RSS
 

Posts Tagged ‘Every’

7 Easy Ways to be More Creative Every Day

20 Jan

The post 7 Easy Ways to be More Creative Every Day appeared first on Digital Photography School. It was authored by Anthony Epes.

I have been a photographer for as long as I can remember. As a visual person, I get excited when I see beautiful light and love to explore the world with my camera and create interesting images from this vast, magnificent world.

I suspect you are the same.

There is something about taking photos that is so enriching to our lives. Connecting us more closely to our surroundings, showing us how to observe the world in a deep and meaningful way.

And yet, it is so easy to be pulled away from the things that we love to do, and which are most likely listed in our minds as ‘not essential.’

Our explorations with our cameras aren’t our jobs, nor is looking after our children or cleaning our houses.

As a father to two young kids and running a more than full-time photography business, it can feel almost decadent to spend an afternoon on my own just wandering around, exploring and taking photos. After all, there are always more important things to do, right?

But I counter that, actually, taking photos is essential for our lives. It is what we are called to do.

Making something, whatever it is that you are passionate about, is what we are alive for, surely?

So with our busy lives, how do we become more creative?

Here are 7 Easy Ways to be More Creative Every Day

1. At any moment we can refine our ability to see the world around us

Taking photos isn’t just about taking photos – it’s about taking all of the experiences we have on a daily basis and turning them into an expression of how we think and feel about the world.

As photographers, we want to observe the world by looking at the moments of life. Even if it’s just for that one moment. After all, if we are not seeing the moments of our lives, you could say we are not seeing our lives at all.

When we wake early in the morning and see the light eagerly streaming into our room, between all the little gaps between the curtains and the wall, we stop and we watch. We pay attention, we don’t always rush off.

And when are driving home late from work. The night is so dark, so enveloping, as we meander through the city, with bursts of light and activity every now and again, around stop lights, or rows of shops or outside restaurants.

Beyond that, it’s just meditative darkness, with tiny flares of soft light along the road. The darkness is closing us into our car.

We don’t allow our minds to race off into thoughts of the day. We pay attention. Looking at the darkness, we feel it. We notice.

These are all sensations in our daily life that we can pay attention to. This all helps with the art of seeing, or as it could also be called, the art of paying attention to our environment.

It sounds very strange to say this, but unless you are consciously cultivating being present – or are naturally good at it – then it’s likely you spend most of your day totally lost in busyness.

There is nothing wrong with that. However, in order to create something you need to carve out time and space.

Don’t just wait until you have time. Because either it won’t come – there are always more things to do – or when you get time, the pressure to instantly create will be too great.

Spend time every day developing a practice of being present, of looking around you, of seeing what is really there. Then, when you actually pick up your camera, it will be easier to cultivate the mood within you of a creative, relaxed, present flow state.

2. Reject perfectionism

“Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life.” Anne Lamott

One of the major barriers to being creative is the most insidious, painful and stressful emotion – perfectionism.

I call it an emotion because it envelops and paralyzes us when getting started with a project. It’s very hard to get up, push past perfectionism and get out the door.

For me, perfectionism can take many forms that seem logical, until I consciously pierce a hole in the flimsy argument. It used to be that I would become obsessed with having new gear. I couldn’t start a project until I had a new camera or lens, or the help of an assistant.

Then I realized this was the ultimate in procrastination. Either I did the project with the kit I had, or if that didn’t work, I found another project. I don’t mind buying new kit, in fact, I love it. However, I never buy a new kit because I am in a fit of perfectionism anymore.

Now perfectionism often comes to me in the form of: I have nothing unique to say about this place I want to photograph. It has been photographed so many times before by better photographers. What can I say that is new?

When I get emails from my students they often say: I don’t know enough about my camera/composition/ technique to take any good photos!

Even with very experienced amateurs, I see people who don’t believe in their skills and abilities with photography. They want just that little bit more advice or feedback. When really, they just need to keep taking photos.

As humans, we seem to have an innate ability not to recognize what we are doing well, and instead focus attention on the negative aspects of our skills.

Well, focusing on the negative is not going to get you very far. Like the writer, Anne Lamott says in the quote above, it will keep you oppressed your whole life.

It’s time to throw off the shackles of all that you are not and instead try to live with the ideas of imperfection instead.

If we are not trying to be perfect, we can just get started and not worry about being amazing.

We can go out and have some fun with our photography. We won’t worry if our shots are great – we’ll just practice, shoot, and have a good time.

The new mantra here is accepting imperfection. Celebrate it even. We are all on a journey, are all developing, and will never arrive at total perfection. It doesn’t exist.

So unhook yourself from the idea of perfection and do what every major artist, entrepreneur and anyone who creates anything for a living says: just go create.

3. Lower your expectations

Think about nurturing your photography as it needs to be nurtured. Think about your creativity as a journey, one in which you will keep persevering, weaving it into your life for as long as it engages you.

And if you’re like me, that’s probably your whole life.

We take so many photos now with digital that I think our expectations of the number of fantastic photos we should be getting is way higher than if we were shooting film.

When Ansel Adams said, “Twelve significant photographs in any one year is a good crop” he was talking obviously in the time of film when we were so much more careful with our shots. Making sure that we didn’t waste them unnecessarily.

The idea of expecting a small number of excellent shots is both realistic and freeing.

I spend a lot of time editing down hundreds, and sometimes thousands of photos after a shoot. To make sure that I get the few that are my very, very best.

When you lower your expectations about how many shots you should be getting, it means you can experiment and do things you might not normally do because the end result is unknown.

You can chase that strange light and see what your camera does with it. You can try lots of different subjects and shoot people/things/places that totally fascinate you – without thinking just about results.

It means you can practice perfecting your technique. Remember, when you are improving your technique – starting to shoot on manual for example – it is vitally important to constantly practice.

Practice takes time. Practice is about making mistakes and missing shots. But the more you do it, the better your understanding of your camera will get.

4. Use the power of silence

We all know the spiel that technology is ruining our lives, right? Well, I don’t totally agree. Technology has brought incredible things to my life. It has allowed my wife and me to become digital nomads. It has made photography truly accessible – no longer do you need a $ 3000 camera to get you started in photography.

Like everything fun and absorbing. However, moderation is key. When we check our emails 134 times per day (a statistic I read recently) instead of enjoying a beautiful sunrise, a great concert or a beautiful moment with our child, we rush to capture it instead of being in the moment. In that case, technology has become out of hand in our lives.

The downside to so much tech activity is you start to get lost in the constant stimulation of the world. You are so busy thinking and responding to that world that you leave your brain no space to…create anything new.

You will continue with the same habits, the same thoughts, and routines unless you consciously create space in your life.

Focusing on bringing more silence into your life is a beautiful way to allow new ideas in. It also helps to ‘clear the clutter’ of excessive thoughts in your mind. It cleanses your thinking a little, so you can turn your attention away from doing to creating.

What I like to ask my students sometimes is when they last listened to, and were totally absorbed, by silence.

And when I say absorbed, I mean totally aware and present for the silence. They weren’t thinking about what they were making for dinner, or their annoying work colleague or how much money they spent last night.

So it’s not just being surrounded by silence – it’s being actively absorbed by it. Listen to it and feel how the absence of noise affects your body.

For me, taking photographs is a total sensory experience. It’s not just about what I see, because all of my senses are heightened. Entering into silence is a way to connect more with my senses.

It’s feeling the different way that silence stimulates your senses, such as the feeling of melancholy on an empty high street on a grey winter’s day. Or the comforting nostalgia of a clear, cold autumn evening, with the smell of wood smoke wafting in the air.

Or the heady beauty of a spring morning full of the opulent perfume of flowers and the feeling of scorching, rich sunshine on your skin.

I know that it’s hard to pull your mind away from its busy thinking and doing. I get that being human means that thoughts endlessly appear in our mind, taking our attention and energy.

When this happens and you become conscious of it happening, take your attention gently back to the moment. Wrestle control from the thoughts and bring your mind back to what’s here in front of you. I like to say to myself – I’ll think about that later.

That way you can actually appreciate the life that you have in the moment, and you will develop seeing and awareness in your photography, regardless of where you are. Whether it be on your way to work, at the playground with your kids or even doing your shopping.

This awareness is a powerful catalyst for your creativity and will find you reaching for your camera more and more often because you have learned to listen to the silence and connect to the world around you.

5. Fear

Fear is certainly in the category of things that inhibit creativity in our lives. But if you can learn to work with fear, then you’ll automatically feel more inspired and confident to create and take photos.

There are two major fears I see in photographers at my workshops.

Firstly, fear of photographing their subject. This applies to street photography a lot. You very much want to take a photo of that magnetic looking stranger, or that strange event unfolding before your eyes, but you are gripped by fear.

You know you want to bring your camera up, you want to move closer to your subject but something stops you. You end up walking away without the shot and feel annoyed with yourself.

The second type of fear response I see in my students is a deep self-consciousness about shooting for too long in front of strangers.

Think about this scenario. You are walking along a busy city street on a rainy day when all of sudden a ray of golden sunshine bursts through the grey clouds, creating stunning reflections and patterns around you.

It’s mesmerizing! You want to shoot everything that this beautiful light is reflecting off. You start to shoot, but after a few minutes, you are hit by a wave of self-consciousness.

There are people everywhere. People shopping, coming home from work, tourists chatting, kids running. And here you are crouching down on the ground photographing puddles!

I’ve noticed that when this wave of self-consciousness hits, most people stop shooting and move on because it feels weird to be doing something that no one else is.

Now fear is normal in these situations. I think most photographers experience fear in certain situations. We know that our bodies produce a chemical response to new situations, which can make us want to run away.

Instead, we need to examine how to deal with this situation so that fear doesn’t overpower us. So how can I dispel my fear and get those great shots?

First, accept that like clouds, fear comes and goes. You will never live a life where fear disappears. You wouldn’t be human otherwise.

Even if you are a super-experienced photographer, there will always be times when you will be dogged by fear.

Secondly – allow it! This might seem counterintuitive, but I have found that if I try to run away from fear, or suppress or ignore it, it starts to get bigger and bigger until I am almost paralyzed by dread.

So I allow the fear. I just say – Ok, here is some fear. Welcome. OK, I don’t say welcome. I’m not that zen. But you get what I mean? I don’t fight it.

Carry on taking the photograph – and just let the fear be there. Eventually, like a cloud in the sky, it will leave. Fear always leaves! Maybe it will take a few seconds or a few minutes. Maybe longer.

Yet, the more you allow fear to be there, the quicker it seems to evaporate.

The good thing to understand is that the more you practice being in such situations as photographers, the more you will get used to these fear responses. They won’t overpower you and stop you from shooting.

If you suffer greatly from fear, then I suggest you practice getting comfortable being with your camera, so you can focus on the actual photography!

6. Stop consuming and start making

I don’t know why, but a day spent creating is a day that feels much more satisfying to me than a day spent consuming.

When I think about consuming, it’s not just buying things – it’s the endless stream of social media, checking Facebook, 24/7 news, and endless discussions about the politics of the day.

When we are just consuming, we definitely aren’t making anything.

To stop mindlessly consuming was an important realization for me to make in my life. Instead, I think to myself – what can I accomplish today?

7. Get started

With something as enjoyable and satisfying as taking photos, you should never be in a state of I should be doing my photography!

You don’t want to create a situation where photography is one of many things you should be doing – like going to the gym or eating less of your kids’ candy.

And yet, sometimes we need a push to get us out the door. We are all responsible humans beings and we are all keeping various plates spinning. And so taking time out can induce guilt.

But think about it: every single day of our lives is a day we will never experience again. And in every single day of our lives, we are given a choice of how to spend our time. We do the things we have to do but then we weave in the time to do the things we are passionate about.

If we don’t do it now, then when?

Taking time to cultivate our photography practice pays dividends across our lives too. Great by-products of a strong photo practice are that we are more present when we are in other spheres of our lives, we are more engaged and excited in life because of our inspirational photo practices.

I have to say I am a more interesting, inspired and happier person to be around when I have taken time out to do my personal photography. And in that, everyone in my life benefits!

I really hope you enjoyed those ideas about how to be more creative every day. They are ideas I feel passionate about and hope that you will too. I would love to know if these ideas have helped you, so do let me know in the comment box below.

The post 7 Easy Ways to be More Creative Every Day appeared first on Digital Photography School. It was authored by Anthony Epes.


Digital Photography School

 
Comments Off on 7 Easy Ways to be More Creative Every Day

Posted in Photography

 

Photography gifts for every budget: 2018 edition

22 Nov

With so many accessories, bags, lenses and so on to choose from, shopping for a photographer can be daunting. But we’re here to help: From stocking stuffers to, well, entire cameras, we’ve got you covered – at every budget.

2018 Holiday Gift Guide: Under $ 50

2018 Holiday Gift Guide: $ 50-250

2018 Holiday Gift Guide: Over $ 250

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Photography gifts for every budget: 2018 edition

Posted in Uncategorized

 

Focus on Autofocus – Achieving Sharp Images Every Time

25 Oct

Focus on Autofocus 1

Focus on autofocus – this article goes out to all my fellow focus-obsessed shooters who strive for consistently tack-sharp images no matter what the scene, subject matter, or lighting situation.

Have you ever walked away from a shoot feeling confident that you nailed every last shot only to discover, upon closer review, that the majority of your captures are slightly or significantly front or rear focused? If so, this article is most definitely for you!

My eyes have been drawn to and compelled by explicitly sharp, detailed, and descriptive imagery since I was a young man pouring over the works of photojournalists such as Gordon Parks, Diane Arbus, Elliot Erwitt, and Eugene Richards to name a few.

These photographers not only captured substantive and spectacular content (moments) but did so with a technical acumen that titillated my visual senses and sent chills down my spine. I wanted to create images just as clean and captivating as those I idolized.

Focus on Autofocus 2

Autofocus in the age of modern digital technology offers quick, responsive subject acquisition and focus, but that technology sometimes yields inconsistent and unreliable results when creating images in chaotic environments or adverse situations—and, surprisingly, sometimes even in ideal situations.

My intention with this article is to discuss autofocus (AF): how it works and the various AF modes and points that are available to help ensure more consistent focus even under the most challenging circumstances.

Autofocus systems are incredibly complex and providing an in-depth explanation of precisely how they work, would take far too long and lead us astray. So here’s a concise breakdown of the two types of passive autofocus modes.

Phase Detection

Focus on Autofocus 3

Phase detection is most common in DSLRs and employs what is known as a beam-splitter. The beam-splitter directs the light (the image) onto two different microsensors, thus creating two separate and identical images. These are aligned (brought into focus) automatically using the camera’s internal software.

If you’ve ever used an older film camera with manual focus lenses, you may recall how the image or scene would appear split in the center of the viewfinder, and focus was achieved by aligning the two misaligned images. Phase detection works this way.

Contrast Detection

Focus on Autofocus 4

Contrast detection is arguably more accurate than phase detection, especially when shooting subjects (portraits) close-up with a wide aperture (i.e., f/1.4–f/2.8). The technology behind it is less cumbersome (lightweight) and less expensive. We see contrast detection AF systems most commonly in smaller and lighter mirrorless cameras.

Phase detection is more robust and more expensive, but it is also more responsive and reliable with subjects that are in motion or moving erratically. The mechanics of contrast detection are much leaner, lightweight and less expensive, but this system is notably slower and less responsive than phase detection.

For this article, I focus (no pun intended) on DSLR systems since they remain—for the time being—the mainstay for fast-action, low-light photography (i.e., photojournalism, sports, wildlife, and wedding photography).

Focus on Autofocus 5

I’ve worked extensively with both Canon and Nikon systems (each has their strengths and weaknesses), but based on my personal experience Nikon prevails when it comes to fast, accurate focus acquisition under adverse low-light situations with subjects in motion.

I shoot mostly using available light, fixed lenses, and wide apertures—typically between f/1.4 and f.2.8. There is no margin for missed shots when it comes to capturing key moments for wedding clients.

I need speed and accuracy and strive for consistency. I need to be able to capture those decisive moments as they unfold, but I also want tack-sharp images. Nothing frustrates me more than capturing great content that is slightly out of focus.

I need my focus to land precisely where I want the viewer’s eye to arrive first. Typically, that focal point is the main subject present in the scene or that subject’s eyes if the image is more portrait-like (rather than a scene with multiple subjects).

The issue of precise and accurate focus becomes even more pronounced and problematic when focusing on subjects close to the lens or when using fast lenses with wide-open apertures. A thorough and comprehensive understanding of your camera’s autofocus modes and AF points prove to be paramount in these cases.

Focus on Autofocus 6

When capturing stationary or slow-moving subjects, I achieve the best results with AF-S. I use the camera’s center focus point, which is considered the most accurate and reliable AF point. I acquire and lock focus with the center AF point then quickly recompose and capture.

Today’s cameras come equipped with many focal points. Depending on which make and model of camera you’re using, you could choose from up to 153 points. AF points typically light up in red or green when the shutter-release button is halfway depressed.

Focusing Modes (for Both Nikon & Canon)

Focus on Autofocus 7

Autofocus Automatic (AF-A) Nikon | AI Focus AF Canon

In Autofocus Automatic (AF-A), the camera analyzes the scene and determines which AF point/s to use. Based on whether or not the subject is moving or stationary, it automatically switches between AF-S and AF-C to achieve focus.

Single Servo AF (AF-S) Nikon | One-shot AF Canon

In Single-Servo AF (AF-S), the selected AF point locks focus on the subject as long as the shutter release button remains partially depressed. Focus lock is typically indicated in the viewfinder by the illumination of a solid circle.

Once focus is acquired and locked, the scene is recomposed without losing focus on the chosen subject/s. This AF mode is ideal for subjects that are stationary.

Continuous Servo AF (AF-C) Nikon | AI Servo AF Canon

In Continuous Servo AF (AF-C) focus, the camera continues to focus (and adjust focus) on the selected AF point up until the moment the shutter is activated. This AF mode is ideal for subjects that are moving.

The AF Area Mode (AF points)

In addition to these focusing modes, Nikon and Canon DSLRs come equipped with numerous AF points and AF area mode options.

Focus on Autofocus 8

Nikon AF Area Modes

Nikon allows you to choose the following AF area mode options:

Single Point – The photographer determines a single AF point manually, and the camera focuses on the subject in the selected AF point, working best with stationary subjects.

Dynamic Area – The photographer determines the AF point manually, as with Single Point AF (above). However, if the subject moves and leaves the selected AF point area, the camera adjusts accordingly based on surrounding AF points and refocuses accordingly. This setting works best with subjects that are moving unpredictably.

Auto – The camera determines which AF point contains the subject and focuses automatically.

3D – The photographer determines the AF point manually. Once the shutter release button is partially depressed, and the camera achieves focus, the photographer recomposes the scene, and the camera automatically shifts to a new AF point to maintain focus for the selected subject.

Canon AF Area Modes

Canon’s AF Area Mode options are very similar to Nikon’s but are predicated more so on groupings of AF points to achieve focus.

AF Point Expansion – This mode allows you to select a primary AF point accompanied by a surrounding 4 or 8 additional AF points for subjects that are moving or don’t offer much contrast for quick focus acquisition.

Zone AF – This provides a cluster of either 9 or 12 moveable AF point groupings to achieve focus on the nearest subject that falls within in the zone you’ve selected.

Auto AF Point Selection – In this mode, all AF points are active and track focus much like Nikon’s 3D AF mode.

If you’re anything like me, options can be exciting but also incredibly overwhelming. When reading camera manuals or highly technical tutorials, I want to ball up in the fetal position and go to my happy place.

So, I urge you to take a deep breath and read on as I speak more prosaically about how to synthesize and integrate this information for the practical application and use in the field.

I’m primarily a portrait and wedding photographer whose obsession with making sharp images has led to a great deal of experimentation throughout my 20-year career. I have worked with every pro DSLR body and lens combination imaginable and what I’m about to tell you isn’t a secret; it’s an affirmation.

Lens Calibration

First, I have achieved my best focus and image sharpness results by using fixed proprietary lenses. Proper lens calibration is also instrumental in achieving optimal results with DSLRs and proprietary lens combinations – both fixed and zooms. Lens calibration is the very first step you must take to achieve consistency and accuracy when it comes to focus.

Nikon offers AF fine-tuning with some of their newer or newly released DSLR pro bodies, and I can’t rave enough about what a valuable tool this is. Canon also allows its shooters to fine-tune and calibrate their pro lenses with their pro bodies, but for right now it remains a manual process.

If you’re interested in learning more about Nikon’s AF fine-tuning, please visit https://fstoppers.com/gear/how-get-most-nikons-auto-af-fine-tune-194063. This video provides a great tutorial that enables you to harness the power of this awesome feature!

Focus on Autofocus 9

Know that no camera body lens combination is ever a perfect match and that all body/lens combinations can benefit from calibrating your lenses. Whether you have a newer Nikon that allows you to calibrate automatically, or you own a Canon system and have to perform lens calibration manually, this is the genesis of consistently tack-sharp imagery.

My experimentation with AF points and AF modes is equally extensive. I have come to find that center point focus, and Single-Servo AF (AF-S) delivers more consistently for stationary or slow-moving objects than any other available combination of AF point and focusing mode.

I prefer to use the AF center point to achieve and lock focus, then recompose my scene for final image capture, rather than using AF points located nearer to the edge of the viewfinder. I haven’t always shot this way but discovered through comparison that this method was quicker and more reliable and that the focus was also far more accurate shot after shot.

Your camera’s AF points and focusing modes rely heavily upon contrasts present in the scene. The AF center point discerns contrast and thus achieves focus faster and more accurately than points closer to the edge of the viewfinder or image. Here contrast, clarity, and brightness get stifled by vignetting and optical aberrations that occur in all lenses—especially toward their edges and corners.

Additionally, the AF center points are cross-type focusing points, which are capable of focusing on lines in two directions, horizontally and vertically.

Focusing on Moving Subjects

Focus on Autofocus 10

When focusing for moving subjects, I have found that using Continuous-Servo AF (AF-C) in combination with Dynamic Area AF mode (Nikon) or Zone AF (Canon) delivers the best, most consistent results even in extreme low-lighting conditions.

Remember, Dynamic and Zone AF modes allow for the selection of AF point groupings ranging from 4-8 point groups to maintain constant focus tracking for subjects in motion.

When I’m a bit further away from subjects that are moving, I find that shooting in Continuous-Servo AF (AF-C) in combination with 3D area AF mode (Nikon) or Auto AF (Canon) produces the most consistent results.

For example, when I’m shooting the bride and groom’s first dance, 3D AF-C is my go-to, as it allows me to tell the camera which subject/s I want in focus and maintain that focus continuously as the subject/s move within the frame or I recompose the scene myself.

More on shooting moving subjects here.

Shooting Portraits

I think the most significant focus challenges come with shooting portraits or close-up details with longer lenses (50mm or greater) at apertures of f/1.2–f/2.8. This is where the pros separate from the amateurs.

Many photographers want to achieve the striking visual effect (bokeh) we see when shooting a subject wide open (f/1.2 – f/2.8) and nailing focus on the eyes. In these instances, there is no margin for error. Sometimes you see just a centimeter of sharpness—and if you miss it, the image is unusable (at least in my opinion). It’s a significant risk with huge rewards.

I’m often asked if there is a trick to nailing eye sharpness in portraits shot at such shallow depths of field. The ‘trick’ is to know how all of your equipment works. Know how each lens works with the body to which it’s paired, and which AF point or focusing mode produces best results when shooting shallow for that particular subject or scene.

Focus on Autofocus 11

For me, the reward is only worth the risk if I possess the technical acumen and confidence to achieve the desired result at least 8 out of 10 times (that’s my standard).

Consider the following: When shooting at 85mm set to f/1.8 with a subject to camera distance of 1 meter, you only have around a 1.3cm depth of field. If you use the center AF point in AF-S to set, lock focus, and recompose before capturing the image, it is highly unlikely your razor thin plane of focus will land where you initially locked focus.

It’s basic trigonometry.

The slight change in camera angle from recomposing (or even breathing), drastically affects (shifts) the plane of focus, resulting in the cheek, nose, ears, or chin (rather than the eyes) being in focus.

So unless you want the subject’s eyes positioned dead-center of the frame in all the portraits you shoot with a shallow aperture, you’ll need a more creative and effective strategy.

In my experience, using Continuous Servo AF (AF-C) and selecting a group of 4 to 6 Dynamic AF points near the eye is the best way to achieve eye sharpness in this precarious scenario.

However, I have found shooting in Continuous Frame or High-Speed mode, and manually making micro adjustments to the focus while the shutter is activated, is the only surefire way you’ll capture at least 1 or 2 frames where eyes are tack-sharp.

Conclusion

Autofocus is a powerful and convenient tool that has helped evolve and elevate photography to heights I would have never imagined 20 years ago.

However, with all things mechanical and humanmade, there exists weakness and limitations. That aside, there are no limitations when we speak of imagination or the creative wills that enable us—and compel us—to push those tools well beyond their limits to achieve optimal and desired results; something only possible when we possess the proper knowledge of how those tools work.

As I stated earlier in this article, Autofocus and AF systems are incredibly complex. It’s a topic of great interest and value to many photographers – from novices to seasoned pros alike.

It’s also a rapidly evolving technology, which means that what we know today may not apply tomorrow. Many variables and factors impact and affect AF accuracy and consistency – it’s a multifarious topic for sure. One article alone could never address all of these facets.

I hope that with this article I’ve been able to break the ice and provide useful information that inspires you to hone your skills further. We as photographers rely upon technology to articulate our vision and voices, so it’s not only crucial but also incumbent upon us to understand the technology – so that we may advance our artistry.

That said, I’m looking forward to writing more articles on this topic and carrying forward this conversation so that we may examine more closely and improve our collective focus.

 

The post Focus on Autofocus – Achieving Sharp Images Every Time appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on Focus on Autofocus – Achieving Sharp Images Every Time

Posted in Photography

 

Tips for Ensuring You Get Sharp Photos Every Time

07 Sep

How many times have you captured an image that looks great as a thumbnail only to lose that sharpness when it is enlarged? If you’re like me, TOO MANY times. It happens to all of us all too often, but it doesn’t have to. You probably know the reasons why and how to avoid the problem, but let’s review them all in one setting to you can get sharp photos every time.

Tack Sharp photos - Leaves

There are several known contributors to soft photos and specific ways to prevent them.

First and foremost – clean the lens

Clean Lens - Tips for Ensuring You Get Sharp Photos Every Time

Fingerprints and dust on the lens are the most obvious hinderances to sharp pictures and are one of the most commonly overlooked causes. Carry a small clean microfiber cloth (or packets of lens cleaning wipes) in your camera bag at all times, and keep the lens cap on the lens when it’s not in use.

Become a clean freak with your lenses.

Aperture Settings

While shooting with the aperture wide open does allow you to use higher shutter speeds, it can also have an adverse effect on image sharpness because of an issue called a spherical aberration.

Simply put, light rays travel in straight lines. When they pass through a lens, the curve of the lens actually bends the light rays and diffuses their focus. The more the rays are curved, the softer the focus. When the entire rounded surface of the lens is utilized (as in when using a wide open aperture), the light-bending is increased and the sharpness on the outer edges of the picture is somewhat softened.

This aberration issue is most evident in less expensive lenses.

Tack Sharp photos - Aperture

It is widely known that an aperture 2-3 stops down from wide open produces the sharpest results. If your shot doesn’t require an extremely shallow depth of field to blur the background, close the lens down a stop or two and compensate the exposure with a slower shutter speed or higher ISO.

But be aware that extremely small aperture openings (f/22 and higher) present their own problem called diffraction. When light is forced through a very small opening, the outer rays bend to get past the small opening, which can soften the image and require a longer exposure time.

Lessons learned: Either aperture extreme will cause a slight softening of the image. Except for special applications, so stay in the middle of the road!

Lens Quality

It’s always good advice to buy the best glass you can afford. It is a known factor that THE most critical equipment in your camera bag is not your fancy camera body, but the quality of the glass in front of your camera.

Tack Sharp photos - Lens

Save your money and invest in quality lenses (f/2.8 or faster). Most of us carry at least one zoom lens, but these lenses, because of the complex grouping of internal glass, are seldom faster than f/2.8, and many are as slow as f/4.5 – f/5.6. The lower the number, the more light that passes through the lens. An f/1.4 prime (fixed length) lens always produces sharper images, though it costs more money.

Weather

Believe it or not, the cleanliness or dirtiness of the air can have a significant impact on your photography, especially long-range shots like landscapes. Both heatwaves rising from the hot ground and floating particles of dust and pollutants (what we lovingly call atmosphere) bend the lightwaves, dull the saturation, and blur the focus of your pictures.

Tack Sharp photos - Rust‘

Living on the “beach coast” of Florida, steady breezes come in off the ocean that are refreshing on a hot summer day but they contain serious amounts of salt. This air salt can be seen for miles in the distance while driving down the coastline. The saltwater mist hangs in the air and has an adverse effect on both metallic surfaces and photographic subjects.

The most ideal weather for shooting razor-sharp pictures is those delightful hours right after it rains. That happens in Florida like clockwork almost every afternoon and at least once every day, Florida gets a nature-shower that lasts for less than an hour and leaves the air sparkling clear for all kinds of outdoor activities. Thankfully, these daily showers scour the air and rinse the salt from both nature and automobiles.

Depth of Field

Choose an f-stop that will keep your entire subject in sharp focus. If you want to keep your subject in full focus while blurring the background, do the math to figure out the depth of field that will remain in full focus at a particular distance.

Each focal length lens has its own “pocket of precision” or focal zone for each subject-lens distance. Take the time to explore your lens’s capabilities so that you will be prepared.

Tack Sharp photos DOF

The depth of field is particularly critical in macro photography. The very nature of the process limits the actual focus on subjects to a very shallow distance. Sometimes this works out well and sometimes it just doesn’t.

Learn the limits of each macro lens’s “pocket” before you make your shot. If your camera allows you to preview the depth of field, use it religiously. Very small changes in the lens-to-subject distance have a very big effect on the focal distance.

Use the One-Third, Two-Thirds Rule

All photographers know that higher number f-stops mean greater depth of field, but maybe some don’t realize that there is an important ratio involved in the field of focus. This ratio must be considered when choosing the f-stop for a particular shot.

While the length of the lens affects how much of the subject will be in total focus, where you set your focus point is also critically important.

This is true whether you are using Automatic, Spot or Manual focusing. Learn to divide the desired focus area into thirds and set the focus one-third into that distance. When you focus on a particular spot, two-thirds of the focal range behind that spot will remain in focus while only one-third of the area in front of that spot will remain sharp.

This is why portrait photographers set their focus on the subject’s eyes. This way the distance from the nose to the ears remain in focus.

Autofocus Versus Manual Focus

Tack Sharp photos - Lumix Manual Focus

Unless your subject has a high level of contrasting edges and is located in the middle of your field of view, you might want to consider using manual focus. Autofocus is a life-saver most of the time, but any higher contrast item in the scene could very well steal the camera’s attention.

Camera autofocus is designed to zero-in on high contrast and those areas in the scene will always set the camera focus. If your subject is located in subdued lighting, try switching to manual focus instead.

Shutter Speed

Slow shutter speeds in hand-held conditions always present problems. No matter how still you hold, your body is always in motion.

The simple fact that your breathe and have a heartbeat means that slight motion will most likely become an issue with slow shutter speeds. Even the slight motion of pushing the shutter button is a contributing factor in this process. I personally make it a point to not go below 125/th of a second when shooting hand-held. Bracing yourself against a stable surface or using a tripod is always advisable.

Tack Sharp photos - Remote Trigger

Use a tripod and a remote trigger. The ultimate preparation for capturing detailed and sharp photos is to take human motion out of the equation altogether.

Once you mount your camera on a tripod, frame the scene, set the focus, set the appropriate f-stop for the depth of field, switch to the electronic shutter (if available on your camera). Set up a remote trigger using either a cable release or a smartphone app. Then sit back and be ready to pull the trigger when the scene is right.

Compensate ISO for Shutter Speed

If your shot requires a shallow depth of field or lower f-stops, try dialing up more light sensitivity (increased ISO). Most ideal lighting situations accommodate 200-400 ISO, but low lighting scenarios may require you to set the camera to significantly higher ISO.

But keep in mind that ISO determines how sensitive the image sensor is to light and darkness. Very high ISO will yield higher levels of electronic noise in your picture. Noise is the polar opposite of “signal.” Make your choice of ISO carefully if the image is to be enlarged at all.

About Image Sharpening

Tack Sharp photos - Smart Sharpen

Nominal sharpening takes place (usually) at the time the photo is taken. However, sometimes additional sharpening may be necessary. Beware, image sharpening should always be the last step in image preparation.

Most photos are intended to be sharp and detailed. But refrain from sharpening your images in the editing process in a ditch effort to bring out more detail. Image sharpening artificially simulates image sharpness and can actually degrade the digital image. Unless you use a sharpen brush, every time you sharpen an image in post-production you also enhance the non-subject elements in the scene.

So make sharpening for detail a last resort.

Conclusion

Make it a habit to capture the highest level of detail in the original shot. Take the time to learn each of these precautions and then consider them briefly before you take your shot. If you discipline yourself to go through this checklist the next half-dozen times you shoot, this will become a mental-muscle memory that you check subconsciously.

Exercise your good habits and you’ll come home with more sharp photos and become a sharpshooter.

The post Tips for Ensuring You Get Sharp Photos Every Time appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on Tips for Ensuring You Get Sharp Photos Every Time

Posted in Photography

 

4 Less Popular Types of Lighting Every Photographer Should Know

20 Aug

How can you, as a photographer, best use lighting to your advantage? Working with different kinds of light can be a challenge for even the most seasoned photographers. This often leads to a common suggestion: “Point your shadow at the subject.” Yet certain underutilized less popular types of lighting can actually enhance your photographs.

macro photography bokeh flower dahlia - Types of Lighting

In this article, you’ll get tips for working with four different types of natural lighting, including shade, overcast light, and strong backlighting. Hopefully, you’ll come away with the know-how and inspiration to start using more creative lighting in your own photographs.

macro photography bokeh flower tulip - Types of Lighting

1. Shade plus front light

By “shade plus front light” I’m referring to the lighting situation when the sun is behind you (and coming over your shoulder), but the subject is shaded. That is, the sun would normally front light the subject, but it is blocked by an object.

macro photography bokeh flower trout lily - Types of Lighting

I shaded this trout lily with my body, resulting in a shaded subject and a well-lit background.

Many photographers like to ignore shaded subjects. However, I love this lighting situation for a few reasons.

The first is that it is easier to expose for a shaded subject. You don’t have to deal with intense highlights and shadows. Instead, you can rest easy knowing that the range of lights and darks in your image will be rendered properly by your camera’s sensor.

purple flower - Types of Lighting

Another shaded but front lit situation. Notice the brighter background here.

The second is that this lighting scenario offers up wonderful backgrounds. This is an especially powerful technique when shooting during the “golden hours”, the time just after sunrise and just before sunset.

If you can position the subject so that the sun falls behind it, you can take images with rich, warm background colors. The key is to expose for the main subject (i.e., meter off it), and let the background remain bright. Use a wide aperture to ensure that the background is thrown out of focus.

macro photography bokeh flower cosmos - Types of Lighting

Shading this cosmos flower allowed me to produce a more subtle looking subject with a beautiful background.

Shaded subjects can make for great photographs if you know how to use them!

2. Shade plus backlight

To continue with the “shade” theme, let’s discuss another underutilized type of light: shade and backlight.

By this, I am referring to a situation with a shaded subject where the sun is positioned behind that subject so that you are pointed toward the sun. In this situation, you cannot do the shading yourself. Instead, you have to rely on environmental features to block the light.

macro photography bokeh flower - Types of Lighting

This flower was shaded by some nearby grasses. I was able to get these background highlights by including the edge of the sun in the frame.

What does this type of lighting offer you? Similar to a shaded and front lit subject, a shaded but backlit subject is easier to expose.

If you’re struggling to photograph a brightly colored flower, for instance, it might be beneficial to find a similar specimen in a shaded area. This will help prevent you from blowing out the highlights on the flower’s petals.

macro photography bokeh flower aster - Types of Lighting

Another compelling reason to use this particular type of lighting is that it can create beautiful bokeh. I’m not really talking about bokeh in the sense of that smooth, creamy look that we photographers love (for that, go back to shade plus front light).

Rather, I’m referring to those beautiful geometric shapes that occasionally appear in the background of photographs.

macro photography bokeh flower tulip - Types of Lighting

Notice the slight highlights in the background, created by the shade-sun combination.

How do you do this?

In a backlit environment, the light is often filtered through the surrounding greenery. These are often leaves, but also grasses, shrubs, branches, tree trunks, etc. The rays of the sun are broken up into small points of light, which are then rendered in that geometric fashion when incorporated into your images.

This is a beautiful effect that can add an extra punch to your photographs.

3. Overcast lighting

This type of lighting is more commonly used than the two mentioned above, but overcast light (i.e., light on cloudy days) deserves a mention.

macro photography bokeh flower aster - Types of Lighting

I photographed these flowers on a cloudy afternoon.

You might think that the camera should stay inside on overcast days. After all, the subjects aren’t very well lit, and everything seems a bit gloomy and bland.

Actually, overcast days are fantastic for photography. Especially if you go out toward the middle of the day when the sun is high in the sky (and blocked by clouds), you’ll find wonderfully diffused lighting.

The clouds act as a giant softbox, subtly lighting the entire landscape. This results in colors that are deeply saturated. Macro photographers such as myself love overcast lighting because our flower photographs become much more colorful.

macro photography bokeh flower tulip - Types of Lighting

Another advantage to shooting on overcast days is similar to that of shaded lighting in that the subjects are easier to expose well. There is no bright sunlight to create harsh shadows and unpleasant highlights.

Therefore, overcast days can be a great choice for photographing brightly colored subjects.

4. Direct backlighting

Direct backlighting refers to situations where the sun is directly behind the subject (and therefore directly in front of the photographer).

macro photography bokeh flower tulip - Types of Lighting

The sun is just out of the frame here, above the tulip.

This type of lighting is difficult to work with. Photographers often come away with unwanted flare and a drastically underexposed subject. However, using backlighting is simpler than you might think. Just remember a few key guidelines.

The first thing to note is that I don’t like to use direct backlighting unless the sun is low in the sky. Otherwise, instead of achieving a charming, warm look, you’ll find yourself with a harsh, contrasty image. Sunrise and sunset are your windows, so you’ll need to work quickly and efficiently.

Second, don’t put the sun in the image itself. This will result in a nearly impossible lighting situation. Instead, block the sun with your subject. Move around a bit. Get down low. If you do decide to include the sun in the image, put it at the very edge of the frame (as I did in one of the photos above).

macro photography bokeh flower bleeding heart - Types of Lighting

Backlighting (the sun was in the background on the right-hand side) produced some really interesting bokeh in this bleeding heart photograph.

Third, make sure that your subject stands out against the background. I often try to compose with the subject against the sky.

Fourth, expose for your main subject. Don’t worry about the bright background. Then, once you’ve settled on an accurate exposure for the subject itself, feel free to raise or lower the exposure. Lower it for a slightly darker, more dramatic look (and if you lower it a significant amount, you’ll end up shooting a silhouette). Raise it for a slightly brighter, in-your-face type image.

While there are certainly variations in backlighting conditions, these four guidelines will get you well on your way to shooting some creative backlit images.

Conclusion

While it can be difficult to think outside the box and take risks when it comes to lighting, the rewards can be great.

Try using some of the lighting scenarios discussed above: shade and front light or backlight, overcast light, or even direct backlighting.

Your images will become far more diverse and a lot more impressive!

macro photography bokeh flower aster - Types of Lighting

The post 4 Less Popular Types of Lighting Every Photographer Should Know appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on 4 Less Popular Types of Lighting Every Photographer Should Know

Posted in Photography

 

5 Camera Bags That Every Travel Photographer Needs At Some Point

18 Jul

One of the great things about being a travel photographer is that you are almost always working outside. Sometimes this might be in a city and sometimes in the wilderness. Either way, one of the main attributes you will need is to be organized. This involves everything from research and planning, to your shot list and efficiency. It also includes being organized with your equipment and what you will need on a day to day basis.

There is a fine balance between carrying too much unnecessary equipment and what you actually will need. A vital part of carrying your equipment is choosing the right bag for the scenario you are going to be photographing. Not only are camera bags important in keeping your equipment safe and dry, but a good bag will also make it easier to carry equipment.

Especially when you will potentially be walking around all day. There are so many bags to choose from, so here are the five types of bags that you may need at some point.

person on a cliff overlooking the water - 5 Camera Bags That Every Travel Photographer Needs At Some Point

#1 – Day Bag

A day bag is usually the first bag that most people would purchase. It will also be the bag that gets the most usage. So it’s vital that you take into account the different options available to fit your needs. Before you rush out and buy one, consider the following factors:

day bag for camera gear - 5 Camera Bags That Every Travel Photographer Needs At Some Point

  • Size – What will you generally be carrying day to day? Most travel photographers will carry a telephoto lens and possibly a couple of smaller lenses. You may also carry a flash as well as memory cards, batteries and possibly a second camera.
  • Tripod – The first day bag that I ever purchased, didn’t have a way to attach and carry my tripod. I quickly realized how frustrating and tiring that was. Carrying a tripod means you are constantly having to put it down every time you want to take a photo. So when fleeting moments arrive you are not ready to snap away.
  • Non-photography space – Another big consideration when purchasing a day bag is how much additional space you will have to carry non-photographic items. For example, can you carry a bottle of water? Or a rain jacket? Is there somewhere safe and hidden away that you can keep your keys, mobile phone or even cash?
  • Accessibility – Would you really want to take everything out of your bag to get to those plasters right at the bottom? How quickly and easily you can access the various compartments of your bag is very important. For example, some bags will allow you to get your camera out from a side zipper without having to open the whole thing up.
  • Comfort – As a travel photographer you will often be out walking for hours. Being able to carry your equipment comfortably can mean the difference between going back to the hotel because you’re uncomfortable and in pain or carrying on.
  • Airline carry-on – Another consideration is whether your bag complies with the carry-on regulations of airlines. I always carry my camera equipment on the plane (I put my tripod in my suitcase) rather than check it in so have to make sure that my bag isn’t too big.

All of these are factors that need to be considered before purchasing a day bag. It’s taken me a few attempts to find the perfect day bag but my choice is the Lowepro ProTactic 450 camera bag.

It has plenty of storage for two cameras as well as a couple of other lenses and things like memory cards and batteries. It has a top zip, as shown below, that makes it easy to access my camera without needing to open the whole bag. I can also carry a large tripod attached to the bag as well.

5 Camera Bags That Every Travel Photographer Needs - Lowepro ProTactic 450 AW Camera Backpack

#2 – Hiking Bag

While a day bag is great for everyday use, sometimes it’s simply not big enough. For those photographers who like to hike or camp overnight, then a day bag won’t be able to hold all of your camera equipment and additional things needed like a tent, food, and water.

So the next bag up from a day bag is a hiking bag. But again it’s important to consider the factors below before purchasing your hiking bag.

5 Camera Bags That Every Travel Photographer Needs - man sitting on a rock by the ocean

  • Size – The first criteria for your hiking bag is the size that you will need. This will come down to what you are planning to photograph and the duration of your hike/trek. For example, if you are planning to camp overnight you will need space for a tent and sleeping bag. But if your hikes are one day ones then you could get away with something smaller. Factor in all the items you will need such as spare clothes, a first aid kit and even cooking utensils as well as your camera gear. Then find a bag to fit what you will be carrying.
  • Water reservoir – This might seem like a trivial point when considering a bag, but being able to have a drink without having to take your bag off is incredibly useful. So one thing that I would always recommend is buying a bag that either comes with a water reservoir or one that you can fit one into. You don’t want to have to constantly stop and take your bag off every time you want to have a drink.
  • Waterproof – Most outdoor bags these days will be somewhat shower proof, but some bags also come with a rain cover that you can place over the bag. These sometimes sit under the bag and can easily be accessed when you need them.
  • Adjustable – On any long walk or hike, comfort is vital. So look for a bag that allows you to be able to adjust the straps to fit your posture. The best thing to do is to try out your given bag for a few hours with your equipment locally before setting out on your trip.

My personal choice for a hiking bag is the Lowepro Pro Trekker 650 AW camera backpack. As I rarely camp overnight, this bag is big enough to carry my camera equipment and any additional daily items. There is also a side pocket for a water reservoir (not included) and you can strap a large tripod to it as well.

pro trekker LowePro bag - camera bags for travel photographers

Lowepro Pro Trekker 650 AW camera backpack

#3 – Sling Bag

There are times that even a day bag is too big and cumbersome to carry around. Sometimes all you need is a small bag to carry your camera and a few additional accessories. Sling bags are useful for this purpose and also because you can get things in and out without having to take your bag off.

There may also be occasions (i.e. in busy events) where you can keep your bag in front of you thus making it less inviting to pickpockets and thieves. You won’t be able to carry a lot of equipment or strap your tripod to it, but a good sling bag should still have plenty of room for what you need.

I pack my sling bag into my suitcase (it folds flat) and will use it on occasions when I don’t need to take a lot of equipment. For example, some museums or viewing platforms don’t allow backpacks whereas you’ll be okay with a sling bag.

My sling bag of choice is an older version of the Lowepro Passport Sling III camera bag. It’s surprisingly spacious for its size and I can fit my DSLR as well as a wide-angle lens and a telephoto lens inside. It also has space for memory cards and batteries as well as outside pockets which are useful for things like a water bottle.

sling bag - travel photographers camera bags

#4 – Toploader

These small camera bags are only big enough for one camera and one lens (if you want it for a telephoto lens make sure you purchase the bigger size). The real benefit of these bags are that you can keep your camera on your hip for easy access. So rather than having to take your bag off to pack or unpack your camera you can simply place in this bag as and when you need to.

I find that this is especially beneficial on long hikes or treks when I sometimes may not take a photo for long periods of time but I still have it on hand when a moment presents itself.

The less obvious benefit of these bags, which I realized recently, is when traveling by air. Airlines can be very picky about the weight of your checked-in luggage. So if you find that you are over the limit you can place some items from your luggage into this bag and take it onboard. For example, on a recent trip I was able to place the head from my tripod and few other small but heavy items into this bag and avoid paying the excess weight charge.

I take my Lowepro Toploader Pro 70 AW II camera case with me on every trip. If I can, I pack it in my suitcase and use it where necessary. If my suitcase is full, I put my camera in it and carry it onto the plane in addition to my day bag.

Lowepro Toploader bag - travel photographers camera bags

#5 – Hard Case

Another option to consider for traveling are hard cases. These are suitcases which are made of a tough material which is waterproof and dustproof. They are especially designed for transporting camera equipment.

The benefit of these cases is that your equipment will be safe inside from damage. But they are generally only useful for transportation rather than day to day use. Some of the latest models are designed with a camera backpack inside which allows you to wear it like a traditional day bag. But having tested one a while ago, they are not as comfortable as the traditional day bags.

Personally I have never found a need for one to date as I carry all my equipment in my backpack. But if you are going to be traveling to harsh conditions or face the likelihood of your equipment getting wet than it would be worth investing in a hard case.

Summary

Camera bags might not be the first accessory that comes to mind when building your photography equipment inventory, but they are incredibly important. Not only will they keep your equipment safe, but they might stop you from being uncomfortable or even in pain because of the weight you are carrying.

The important thing is to not rush out and buy all of the above at once. Over the years as the need arises, you can invest in a new bag. So, think carefully about what you need and do some research into the different types of bags available.

What camera bags do you have or find useful? Please share your recommendations below.

The post 5 Camera Bags That Every Travel Photographer Needs At Some Point appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on 5 Camera Bags That Every Travel Photographer Needs At Some Point

Posted in Photography

 

Why Every Photographer Needs a 24-70mm Lens

17 Dec

Fondly known as the “walk around lens” by professionals and hobbyists alike, the 24-70mm lens is the staple of any photography kit! A lens that offers diversity and functionality, its range makes the 24-70mm lens a remarkable companion for a vast array of photo shoots. From wide captures to close-up portraits, and everything in between, this lens is one that many photographers jump for immediately.

Camera brands such as Canon, Nikon, Pentax, Sony, Sigma, and Tamron understand this and have offered a rather wonderful selection of 24-70mm lenses from which to choose. Several professionals actually own more than one 24-70mm, as this lens has the potential of becoming the most used glass in your photographic arsenal.

Why Every Photographer Needs a 24-70mm Lens

Why? Well, it’s awesome of course! The benefits of the 24-70mm lens are as priceless as our love for it. Here are some of the reasons why you want to have this lens in your bag.

No Learning Curve

The focal range of the 24-70mm lens is greatly inspired by the human eye. As such, this lens allows brand new photographers to learn with more ease than some other types of lenses due to its lack of distortion.

It is much easier to study composition when you can photograph similarly to how your eye sees naturally. Some wide angle lenses have a curve to the glass, which causes the subjects to warp when improperly photographed. The 24mm aspect of this lens offers no ultra-wide angle distortion while still offering a rather wide capture, perfect for simply concentrating on the best arrangement of elements.

There is equally little trouble with the rest of the focal range. The range passes through 50mm, a commonly used focal length for portraiture. The 70mm offers a very nice zoomed close-up. This lens is a great stepping stone to a variety of focal lengths, such as the 70-200mm lens.

Why Every Photographer Needs a 24-70mm Lens

Close Focusing Abilities

This lens is absolutely excellent for a subject that happens to be in close proximity to the glass. The minimum focusing distance does vary depending on models, but it averages 38 centimeters (15 inches) from the glass. To give perspective on how close this is, the average focusing distance for most lenses is 48 centimeters (19 inches), although this is affected by whether your camera is full frame or not, the type of lens, etc.

Although the 24-70mm is not a macro lens (whose minimum focusing distances are around 20 centimeters), it can still take beautiful close-up photographs of flowers and other favorite macro subjects.

Why Every Photographer Needs a 24-70mm Lens

Versatile Range

Arguably the most important benefit of the 24-70mm lens is its versatility. The range offers limitless possibilities, with an added boost of immense adaptability in the face of various photo shoots.


You can easily go from a wide angle to a zoom with this beauty, acclimating as quickly as your subjects change. This lens also allows you to capture a large variety of shots per session without the need to consistently change your lens. Considering our photography game with clients is primarily speed and efficiency, the 24-70mm will quickly become your best friend for this reason alone.

The versatility allows you to pack just this one lens when you go gallivanting across the world on vacations or destination shoots, an ideal prospect in and of itself. The 24-70mm lens is also a favorite of wedding photographers, as it allows them to capture precious moments without lapsing to change out gear. As previously touched upon, the focal range also covers the significant focal lengths in the photography world, such as the 50mm and the 70mm.

Why Every Photographer Needs a 24-70mm Lens

Robust and Comfortable Build

Most 24-70mm lenses are rather robust little creations, with a comfortable build to last. Knowing that this lens is referred to as the walk around lens, most brands have ensured that your faithful companion is able to outlast most of your adventures.

From weather protection offered by some manufacturers, to solid and sturdy bodies, the 24-70mm is ready for most anything you can throw at it. This lens is also rather comfortable to hold, considering it isn’t very long nor terribly short.

Why Every Photographer Needs a 24-70mm Lens

Size

Of course, we cannot discuss build without talking about size. At an average size of 3.28 x 3.28 x 4.86 inches and weight of approximately 2 pounds (900g), the 24-70mm is neither the largest nor the heaviest lens on the market. Quite the contrary, this lens happens to fit into most cases and isn’t the world’s worst hassle to carry.

In comparison to the rest of my kit, my 50mm (f/1.2) lens weighs more despite being shorter. To add even more praise, I have been easily able to put this lens with a camera body into a regular old purse. The amount of use and adaptability you can accomplish with this lens greatly outweighs any physical burdens of transporting it and many would argue that this lens is the same size as the average, most common lenses.

Why Every Photographer Needs a 24-70mm Lens

Now that the 24-70mm has (hopefully) won you over, there comes the burden of choosing which one to get. There are a variety of different 24-70mm lenses, ranging not just by brand, but also by aperture and weight. Here are some, just to name a few:

Canon

Canon’s collection of lenses is home to the Canon EF 24-70mm f/2.8L, Canon EF 24-70mm f/2.8L II USM, and Canon EF 24-70mm f/4L IS USM Lens. The f/2.8 aperture version is the most commonly seen 24-70mm lens, due to its beautiful depth of field and low light capabilities (remember, the wider the aperture, the more light the lens lets in!).



The EF 24-70mm f/2.8L (above left) is the predecessor of the newer EF 24-70mm f/2.8L II USM (above middle), and those on a budget may do well looking into the original lens which landed an iconic spot in Canon’s lineup. The updated version features improvements to image sharpness, vignetting, and AF speed. That being said, these improvements come at a rather substantial price tag. When pairing with a camera body that features advanced auto-focus systems, the version II is significantly faster than its predecessor. However, if you own one of the older bodies, you won’t see a significant difference. Like version I, version II features weather sealing with a front filter in place, which separates this lens from its competitors.

Canon’s EF 24-70mm f/4L IS USM Lens (above right) is another option. Although it does not feature a 2.8 aperture, the addition of image stabilization may sway some to purchase this version. Some of the benefits of this lens over its f/2.8 companion are reduced size/weight, image stabilization, and much lower cost. Another huge benefit is maximum magnification (MM). The 24-70 f/4L IS features an impressive 0.70x magnification (compared to 0.21x for the 24-70L II) which means it can double as a macro lens in a pinch.

Nikon

 

Nikon has the AF-S NIKKOR 24-70mm f/2.8E ED VR ($ 2396 USD) and AF-S NIKKOR 24-70mm F2.8G ED ($ 1796 USD), with a $ 600 difference between them (at the time of writing this article). The 24-70mm f/2.8E ED VR is on the larger size of the 24-70mm array of lenses, being an inch longer than its predecessor and a bit wider. However, both of these lenses are extremely sharp in practical use, a wonderful testament to the models. Unfortunately, there is quite a bit of vignetting at the wider apertures. The f/2.8E ED VR version features image stabilization and vibration reduction, unlike the 24-70mm F2.8G ED.

Tamron

Tamron is home to their 24-70mm f/2.8 DI VC USD Lens, which is still one of the only f/2.8 24-70mm lenses with image stabilization. Tamron’s vibration control system allows this lens up to 4-stops of camera shake compensation. The ability of this lens to capture sharp images of static subjects in low light is extremely beneficial, given its low light capability. This lens is also significantly more cost-effective than the Canon lenses. Sadly, you can expect anywhere from 2-3 stops vignetting on a full-frame camera, wide open, depending on the focal length. However, this lens is quite sharp and was noted to out-perform Nikon’s 24-70mm not too long ago. Unfortunately, the AF has been said to not always be consistent.

Note: Read reviews for lenses before you make any decisions.

Sigma

Sigma has the Sigma 24-70mm F2.8 DG OS HSM ART. This lens is significantly heavier than some of the other 24-70mm lenses mentioned, primarily the Canon 2.8 version II. The build quality is excellent given the comparatively affordable price tag. This lens features built-in vibration reduction just like the Tamron equivalent, and a minimum focusing distance of 37 centimeters.

For more on other 24-70mm lenses see these dPS reviews and comparisons:

  • Lens Comparison 24-70mm f/2.8 Canon Versus Tamron
  • Field Test and Thoughts: Tamron 24-70mm F/2.8 Di VC USD G2 Lens
  • Writer’s Favourite Lens – Nikon 24-70 mm F2.8

Your turn

Now that you’ve learned of the wonders of this charming lens, what are you waiting for?!

Have you used a 24-70mm lens before? What are your favorite things about it? Please share in the comments below.

The post Why Every Photographer Needs a 24-70mm Lens by Anabel DFlux appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on Why Every Photographer Needs a 24-70mm Lens

Posted in Photography

 

2017 Buying Guides: Best cameras for every kind of photographer

22 Nov

There’s never been a better time to shop for a new camera, but the number of options available can be overwhelming. In this series of buying guides we’ve provided customized recommendations for several use cases, from shooting landscapes to buying a first camera for a student photographer.

In each of these guides you’ll find one or two main recommendations, and detailed content on several other cameras that deserve your consideration. Our recommendations span product class and cost, but if you’d rather shop by price, click here

If you’re specifically looking for a compact camera, check out our phones, drones and compacts buying guide hub here

Maybe you want better photos in low light. Maybe you’re tired of digital zoom. Whatever the reason, if you’re looking for a capable, beginner-friendly camera to grow and learn with, we’ve got you covered in our guide to best cameras for beginners.

Best cameras for beginners

Quick. Unpredictable. Unwilling to sit still. Kids really are the ultimate test for a camera’s autofocus system. In this guide we’ve compiled a shortlist of what we think are the best options for parents trying to keep up with young kids.

Best cameras for parents

There’s no doubt that the digital revolution made it easier than ever before to pick up a camera and start learning photography. But it hasn’t necessarily gotten easier to choose a first camera. We’re here to help.

Best cameras for students

Whether you’re piling the family in the minivan for a trip to the Magic Kingdom or backpacking through Southeast Asia, you’re going to want to capture the experience with photographs.

Best cameras for travel

Are you a speed freak? Hungry to photograph anything that goes zoom? Or perhaps you just want to get Sports Illustrated level shots of your child’s soccer game. Keep reading to find out which cameras we think are best for sports and action shooting.

Best cameras for sports and action

Video features have become an important factor to many photographers when choosing a new camera. Read on to find out which cameras we think are best for the videophile, at a variety of price points.

Best cameras for video

Landscape photography isn’t as simple as just showing up in front of a beautiful view and taking a couple of pictures. Landscape shooters have a unique set of needs and requirements for their gear, and we’ve selected some of our favorites in this buying guide.

Best cameras for landscapes

Those shooting portraits and weddings need a camera with a decent autofocus system, which won’t give up in low interior lighting. Good image quality at medium/high ISO sensitivity settings is a must, and great colors straight out of the camera will make your life much easier. These days, video is a big deal too. Read on to see which cameras are best suited to those tasks.

Best cameras for people and events

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on 2017 Buying Guides: Best cameras for every kind of photographer

Posted in Uncategorized

 

Photography gifts for every budget

19 Nov

Shopping for a photographer? Whether you are one yourself or not, chances are you could use some ideas. From stocking stuffers on up, we’ve got some photography gift suggestions for every budget.

2017 Holiday Gift Guide: Under $ 50

2017 Holiday Gift Guide: $ 50-200

2017 Holiday Gift Guide: Over $ 200

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Photography gifts for every budget

Posted in Uncategorized

 

Why Every Photographer Needs a 70-200mm Lens

07 Nov

As photographers, some pieces of advice are universal; the same can also be said for some camera gear. The 70-200mm lens is a staple for a reason, found in pretty much every pro’s camera bag around the world, they are trusted on location from portrait studios to the heart of the Amazon.

So here is why you need one in your kit.

Nikon 70-200mm lens review must have

Optical Performance

Let’s start with the big reason, optical performance. The 70-200mm is a professional lens and features the latest in optical design and quality.

Perfected over the last 30 years they have an excellent edge to edge sharpness, both wide open and stopped down. Featuring the ED elements and the latest lens coatings, they fend off chromatic aberrations and flare very well and produce stunning sharp, contrasty images shoot after shoot.

Focal Length

Short telephotos and wide-angle lenses are fantastic for getting up close into the action or taking the wider view, however, they can often be problematic. If you are trying to photograph wildlife, candid portraits, or anything that you can’t get close to, the 70-200mm lens will come in handy.

Nikon 70-200mm lens review environmental portraits

The reach of the 70-200mm is perfect for so many situations, allowing you to focus in on key subject areas, crop out distracting areas or elements in your frame and just get closer to the action.

The focal length allows you to also give your subject space to move without you having to be right up in their face, while still giving you the scope for those tight shots. It also allows you to be creative in new ways, giving you options to focus on small details within a composition or landscape, all the while not needing to move your feet.

Nikon 70-200mm lens review details

Large Maximum Aperture

The 70-200mm f/2.8 is a fast lens, with the wide aperture being a key reason why so many pros love it. This gives you a number of benefits for shooting on location, once again making this a top quality lens in which to invest.

Benefits

The first benefit is the bokeh (or out of focus areas). The fast f/2.8 aperture means depth of field wide open is very limited. This results in much of the background and foreground dropping into mushy out of focus goodness, helping to keep the viewer’s attention on your main subject.

The large aperture, combined with the telephoto reach of the lens, really allows for the rendering of wonderful out of focus elements. This gives a truly dreamy quality and feeling to the images produced with the 70-200mm lens.

A second benefit of the wide open aperture is that of the low light performance. Having a fast f/2.8 aperture means the lens lets in far more light than slower alternatives. This, in turn, means the camera has more light to work with. So, when the light starts to fade you can still get sharp shots with reasonable shutter speeds without the need to stretch your ISO capabilities.

Another benefit of the fast aperture is the brightness it brings to the viewfinder. If you haven’t used fast lenses before you’ll soon fall in love with the brighter viewfinder experience that comes with the 70-200mm f/2.8. This might not sound like a big deal, but being able to see your composition better allows you to be more focused on selecting what you want in and out of the frame, helping you to hone your compositional skills for better images.

Speed

When working with fast paced action, speed is imperative, and the 70-200mm lens doesn’t disappoint. As a pro spec lens, the 70-200mm offers brilliant AF speed that is a huge benefit when working with erratic subjects on fast paced shoots.

Nikon 70-200mm lens review blazing fast focus

The autofocus, aided by the fast aperture, locks onto subjects quickly and focuses through the range in the blink of an eye (something that certainly can’t be said for all telephoto lenses). The speed of the focus reduces frustration when trying to pick up moving subjects, helping you to focus on composing your shots rather than the frustration of your lens not focusing.

Size and Weight

Some people think the 70-200mm is a large lens, however, that weight and size also have their advantages. The physical length of the lens itself, being around 25cm, provides for good placement of the controls, with the large zoom and focus rings being well spaced on the lens’s barrel.

The length also allows for the inclusion of a tripod mount (collar). This is handy for working with a tripod for better balance and for lowering the stress on the bayonet mount between the camera and lens.

Nikon 70-200mm lens review 01

The size also lends itself to being comfortable for handholding. The wider barrel fits well in the hand, with the weight of the lens balancing well with medium to large camera bodies. The lens is also a little front heavy that means when attached to the camera it helps equal out the balance to a comfortable feel.

Of course, modern versions of the 70-200mm f/2.8 also include the implementation of image stabilization (VR, IS, or OS) helping to once again improve the abilities of this lens when working handheld. The optical stabilization systems help to reduce camera shake by up to 4-stops, meaning even when the light gets low you can work handheld with sharp results. That is something that can really come into its own when on location on a fast moving shoot.

Nikon 70-200mm lens review Close focusing

Build Quality

The 70-200mmm f/2.8 is designed to be used by pros, and it’s constructed like a tank. Metal construction and weather sealing mean it’s built to last while being taken out and abused day in and day out.

Nikon 70-200mm lens review compressing landscapes

My 70-200mm has been everywhere with me and is built to withstand the elements.

The 70-200mm lens is also a fantastic addition to the kit bag for those nature photographers who also have a passion for landscape photography. The focal length is excellent for giving you the reach to pick out sections of a landscape, details within a scene or for compressing layers for flattering images. The 70-200mm offers flexibility for composing, with the telephoto reach helping to compress a scene for flattering perspectives that might not work with a wider focal length.

I’ve had my 70-200mm lens for many years and worked with it in the rain, snow, freezing conditions, as well as the jungle and it’s never skipped a beat. Rugged and reliable, just as you want a working tool to be!

Teleconverters

This lens was also designed with the ability to work with teleconverters in mind. These small optical devices fit between the camera and lens, helping to magnify the image for a greater telephoto effect.

That means that the 70-200mm, when paired with a 1.4x teleconverter, becomes a 105-300mm equivalent or a 140-400mm when paired with a 2.0x converter. This can be very handy if you need some extra reach but don’t want to invest in a super telephoto or you just can’t fit it into your bag.

Nikon 70-200mm lens review reach portraits

Shot at about 280mm using the 1.4x teleconverter.

Going the other way you can also add extension tubes to the 70-200mm to reduce the minimum focusing distance. That results in the ability to get ultra close for some semi-macro images, once again showing the scope for the versatility of this stable lens.

Conclusion

The 70-200mm lens is truly a worthy lens to be part of every photographer’s kit bag. Offering top optics, a fast aperture, excellent speed, ergonomics, and weatherproofing. They are built to last and perform day in, day out.

They are expensive, but as a long-term investment, the 70-200mm f/2.8 is certainly one that every keen photographer should think about making. You certainly won’t regret it.

The post Why Every Photographer Needs a 70-200mm Lens by Tom Mason appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on Why Every Photographer Needs a 70-200mm Lens

Posted in Photography

 
« Older Entries
Newer Entries »