Help « 360Photography

RSS

Posts Tagged ‘Help’

6 Phrases to Help you Learn Photography Faster

13 Sep

5 simple photography tricks for accurate shots

Learning all the ins and outs of photography is a never ending challenge. For some, the technical side of photography seems more difficult to understand. Others feel they are challenged by the creative side of understanding composition and light. When learning any new skill, the understanding of fundamentals is always most important. The complexity of settings, along with endless creative options is what makes photography so challenging. That’s where these six sayings come in. These simple phrases will bring you back to the basics, helping you to create quality images quickly, allowing for more time to experiment creatively.

1. ISO: Set it first – change it last

Set it and forget it until you have to remember.

Many people get confused by the purpose of ISO, and how to use it when controlling light. Unlike the other two big settings (aperture and shutter speed) when used properly, ISO gives your photograph the ability to be more sensitive to the available light. When you are setting your ISO, remember to choose a setting based on the amount of available light you happen to have in your scene. Don’t set it because the shot you took before was too dark and you want to brighten the exposure.

ISO 2500, f/1.8 at 1/125th of a second

Every time you enter a scene, before you take a shot, ask yourself, what kind of light is there?

Here are some starting ISO settings, adjust as necessary for your scene:

Bright sunny day: ISO 100-200
Shade/clouds: ISO 400-800
Indoors: ISO 800-1600
Little/no light: ISO 1600 and up

Don’t forget the negative side of ISO. Most camera models go above 1600 ISO now. However, if you choose 1600, or higher, you will most probably see noise (digital grain) in your image. There are many post-production techniques to remove noise, but it’s always best to capture your best shot in the camera. Consider this when choosing a higher ISO in dimly lit areas.

2. Set an intention

Both shutter speed and aperture measure and control how much light the camera takes in. But they each also have a creative aspect that must be considered when choosing your settings. Knowing their distinct qualities, and creating an intention when you shoot, are two extremely important fundamentals of photography.

ISO 200, f/4.0 at 1/5000th

Ask yourself, “What is my purpose?” Why are you taking that photo? Be clear on what you want to capture. Give yourself a moment to set an intention or two, then keep it in mind the whole time. Once you have figured out your main purpose, you can use that to choose which setting you will set first. As aperture affects the depth of field and shutter speed affects movement, which aspect is more important for creating the image you want?

Let’s take a look at two more awesome phrases to easily remember the different purposes of aperture and shutter speed.

3. Shutter speed: fast freezes – slow shows

Shutter speed is all about capturing (or not capturing) motion. When you want to show movement in the photograph, use a slower shutter speed. If a subject is moving and you want to freeze that movement, use a higher (faster) shutter speed. The faster the subject is moving, the higher your shutter speed must be to freeze them/it.

Quick Tip: Do not hand hold and shoot below 1/60th of a second. You are a vibrating creature, you are always moving. At about 1/60th of a second, the camera might capture the movement (called camera shake) you create just by pressing the shutter button.

Image #1 (left): ISO 1000, f9.0, 1/20th
Image #2 (right): ISO 1000, f/4.0, 1/125th

Here are some starting points to freeze moving subjects. Start here and adjust as necessary:

Moving cars: 1/4000th of a second or faster
People running: 1/1000th or faster
Kids playing: 1/500th or above
Person sitting still: 1/100th or faster
Still object: 1/60th or faster
Night scene: (tripod) 1/60th or slower

4. Aperture: High number = more in focus. Low number = less in focus

This setting is all about depth of field, the distance between the front and back of a focal plane. The focal plane is determined by the spot where you tell your camera to focus. The higher the f-number, the larger the distance of that plane. This means, more depth of the scene is within the focal plane, thus it is in sharper focus. The opposite is also true. The lower the f-number, the smaller the distance between the front and the back of the focal plane and less is in focus.

If you want everything in the photo to be fully in focus you will need to choose a higher f-number. If you want to create a shallow depth of field bringing only one part into focus, you will use a smaller f-number.

Image #1 (left): ISO 160, f/11.0, 1/400th
Image #2 (right): ISO 160, f/1.8, 1/4000th

Here are some aperture starting points, same as before, adjust as necessary:

Close-ups or detail shots: f/2.8 or lower (larger)
Portraits: (one person) f/1.8 – f/5.6
Groups: (2 or more) f/5.6 – f/8.0
Local scene: (less distance) f/8.0 – f/11
Landscape: (more distance) f/11 – f/22

5. Frame your finder

Witness your scene through your viewfinder, as you allow your eye to examine every inch of what you can see through the lens. Look from top left, across and down to the right. What is in each corner? Notice the edges of the frame. When examining everything you see, slightly move your camera around as you prepare for finding the best version (framing) of this shot. This will give you a greater sense of what you do, or do not want to be in the shot. You will notice if you have cut something off, or added something into the shot you do not want.

When you make a habit of always re-framing your viewfinder as you are shooting, you will gain a greater sense of awareness, allowing for more shots from other vantage points you hadn’t considered before. Even more importantly, as you practice this, every shot you take will be closer to what you want to capture in the first shot you take.

See what is in every inch of your frame before snapping the shutter!

6. Count your clicks

Once you have your desired exposure based on the purpose of what you are capturing, you can choose to change your purpose (capture a different effect) by going up or down the range of either aperture or shutter Speed. To make sure you keep a proper exposure like you had before (assuming you are shooting in Manual Mode), just count your clicks. If you click six times in one direction on shutter speed (because now you want to show motion), you will need to click six times in the other direction for aperture to keep a proper exposure.

For example: When photographing a birthday party, you may go from focusing on close-ups and details, to kids running around, to capturing a sunset. In this case, the first intention is creating a shallow depth of field to capture a non-moving object. Set your aperture to a low f-number. Using your meter, now set your shutter speed for correct exposure and snap away. ISO will already be set because that’s the first trick to remember.

Now it is time to capture the kids running around. You will switch focus from aperture to shutter Speed. To make sure you freeze their movement (no one likes a photo of a blurry kid), you will change your shutter speed to 1/1000th of second.

But wait! Before you start moving the dial, remember to count how many clicks you are going. If you clicked down four times to get to 1/1000th of a second, then you will click UP four times using your aperture dial. Now your exposure will be the same, but you quickly changed your settings to creatively capture something entirely different. Note: if you are using Aperture or Shutter Priority modes the camera will do this adjustment for you automatically.

There you have it

The best thing you can do now is turn these tricks into habits by jotting down these simple phrases and stuffing them in your camera bag. Next time you are ready to shoot, read over them once or twice before you begin. As you practice using these tricks in order to become more accurate and efficient behind the lens you will create more stunning eye-catching photographs of any subject you choose to capture.

Do you have any other cool phrases that you say to yourself when you are shooting? If you know any other great tricks that are easy to remember and simple to understand, let us know in the comments section below. Together, it will be fun to build a compilation of great photography learning quotes!

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post 6 Phrases to Help you Learn Photography Faster by Danielle Werner appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

7 Tips to Help When You’re Stuck with Only a Prime Lens

23 Aug

As a photographer you must have flip-flopped back and forth between prime and zoom lenses. “Should I choose a prime today, or a zoom for its advantages?” If you have not done this for a purchase, you must at least have read the numerous articles which weigh the pros and cons of each. But what about when you are stuck with a lens that is not ideal for an event? For the sake of discussion and for this learning opportunity, let’s choose the 50mm prime lens, which is one of the most popular and affordable primes, and is made for every camera body known to man.

Canon-EF-50mm-f1.8-STM-Lens.jpg

If something comes up that is unexpected, that’s a good thing! Not ideal if you don’t have a long enough zoom or wide enough lens, BUT it could be worse. What if you didn’t even have your camera at all? So stay upbeat and realize with some ingenuity you can overcome the confines of being stuck with a prime lens.

As a personal note: This tutorial was inspired by a real event in Guatemala. I had chosen my 50mm for a walk-around lens as it is light, and I wasn’t expecting much as I went out to get a cup of coffee. Well, with a caffeine buzz I climbed a hill, and at the top an ancient Mayan ritual of sacrifice was being conducted for the dead. Maintaining cultural sensitivity I knew that it would be totally inappropriate to get my lens in their face. It was pertinent to maintain my distance for respect.

1. Use shallow depth of field

Prime lenses are known for being sharp, especially when you close down your f-stop. Yet when you are confined, or have limitations about how close you can get, or how agressive you can come across as a photographer, using your lens creatively is important. Thus, you may sacrifice some sharpness, add a little chromatic aberration (CA), etc., but you will also get a different style of shot from a lens that inherently has focal length limitations. Go for bokeh.

001 F1.4 landscape resized from Lightroom (750px)

2. Panorama for wider angles

Use panorama techniques to combine images later in post-processing. If you can’t get a wide angle view, make one. Yes the feeling of the final composition will not be exactly the same as a true wide angle, as your foreground and background compression will be greater, but you will be able to give a cinematic effect. Combining images is an easy way to encompass more into your scene when you are limited by your focal length.

These two images were combined to show the whole event of the shaman and the fire along with the family members.

3. Shoot with the intention of cropping

Be conscious that cropping is available to you in post-processing. Don’t worry if a hand creeps into your frame, or there is a plastic bottle in the corner. If you consciously shoot for a crop to be performed later you can zoom-in on something specific. This again gives you flexibility and diversity. If you combine this with a shallow depth of field (suggestion number one) you will find that you can achieve a telephoto effect.

003 Crop Before resized

003 Crop After resized

This image was shot for a crop, so cutting off the top of the head is not a problem if you know you will crop in closer in post-processing.

4. B-roll footage

Get photos of activities, reactions, or environmental surroundings which will add to the narrative of the event. If you can’t get any closer, and you have pushed your boundaries of being discreet, then look up, down, and turn around. In film (movies), these are generally called B-roll shots, which helps to transition from one camera angle to another, while also telling the story.

The smoke rising up, into the sun, amongst the trees, gives a feeling of the environment around the ceremony.

5. Frame your subject with something in the foreground

Use a leaf, a stone or even another person to cut into the frame, which will both highlight your subject, by leading your eye to what you want the viewer to look at, and it will also create layers in the photograph. Layers add a sense of style and depth to your photography. Trying to use different techniques to create different perspective styles will really improve the overall quality of the group of photos you finally decide to keep.

The gravestone, then the grandmother, and finally the fire give layers to the photograph.

6. Use both horizontal and vertical photographs

Again this is about creating diversity in a final product. So turn the camera sideways and you definitely have a different style going for you. Some people get stuck in horizontal mode, or in vertical mode. This is a great opportunity to make a change of pace. When your eye sees a photo it follows a pattern, generally starting in the top left corner then moving, left to right (just as you read) looking for areas of light, contrast, lines, color and patterns. A vertical photo will automatically create a different reading experience to the photo. Or why not crop them into a square even?

A simple vertical photo changes the pattern during your final composition. Think both horizontally and vertically.

7. Just enjoy the event

See the event not only through your camera, but also with your own eyes. Experience the event, and it will not only give you great memories, but will allow you to feel the mood as well. Understanding the event will give you insight into what out-of-the-box shot may really highlight the event.

Summary

The general idea is to work with what you have, don’t lament what you left at home. If you do, you might just start lugging around simply too much gear to enjoy yourself. Think of how to diversify your perspectives. By confining yourself (in this instance, when confines are placed upon you) there is great opportunity to use your most advantageous feature… your creative brain!

For most people, photography is a hobby turned passion, and enjoying photography should really be priority one. Photography is always a game of tradeoffs, which can be simply exemplified by the basic lesson of the exposure triangle. By gaining one thing you lose another. So begin gaining something even when you are stuck with just a prime lens.

Maybe we could say, you are challenged to be better at what you love!

The post 7 Tips to Help When You’re Stuck with Only a Prime Lens by Branson Quenzer appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

OM-D and Pen sales help bring Olympus’ imaging division back to profitability

07 Aug

Olympus has released its financial results for the first quarter of the company’s fiscal year, giving credit partly to its Imaging Systems Business for a 12.3% increase in net sales year-on-year. Its OM-D and Pen series cameras saw a 25% increase in sales volume, helping to compensate for a sliding compact market. Read more

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Sensor sales help Sony triple net profit in second quarter

04 Aug

Sales of image sensors helped push Sony to triple its net profit after the second quarter this year, up to 82.4 billion Yen. Sales of Devices, the category containing Sony’s sensor business, rose 35% year-on-year, which Sony attributes to higher demand of mobile products containing its sensors. Read more

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

4 Steps to Help You Start a Documentary Photography Project

24 Jul

The thing you need to do for getting good ideas which are actually possible, is to weigh the game in your favour.

You need to be selective in your project choices, research well, and demonstrate an intense curiosity when pitching your project idea.

The four steps in this article will help you:

Use your interests to research and learn about a subject.
Demonstrate your curiosity to those who hold the key. These are the gatekeepers.
Gain access.
Start a documentary photography project.

Peter David Grant dps submission 1 of 7
Primarily a street photographer, using this method I transitioned into documenting places hidden behind closed doors, as you can too.

Step #1. What are you interested in?

The first thing to ask yourself is, what are you actually interested in? Grab your pen and pad, write down “What Interests Me?”, then number lines, 1 to 20.

Without thinking too much, fill in all the way down to the bottom of the list. The goal here isn’t to think about where your interests might go, but rather to give you a reference from which to work.

Peter David Grant dps submission 2 of 7
Look back at your photographs and see what you like to capture. Lots of street photographs like these were coming about due to my interest in transport. I’ve now started projects about the local train station, and a local bus company.

Step #2. Whittle down your list

Now that you’ve got your list of 20 interests, the next thing you need to do is get rid of those which are not visual in nature, or are impractical. For example, you should cross off astronaut training from your list, or following your favourite sports star around the world, as they do their thing. It just isn’t realistic, at least not in the early days.

Your goal here is to have a list of potentially visually stimulating interests which are readily accessible (assuming you gain access) to go back to over many visits. A key part about documentary photography is understanding what is going on, and picking up on the subtleties of the situations. You need to be able to go back again and again, build rapport, and blend in – because it is at that point that you’ll start producing quality photographs.

With the list reduced to those that are practical, which also have a visual interest, you should select three that you believe will be most interesting to others. This is important for a couple of reasons:

You’re starting to think about what your audience will be thinking. This will be useful when it comes to talking to the gatekeepers, to use as a reason why you should document the subject.
You’re thinking about what the gatekeepers find interesting. You need to be able to demonstrate empathy with the people you contact.

Finally, of those three interests, which one do you feel you know the most about? This makes the next step easier.

Peter David Grant dps submission 3 of 7
Don’t forget to think laterally. While I’m as musical as a crumbling wall, being an engineer, I could appreciate the design and material aspects of violin making.

Step #3. Research your interest and finding out who to contact

Once you’ve chosen your interest, you should further your understanding. Get your notebook again, start researching and make notes. Some suggestions:

Google your interest, and read the top three or four links.
Read the related Wikipedia article, making sure you follow any links that stand out.
If you’re researching a company, devour their website. Click every single page. Read everything.
Search on Google News for your interest.

While reading, in addition to anything that grabs your interest, keep an eye out for:

A name for someone you might be able to contact.
Something time sensitive which is changing. Part of documentary photography is recording something for historic purposes.

All of this collected information will form ammunition for your first contact, showing your knowledge, interest, and understanding of the subject. Remember this should be interesting stuff to you. If it feels like a chore, you’ve probably chosen the wrong interest as a subject, or aren’t connected with it.

Peter David Grant dps submission 4 of 7
You should be deeply interested in the subject. I had no problem spending hours, upon hours, researching the local train station, because I wanted an all-access pass so badly.

Next, you should consider your close friends and family. Do any of them have links to your interests? Those who do, are they in a position to give you the access you’re after? If so, great! They’re going to be who you contact. If they’re not, you should still talk with them about your interests, and desires. They might be able to put you in contact with a connection.

After you’ve found the person you’re going to contact, you should look for their details. It might be as easy as looking at their contact page online, or through finding someone else’s email address at the company, working out their structure, and taking a punt.

For example, if you wanted to contact John Doe to ask about documenting Company XYZ, through some Googling, or looking at XYZ’s PR or HR page, you might find an email address like john.doe@XYZ.com. It wouldn’t be too difficult to imagine john.doe@xyz.com. I’ve used this in the past to great success.

Peter David Grant dps submission 5 of 7
Guessing an email address allowed me to access the Oxford Train Station which I’m currently documenting as they redevelop.

In large organizations, you might find the assistant to the gatekeeper is the person you’re going to be contacting. LinkedIn is also a brilliant resource.

One final piece of research to do, is to look for example photographs you can show the person you’re making contact with. These can either be your own work, or the work of other photographers (be sure to credit them though). What you’re looking for is something that visually explains the kind of thing you’re seeking to achieve.

At this point, you should have a chunk of research about the organization, relevant news articles, an idea of who you’re going to contact, and some example photographs to show them.

Step #4. Making contact – demonstrating your interest and knowledge

It is now time for you to put it all together in an email. Your email should include:

Why you’re emailing that particular person. This is about understanding why they are the gatekeeper to the project, showing that you care about the subject, and demonstrating your understanding.
Show your curiosity and understanding of their role within the organization.
Tell them what you want to do. Make your request clear and straightforward. Note: don’t ask for everything at once. If you think what you want to ask is too much, dial it down, and ask for something smaller. Once you’re in, and have gained their trust, they’ll open things up for you. As well as explaining what you want to do, you should also explain why you want to produce and show your audience the photographs at all. Mention the examples you’ve attached.
Tell them what they can do with the photographs. Give them permission to use those that you’re going to take. It is the least you can do. Make suggestions where they can use them, for example in their monthly newsletter (if you can somehow find out what they call the newsletter, make sure to include that too) or on their social media.
Tell them what you want to do. Explain your intentions for the photographs, e.g., are they for an exhibition (don’t worry if you’ve not arranged one, if the work is good that will sort itself out later), a book, or just your website. Be honest about your intentions.
Understand the difficulties. This will impress them. You’re once again demonstrating your understanding of what they do. You’re effectively saying, “I know there are problems that me being there will bring, but I think they’re worth overcoming”. Bring it back to why you want to do the project in the first place, so that they can see the benefits, and why they outweigh the difficulties.
Summarize all of the above and suggest what the next action step. You could say something like, “If this sounds interesting to you Mr. Doe, it would be great to discuss this further when it suits you sometime”.

Peter David Grant dps submission 6 of 7
Don’t be scared to chase emails either. If you don’t hear from them within the week, send a follow up email or phone call. Without it, I wouldn’t have shot at Oxford Violins.

In addition, you should make it clear that none of your ideas are set in stone, and that you’re open to their input (remember, it is highly likely that they are more knowledgeable than you are).

Finally get someone to check it. Before you do though, make sure you don’t prime them as to your intentions. You’re looking to find out if your request is obvious, clear, straightforward, that you’ve demonstrated your curiosity, and that there is a single next step that is easy to understand.

Now send it.

Step #5. What do you do next?

Once you’ve got your foot through the door, you need to show your face, be confident, demonstrate your knowledge, ask questions, and show your curiosity. Assuming that all goes well, the rest should pan out nicely. Start shooting, see how the project develops, and learn as you go.

This is where the joy starts. You’ve used your interest, and your camera, to get into somewhere that is fascinating to you. Enjoy yourself. Make friends, and click that shutter.

Peter David Grant dps submission 7 of 7
Before you know it, you’ll be behind the scenes in places you couldn’t have imagined yourself being.

Bio: Peter David Grant has produced an exclusive ebook of the emails he’s used to get access to many of his projects for dPS readers. He’s deconstructed them, explaining why each bit is in there, and provides templates for you to use. You can get it here.

The post 4 Steps to Help You Start a Documentary Photography Project by Peter David Grant appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

Options and Choices for Photographers To Help You Avoid Injury

10 Jul

Have you been noticing little aches and pains lately, especially around your arms and back? If you do a decent amount of photography, your camera may be the culprit. While photography is largely seen as a hobby or art form, make no mistake about the fact that lugging gear around can be serious physical activity, especially as you accumulate more gear over time.

Consider this: a Canon 5D Mark III body only weighs 1.9 lbs (860 grams), and a Canon 70-200 f/2.8 telephoto lens weighs 3.28 lbs (1.49 kg). Combine the two, and you’ve got over 5 lbs of gear to tote, not to mention the added weight of extra lenses, tripods, lighting gear, etc. As a result, it’s not uncommon for longtime photographers to develop chronic pain in their backs, wrists, shoulders, and arms due to the stress of carrying so much gear. The bottom line is that being a photographer can slowly, but surely, lead to chronic injuries over time if you don’t take proper precautions. Here are a few tips to help keep your body in top shape while toting camera gear around, and avoid injury.

By Dave Dugdale

Choose the right gear

If you’re just starting out in photography or considering replacing your current camera gear, keep in mind that there are many smaller, lighter camera systems that may be easier on your body. Mirrorless cameras from camera manufacturers such as Sony and FujiFilm (as well as Olympus and Panasonic) are becoming renowned by both amateurs and professionals for their superior image quality and significantly smaller camera bodies and lenses. Depending on your photography needs and budget, you may want to invest in smaller, more ergonomic gear, that won’t weigh your body down.

By Peter Anderson

Select the best bag and accessories

Camera bags come in all flavors today, ranging from messenger bags, backpacks, and even stylish purses. While fashion can certainly impact your camera bag choice, be sure to also consider how comfortable that bag will be in the long run. Medical professionals often recommend selecting bags with symmetrical designs that equally distribute the weight across your body. This usually means opting for a backpack, or rolling bag with wheels, to move large amounts of equipment from one photo shoot to the next. If you choose a bag that will be carried on your shoulders or some part of your body, be sure not to overload it with too much gear. As a rule of thumb, a truly ergonomic bag you carry on your body should not weigh more than 10 percent of your body weight, and you should not carry a heavy bag for longer than 20 minutes at a time.

Think Tank Changeup Bag photographer ergonomics

While actively shooting, consider investing in camera accessories that will help alleviate camera weight in the long run. Some options include monopods for sports or wildlife photographers, ergonomic camera or wrist straps, and holster or belt pack systems (like the ThinkTank one shown above). In summary, choose one or several accessories that will help distribute your gear’s weight between your hips and shoulders so that one part of your body doesn’t bear the bulk of the burden.

Practice good ergonomics while shooting

1. Correct your posture

One of the leading causes of injury among photographers is poor posture. If you plan to spend long hours at a photo shoot, keep the following posture tips in mind:

First, always make sure to protect your lower back by keeping your pelvis in a neutral position and your core muscles (abs, side, and back) taut.
Secondly, make sure your knees are slightly bent (not locked) and your feet are spread at least shoulder-width apart, forming a wide base of support, not unlike the legs of a tripod.
Finally, always be mindful of your shoulders, making sure they are dropped down and pulled back, and keep your chin tucked in. These two posture tips will help avoid common neck and back pain as well as headaches that commonly arise among photographers.

DeusXFlorida (7,110,780 Views) - Thanks Guys!

By DeusXFlorida

2. Take frequent stretching breaks

When you have a moment to rest during a shoot, don’t just sit down. Remove your gear, and stretch your muscles and joints.Rotate your head in a clockwise and counterclockwise motion to stretch out your neck. Do the same movement with your hips to loosen your lower back. Reach high into the sky and rotate your arms like a windmill to reach your shoulders and upper back. Finally, do some squats and lunges to keep your quadriceps and legs supple. Above all, remember to not just focus on your arms and wrists. If you’re a photographer who likes to shoot from every possible angle, this means you’re likely squatting, kneeling, bending, and rotating nearly every part of your body to get those shots. As a result, pay equal attention to stretching out all the major muscle groups in your whole body.

By Chris Hunkeler (stretch often)

Don’t forget about post-processing ergonomics

Good posture and ergonomics shouldn’t be forgotten once you’ve put the camera down. Considering all of the time you spend in front of your computer, offloading memory cards, sorting and editing photos; you’ll want to make sure your work station is also suited for maximizing your posture. Suggested accessories include a standup desk, computer monitor risers, ergonomic mouse and keyboard, and foot stools to elevate and correct your posture while in a seated position.

Take care of your body as well as you take care of your gear. You can replace a broken camera, but not a broken you. If you have any other tips for avoiding injuries please share in the comments below.

The post Options and Choices for Photographers To Help You Avoid Injury by Suzi Pratt appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

4 Tips to Help you Decide Between Black and White or Color for your Image

09 Jul

Why do black and white photographs speak to us? In nature, colors are meant to attract, and cause things to catch our attention. Still, even without color, black and white images are a mainstay of our craft, and are powerful representations of the artistic spirit.

Half Color

There are many differing opinions when it comes to black and white photography. Some photographers love it, and shoot black and white exclusively, while other photographers absolutely shun the notion and shoot only in color. Then you have the majority of our lot who fall somewhere in between the love and hate poles. Luckily, the digital imaging age allows photographers to decide after the fact whether our images make us happier in full color, or in black and white. However, this ease of conversion can become somewhat of a problem because it is in fact so simple to switch from color to black and white, that it can cause conflicting feelings about which route to take. While there is really no absolute magic formula to determine the best choice for your particular image, there are some guidelines that you can follow to make your decision a little easier.

Here are four tips to help you decide if an image will be more appealing in black and white than in color.

Black and white or color?

#1 Does color have a large impact on the image?

This may seem like an easy judgment to make, but it is not always so simple. Color can be a fickle thing, and can either add to, or unintentionally detract interest from a photograph. Ask yourself, “does this image rely exclusively on color or are there other interesting aspects that can be emphasized?” Just how nice would it be to look at as a colorless rainbow? This not to say that all colorful objects and scenes won’t do well as black and white, but as a general rule most highly or diversely colored subjects should remain just that – colorful.

Silhouette
This image really had nothing to say in the way of color, so I made use of the heavy backlighting to create a strong contrast with the subject.

Two Giraffes
The original image didn’t have a lot going on as far as color, so I choose to convert it to black and white to really make the patterns pop.

The opposite of this usually proves to be true also. When you have an inherently bland scene or subdued colors, the image will usually do well when converted to black and white and this leads us to tip #2.

#2 Are there interesting light or contrasts?

This is where new photographers tend to encounter a little bit of difficulty because seeing good light or contrasts usually requires quite a bit of pre-visualization. Don’t worry! Developing an eye takes, well, some developing. The more you force yourself to look past what is readily apparent, the more you will learn to almost see in black and white.

When you remove color from the photographic equation, you are left with only differences in tone; lights and darks. These differences are what truly make good black and white images, and the differences in light and shadow bring contrast to the photograph. So, when you see that a given scene or subject presents the opportunity to exploit stark contrasts and unique lighting or shadow, it might be a great opportunity to try black and white. Take a look at this image of the leaf of a house plant.

Plant Leaf

I used a single flash behind the leaf to really bring out the contrasts within. Ordinarily these details might have gone unnoticed, and the black and white treatment really compliments the lighting.

The great Ansel Adam’s said that he; “could convey a greater sense of color with well executed black and white images using only light, shadow, and even subtleties in texture to express the qualities of the photo”. It’s that last variable, texture, that brings us to tip #3.

#3 Are there interesting textures?

When we think of texture, we can easily describe it in terms of how things feel physically, when we perceive them through our sense of touch. Texture in photography, however, can be a little more challenging to put into words. Texture in a photograph has to be perceived with our eyes and then we determine if it’s smooth, rough, or coarse. Transforming the tactile tangible into a visually tangible image takes practice and a trained eye, and this is where working in black and white can be the best choice. Examples of textures that work well for black and white photos are wood, metals and stone, even plants and human skin. Directional lighting (light from largely one source coming from the side) compliments, and helps emphasize textures.

This image was made with natural lighting coming in directly from one side. This really brings out the texture, imperfections, and grittiness of the photograph.

Hands

This last tip goes beyond the physical attributes of an image and delves into the feelings we want to convey through a photograph. This is where black and white photography can really shine.

#4 What is the mood you want to create?

Have you ever looked a photograph, and been immediately struck by how the photograph felt? This is often referred to as the mood of a photo. It could be a bleak and rainy street scene, or an image of a warm and welcoming sunset. In any case, using black and white is a good way to convey a sense of mood in your photography. Admittedly, black and white usually imparts dark, bleak, somber, or an etherial overtone to a photograph, but that does not mean that it doesn’t work well for more upbeat images. Convert some of your landscapes to black and white to see how the mood can change. Experiment with black and white portraits which can portray your subject with a more stoic and brooding persona.

This photo of a hot day on Boston Common had lots of differences in lighting, along with some great coloring especially in the sky. Still, I chose black and white because it simply felt better to me, and matched what I saw in my mind more closely.

Boston Common

Keep in mind that you may run into some different terms if you decide to work more with black and white photography. These terms are usually interchanged, but in reality they are not all the same. It will help you to understand the differences in each so you can know what to expect.

Monochrome

Monochrome simply means varying shades of only one color are used to make an image. This is often thought of as black and white (which are technically monochromatic) but in reality any color can be used. Sepia toned photographs are a good example of images which are monochrome.

This is an example of a monochromatic photograph that is not black and white.

Sepia Waterfall (2)

Grayscale

The term grayscale is another one that gets thrown around to label black and white images. Though not completely incorrect, grayscale images use only varying shades of gray (256 to be exact), and no other color. Grayscale can be a very bland when no other edits are used because it tends to leave the entire photo as middle gray. Notice how bland and uninteresting the below image looks when it’s converted to grayscale.

Grayscale

True Black and White

As I have said, black and white images are indeed monochromatic but not all monochrome images are black and white. True black and white photos use only black and white to produce the image although the majority still use a mix of gray tones.

This is the same image as above after it has been further processed to be closer to a true black and white photo. The differences in tones become becomes more apparent, and the photo becomes much more pleasing.

True BW

Black and white photography has been a staple genre since literally the inception of photography, and has evolved into a high art-form. Of course there are some people who simply do not like black and white images and prefer everything in color. Still, black and white photography is something that should not be discounted, and certainly not underestimated in terms of artistic expression. Today’s processing software makes converting color images to black and white nearly effortless, so use these tips and give it a try!

The post 4 Tips to Help you Decide Between Black and White or Color for your Image by Adam Welch appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

Take this Picture of the Day Project to Practice and Help You Grow as a Photographer

26 Jun

Sunset on Long Beach Island (NJ)

I watched the future football Hall of Fame quarterbacks practicing on the sidelines just before the Super Bowl. Although they had thrown the football perhaps millions of times before, they were practicing their throwing before the big game. They believe in the old (but true) saying, “Practice makes perfect.”

It’s important for us as photographers to continually practice our skills as well. Although we may have pressed the shutter button a million times, we need to be sure that we are always “ready for the big game”. Like the Super Bowl quarterbacks, it is important that we keep practicing our skills; whether we are professionals, aspiring professionals, or enthusiasts.

Why Practice?

Old Barney lighthouse in Barnegat Light, NJ

Although practice does not make perfect (we can practice doing things the wrong way), it does make our techniques more natural, and more permanent. For example, using back-button focus on my camera the first time seemed strange to me, but after practicing it over and over, it become an automatic technique that I use without even thinking about it. It’s a challenge to try turning off your brightly lit LED display on your camera once the theatre is darkened, but with practice it’s an automatic, and easy process.

Practice not only gives us a chance to make our shooting techniques more automatic, it gives us a chance to try new techniques. Practice gives us an opportunity to learn new poses, try a new lenses, or try a new post-processing technique to enhance our photographs before we use them in a client shoot. As a photographer, learning never stops; practice is a good way to try out things with no pressure or fear of failure.

Maybe I’ll Practice Tomorrow

Unless we are full time photographers or we have the luxury of having the time to shoot whenever we want, finding time to practice can be a challenge. Life is busy; there are so many things that need to be done that we are sometimes tempted to say, “Maybe I’ll practice tomorrow.” Sometime we need motivation to force us to make the effort, despite other things that may get in the way, to practice our photography techniques.

Picture of the Day

Clyde

If someone asked me what the biggest thing was that has helped me to improve my photography skills, I would have to say that it was my commitment to what I call the Picture of the Day. A little more than a year ago I started trading photographs that I took with my sister who is a photography enthusiast. Very quickly that practice spread to other family members and friends. Today, I send a new photograph to more than a hundred people every morning. The list continues to grow. But it’s not the number of people that receive the Picture of the Day that is the motivator, it’s the commitment to taking, and sending the picture, that benefits me as a photographer.

Even though my photography business focuses mainly on people (weddings, portraits and events); my Picture of the Day photos may include people, animals, architecture and landscapes. People that receive my Picture of the Day have commented that opening my morning email is like opening a box of chocolates because “you never know what you’re going to get”. Sometimes my pictures are not meant to be works of art, but rather just funny, like the shot of my dog Clyde (above), sitting by the dinner table with his sunglasses on, waiting for dinner. The zoo is always a great place to take pictures, so I make that part of my list of places to shoot.

Jaguar at the Elmwood Park Zoo (Norristown, PA)

Admittedly, I shoot most days, but not every day. I make time during the week to practice shooting; I am committed to take that time despite everything else. I have my camera with me most of the time, and many of my shots are unplanned. I stockpile the shots so that I always have a reserve of pictures to use for my morning emails.

How has the Picture of the Day Helped Me?

My commitment to the Picture of the Day has helped me to grow as a photographer more than anything, including the following:

Four month old lion cubs with mom (Philadelphia Zoo)

Knowing that I need a new picture every day motivates me to get out and shoot, even if I am not shooting the things that my business is focused on.
Knowing that my Picture of the Day needs to be different than all of those that I previously sent out, motivates me to try new techniques and to look at things more creatively. That has helped me to start thinking out-of-the-box and has greatly expanded my composure skills for when I am shooting weddings or portraits for clients.
Shooting for the Picture of the Day has given me the opportunity to try and to practice with new lenses and filters, so that when the time comes to use them in a business shoot, I am ready.
My Picture of the Day has enabled my business to grow, as people that receive my email every morning are reminded that I am in the photography business. I can’t think of a more effective, less costly marketing tool.
Lastly, shooting for my Picture of the Day has been just plain fun!!!

Make the Commitment Today

Nina and Pinta replicas at visit to Viking Village (Barnegat Light, NJ)

If you are not just a picture snapper, but rather, serious about photography – make the commitment to start your own Picture of the Day project today. Like mine, it can start small and grow over time (I had only one person on my list initially.) I sometimes post my Picture of the Day on my personal Facebook page which adds more visibility to my work. This visibility also adds to my list of people that subscribe to my Picture of the Day.

How do you practice your photography?

The post Take this Picture of the Day Project to Practice and Help You Grow as a Photographer by Frank Slezak appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

Portrait Posing Tips- How to Help People to Relax and Take Better Photos

11 Jun

Editor’s note: this week we will be featuring a series of articles on posing for portraits. Look for a new one each day. If you miss any make sure you subscribe to our newsletter and you’ll get a reminder of all our articles once a week.

One of the trickiest parts of doing a portrait photo shoot has nothing to do with operating your camera, mastering your lenses, controlling the light, or even dealing with uncontrollable weather. Getting your clients to relax, take it easy, and enjoy themselves during your time with them is just as important as making sure you have all the technical aspects of your equipment figured out.

This is often the key to a successful photo shoot, and yet it’s so easy to get caught up in learning about your camera equipment and buying new gear that many people forget to invest time in developing the human element of a photo session. Portrait posing and how to help your subjects relax is key to taking better people photos.

parent-holding-baby

If this aspect of your craft is not managed properly you could easily find yourself in the middle of a photo session where your clients are confused, agitated, bored, or worst of all, frustrated and angry. Every photographer has their own unique style, but generally speaking if you can get your subjects to get comfortable and relax, you can get more of the photos you (and they) are really looking for. It’s a tricky situation to be sure, and every photo shoot is different, but here are three techniques that may be helpful:

1. Get to know your clients beforehand

At its most basic level taking photos for clients is a simple business transaction wherein they pay you money for a service you provide. But it’s really much more than that: people are inviting you to record a point in their lives that they will hold dear for decades to come. When you order a sandwich or cup of coffee it doesn’t matter who you are, what hobbies you enjoy, what professional goals you have, or whether you woke up on the wrong side of the bed that morning. You hand over some cash, get what you ordered, and go about your day. However, taking portraits is almost the polar opposite because everything matters. A good portrait photographer will strive to capture the essence of the people they are working with, and getting to know them first is a key element of making this happen.

family-sitting

On my website I have three simple questions on my Contact page:

Families: What was the best family vacation you ever went on?
Children: If you could have the perfect birthday party, what would it be like?
High School Seniors: If you had $ 1000 to spend, and a week off from school, what would you do?

The answers to these questions help me understand more about my potential clients, but also send a message to them that they mean more to their photographer than just a pay-check. This helps with any pre-session discussions we might have, as well as the photo shoot itself, because the seeds have already been sown for good conversation and a relaxed atmosphere.

I’m a teacher by trade, having taught in K-12 schools as well as at the college level (in addition to six-week classes for other teachers), and one common thread that I have found among people of all ages, is that most of them just want someone who will listen to and take an interest in them. With this foundation laid, classes are always much more productive for me and my students. So it goes for the photographer as well: if you show your clients that you are interested in them as people, you will find them to be much more cooperative as photography subjects. It might take some time to get to know them before you photograph them, but this will pay off handsomely for you and your clients throughout the entire picture-taking experience.

senior-brick-wall

2. Don’t treat the photo shoot like a photo shoot

I did a photo session recently for a bright, intelligent, outgoing young man who simply did not want to have his picture taken. He was nearing the end of his time in high school and his parents wanted to get some nice photographs before graduation, particularly of him in his cap and gown. He would much rather have been at home playing video games or hanging out with friends, but instead was obliged to spend the late afternoon with me taking photos – a prospect that was about as much fun for him as getting a tooth drilled. How on earth can you possibly get someone like this to relax, have fun, and enjoy a photo shoot? Simple: don’t make it about the photos.

One of the first things I said to this student as I hoisted my camera bag to my shoulder was “What video games are you playing right now?” He immediately relaxed and started telling me about one of his current favorites, which then branched into discussion of what his friends were playing, which then led to a dialogue about the recent school year and even his career goals. All the while I was snapping photos, while giving him subtle directions without interrupting the flow of our conversation. I got more good shots than I ever thought I would, and he enjoyed our time together far more than he had anticipated.

This girl was a bit nervous about having her picture taken so instead we just talked about music. I don’t know much about the clarinet, but she was more than happy to tell me about it, and in the process gave me plenty of good photo opportunities.

This is just one example, but I have seen the same scenario repeat itself over and over: people tend get nervous and self-conscious when getting their photos taken, so if you want them to relax, have fun, and enjoy the photo shoot, try treating it as an hour of just hanging out. They’ll enjoy it much more and you’ll be surprised at the nice results you can get.

3. Build long-term relationships

When you order a pizza or pick up a tool from the hardware store you’re not looking for any type of lasting personal commitment. It’s merely a simple business transaction that serves a functional purpose, whereas photography is quite the opposite. Because you are dealing with people, and not objects, you should not only get to know your clients and seek to build a rapport with them, but find ways to build a professional relationship with them after money and pictures have changed hands. This won’t necessarily improve a current photo session, but it will pave the way for many successful future sessions while also helping to spread the word to the client’s friends, family, and co-workers about your photography services. A few ideas to try include:

Send a real thank you card

Send a thank-you card to the client (not an email, but a physical handwritten card) a few weeks after they receive their photos. Let them know how much you enjoyed working with them and appreciated their business, which is a good way to build a positive professional relationship that will last for years to come, and help make future photo sessions much more relaxed and enjoyable. You can also slip in a discount for a future photo session, which will give them even more incentive to do business with you again. This is especially important if you work with children or families, as you can easily lay the groundwork for many years of photo sessions by letting them know how much you appreciate them and enjoy working with them.

This boy’s parents had such a positive experience on his photo shoot that they asked me to take pictures for their whole family a few months later.

Post about the session on social media

As more clients share their lives online, you can take advantage of the medium to publicly say how much you enjoyed working with a particular client, how good the photos turned out, or how you are already looking forward to a future session. Clients often respond quite positively, and this type of public recognition helps to reaffirm their good opinion of you as a photographer. Note that you will want to get your client’s permission first, and posting about a client on Facebook is not the same as friending a client. I don’t necessarily recommend that, though I know several photographers who do.

Scratch their back, and they’ll scratch yours

Many of your clients (or their parents) are working professionals and would appreciate your patronage as much as you like to have theirs. Remember the father of the cute kid from last week’s session who is a local plumber? Give him a call the next time your sink overflows. What about the upcoming wedding shoot with the couple who owns a local deli? Take your family there the next time you go out to eat. Building these types of professional relationships is a good way to help ensure that future photo sessions are relaxed and comfortable for your clients. They will start to trust you, be at ease around you, take directions from you, and also recommend you to their friends and family. This also sends the message that you are interested in more than just taking pictures, but are an active and supportive member of your local community, which is filled with people who might be looking for a photographer to do their next portrait session!

Getting to know this family, finding out about their interests, and building on experiences from previous photo shoots helped make this session fun and enjoyable for them and much easier for me as a result. The children knew me from their photo session earlier in the year, which not only helped them relax but put the adults at ease too.

These are just three ways to help you get people to relax in your photo sessions, but there are many other ideas as well. What about you? What tips and tricks have you learned over the years to help your clients relax, enjoy themselves, and help you get the best shots you can? Leave your thoughts in the comments below.

The post Portrait Posing Tips- How to Help People to Relax and Take Better Photos by Simon Ringsmuth appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

4 Reasons Shooting at Sunrise and Sunset Will Help You Take Better Photos

10 Mar

Tree-2

Perhaps the most important change you can make to improve your photography is to change the time of day you are shooting. It is as simple as that. Photos taken in the middle of the day all have problems that can be avoided if you photograph near sunrise or sunset. Photographers agree on very little, but they all seem to agree that the times around sunrise and sunset are the best for photography. In fact, many photographers go so far as to put their cameras away during the hours between 9 a.m. and 5 p.m.

Getting up at dawn, or hanging around after sunset, is generally not convenient. It is no fun to get up well before sunrise, especially in the summer when sunrise comes early. But if you want to elevate your photography, that is how to do it.

You may have heard all this before, but in this article I will explain why, and show you some of the reasons why sunrise and sunset can help you take better photos.

Schoodic

Reason #1: Avoid harsh contrast

The bright light of the midday sun creates harsh shadows in your photography. Nearly every object within your view will create harsh shadows. Obviously large objects like trees and buildings create such shadows, but it goes at lot further. When photographing a person, for example, you will likely encounter harsh shadows on their faces. Even something as small as grass or leaves will leave unsightly black shadows in your pictures.

Photographing near sunrise or sunset fixes this problem. At those times, the sun’s rays are coming from a more horizontal angle, which means that the rays have to pass through a lot more of the earth’s atmosphere before reaching you. That makes the light more diffused.

In addition, the times just before sunrise and after sunset don’t involve any direct rays at all. At those times you are dealing only with indirect rays of the sun. You will not have a problem with harsh shadows.

Telluride-2

Reason #2: Maintain tones within your camera’s dynamic range

In all outdoor photography you have to cope with the problem that the sky is invariably brighter than the foreground. Sometimes it is much, much, brighter. If you meter light based on the brightest part of your camera’s view, which is inevitably the sky, the shadows in your picture will end up as pure black. Conversely, if you meter light based on the foreground or shadows in your camera’s view, the brighter portions of your picture will be overexposed or even blown out (pure white).

For pictures taken during the middle of the day, this problem can be exacerbated. That is when the sky is at its brightest. If your foreground is not as bright, you are will have a problem where the scene is beyond the dynamic range of your camera.

When photographing around sunrise or sunset the sky is not quite as bright as it is when the sun is high in the sky. This cuts down the dynamic range your camera has to capture, so it is possible to capture the entire scene in full detail.

WesternLake-2

Reason #3: Avoid the commonplace

You simply cannot take a unique picture by photographing the same places, at the same time, from the same angles as everyone else. If you want your pictures to stand out from the crowd, you need to do something different. Photographing at sunrise and sunset goes part of the way in giving you that something different.

Most people are used to seeing the world as it exists in the middle of the day, they are not used to seeing it at sunrise and sunset. A typical day will have 10 hours of midday lighting, but the sunrise and sunset last only a little while. Further, people often miss them entirely. People are usually sleeping at dawn, or if not, are getting ready for work and not focused on the sky.

By photographing at sunrise and sunset, you are showing your viewers something they don’t see all the time. It avoids the commonplace. It will make your pictures more interesting to your viewers.

Achill

Reason #4: Capture the sky at its most vibrant

People often go to scenic locations to watch the sunrise or the sunset. There is a reason for that: because those are the times when the sky is at its most dramatic. As a photographer, that is the sky that you want to capture.

Skies at sunrise and sunset are full of color. The orange of the sun combines with the blue of the sky and creates interesting colors. When there are clouds in the picture as well, there can be a variety of different colors. Conversely, in the middle of the day, the sky is blue (if you are lucky, otherwise it is grey). By photographing at sunrise and sunset, you can capture those colors in your pictures. To make sure you are capturing the colors at their most vibrant, set your camera to meter off the sky and then underexpose a little bit.

Marina-2

Conclusion

I hope this article explains the advantages of photographing around sunrise and sunset. It is one thing – and perhaps the only thing – that I can guarantee will improve your photography. But one final note to help you maximize the benefit, is that you should not arrive at your location at sunrise and/or leave at sunset. Rather, arrive about 45 minutes before sunrise and hang around at least that long after sunset. These periods when the sky is bright, but the sun is beyond the horizon, sometimes result in more dramatic images than the sunrise/sunset itself. I have often seen people pack up when the sun dips over the horizon, only to miss the most dramatic colors of the day.

I would also encourage you to check out the importance of photographing at these times for yourself. The next time you are on your favorite photo sharing website, look at your most-liked photos. Make a quick note of how many of them were taken at sunrise or sunset. My bet is that it will be a lot of them.

So if you want to take more dramatic and interesting photos, take them at sunrise or sunset. The good news is that it doesn’t cost you anything. You don’t have to buy any special gear. Yet this one change will make more difference than any new camera or lens.

The post 4 Reasons Shooting at Sunrise and Sunset Will Help You Take Better Photos by Jim Hamel appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography