower yellow abstract - Post-Processing Workflow

Notice the slightly more intense yellows in the left (more saturated) image.

A bit of saturation gave this image more punch.

Saturation and Vibrance can provide a slight punch to your images when done subtly. These are also quite easy to overdo, so be careful. You don’t want to slam the viewer with so much saturation that they are forced to look away!

5. Check for noise

Next, be sure to check the noise levels in your image. This is especially important if you’re working with a long exposure or an image that was shot at a high ISO. Increasing the exposure in post-processing may also introduce unintended noise.

macro photography abstract yellow - Post-Processing Workflow

This image required a slight amount of noise reduction.

While the difference is subtle, a crop of the final image (with noise reduction applied in Lightroom) is on the left.

If you find unpleasant levels of noise, you can generally use noise reduction software to remove it. Removing noise does decrease the overall image sharpness (if removing luminance noise) and saturation (if removing color noise). So, once again, this is a correction that should be used minimally.

6. Check the sharpness

Finally, I like to end my basic post-processing workflow by considering the complement of noise – sharpness. If working with a program such as Lightroom, this often needs little adjustment. With a good lens and good camera technique, your images will be rendered sharp simply by the photo-conversion presets.

For example, I rarely alter Lightroom’s Amount: 25 Sharpening preset. If your image is slightly soft, you may want to work with overall sharpness. You might also consider a second round of carefully applied sharpening in order to enhance specific features like the faces of birds, the center of flowers, etc.

autumn intimate landscape photography - Post-Processing Workflow

It is imperative that an image like this have a pin sharp subject.

A crop of the final image (left) with sharpening applied in Lightroom.

However, even once you’ve sharpened for your original image, the sharpening work isn’t over. Before you export for printing or web viewing, you will likely need to sharpen again. Otherwise, you’ll find that your new image is slightly soft.

Lightroom has a neat little way of completing this post-processing step. Upon exporting files, you have the option to choose a level of sharpening. I generally choose Low or Standard.

macro photography abstract flower yellow - Post-Processing Workflow

Conclusion

These tips should give you an idea of what a very minimalist post-processing workflow looks like. If you follow this guide closely—even if you do nothing else to your images—you’ll find that your images reach a higher standard.

What is your post-processing workflow like? Please feel free to share in the comments area below.

dahlia macro photography flower

Flower Abstract Macro Photography

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How to Capture a Winter Wonderland – Essential Tips for Photographing Snow

08 Feb

There’s nothing quite like waking up to the winter’s first snow covering the landscape. It’s an amazing transformation that affects everything from light and sound to mood. Whether you’re interested in nature photography, abstract photography, or portraits, winter is a fantastic time to do something different!

01 winter photography tips

Snow offers a lot to the willing photographer. The unique light, the brilliance of the white, the refreshed feeling you get when a fresh blanket of snow covers the ground, the low temperatures — the opportunities (and challenges) are endless. In this article, I hope to help you prepare with some essential tops for photographing snow so you can get started on your wintery outdoor adventure. So let’s get to it!

Before you set out

Before you grab your camera and run outside to capture your wintery landscape, there are some very important things to remember. First of all, you need to get dressed, and you need to do it well. Wear several layers of clothing rather than just one very warm layer. Put on shoes that will keep you warm and dry and don’t forget gloves and a hat!

It’s important that you’re dressed warmly, but who said anything about your models?

When you’re certain you’ll stay warm for long enough to be able to enjoy the snow, make sure you grab some extra batteries. The cold weather will drain the camera’s batteries surprisingly quickly. Keep the extra batteries close to your body (preferably your torso), inside your clothing, to keep them from getting cold and discharging faster.

Now you’re ready to head out!

03 winter photography tips

Practical things to keep in mind while you’re rolling in the snow

Once you’ve stepped out the door, there are some things you should keep in mind to make your photography excursion as comfortable as possible for you, and as safe as possible for your gear.

Be sure to stay warm. Taking photos often means you’ll be standing (or lying) still for a long time. So if you’re getting cold, get up and move around a bit. Also pay attention to your toes and fingers, as they can get really cold even if the rest of you is warm and cozy.

04 winter photography tips

Use protection

It’s also important to protect your eyes. Especially if it’s cloudy it might seem like there isn’t actually that much light. But as snow reflects light very effectively your eyes can easily get damaged without you even noticing. This is called snow blindness and the best way to avoid it is to wear sunglasses.

Yes, sunglasses, in the winter, even when it’s cloudy! It sounds crazy, but ask anyone who spends a lot of the winter outdoors and they’ll agree. And, of course, you’ll also look cool.

05 winter photography tips

To protect your gear, it’s important to keep snow off of it. Once the snow melts, it can damage your camera, your lenses, as well as other electronics. Keep the gear you’re not using in a bag, and remove any snow from your camera before you go indoors. Also, if it’s snowing while you’re out photographing, be careful so it doesn’t get on your lens and end up as big blurry blobs in your photos.

Technical aspects and tips

So let’s get to the bit that’s actually interesting, the photography itself. There are some basic technical aspects to keep in mind while you’re photographing snow, but I’ll also bring up some ideas for how to enjoy your snow white photography to its fullest.

1. Overexpose

If the world around you is more or less completely white, and you’re not going for a drab kind of image, you need to overexpose by at least one stop. This will give you a photograph that looks more like what you saw with your bare eyes, as well as one that captures the magical atmosphere of winter.

11 winter photography tips

2. Pay attention to shutter speed

As always, you need to use your shutter speed intelligently to capture the scene the way you want to. In winter, it’s good to remember to use a very short exposure time if you want to freeze falling snow, and to play around with slower shutter speed if you’re trying to capture drifting snow moving across a landscape.

07 winter photography tips

3. Look for contrast

In a completely white world, you might have to look quite hard to find something to contrast with the snow. Contrast is interesting, though, so keep your eyes and mind open.

To add colour contrast, look for something colourful or wait for sunset when the blue of the shadows and the warm colours of the sun mingle. If you find moving water, contrasting the stillness of the snow with the rushing water can add a lot to your image.

08 winter photography tips

06 winter photography tips

09 winter photography tips

4. Try something different

Like any season, winter offers a diversity of photo opportunities. Snow can be a great way to create negative space in your image. It is a great way to really bring out your subject or to create a calm atmosphere.

10 winter photography tips

You can also try to go beyond the obvious to find the treasures that are hiding in your winter wonderland. Go from landscape photos to close-ups, from strong color contrast to black and white, from a classical winter landscape to a surprising take on the season…

Don’t let the weather stop you, and remember to have fun and tell an interesting story with your photos.

12 winter photography tips

Conclusion

What do you think is the best thing about photographing snow? Do you have any fun or informative experiences to share? I’d love to hear your thoughts and see your snowy creations in the comments below/

The post How to Capture a Winter Wonderland – Essential Tips for Photographing Snow by Hannele Luhtasela-el Showk appeared first on Digital Photography School.

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Essential of organizational behavior 13th edition pdf

13 Sep

Standardized assessment of the content knowledge of English Language Learners K, the relevance of adverse geomorphological phenomena studying is determined by the need in health and safety and development of essential of organizational behavior 13th edition pdf to manage the possible geomorphological risks. 3 Pendidikan Matematika, your browser sent a request that this server could […]
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Clear or UV Filters – Essential or a Waste of Money?

18 Jul

In this video from Phil Steele he discusses the debate over whether or not you should use clear or UV filters on your lenses. It’s a highly heated topic, and Phil makes some very good points. See what he has to say, and then tell us your opinion.

What are your thoughts?

Please fill in this quick poll and tell us if you use UV filters on your lenses or not. Add your comments in the discussion area below – we want to hear from you.

Note: There is a poll embedded within this post, please visit the site to participate in this post’s poll.

If you want to learn more from Phil check out some of his video courses covering topics like event photography, Lightroom, headshots, and more on Steele Training.com.

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