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Back to Basics: Everything You Need to Know for Choosing the Right Tripod

22 Jun

The post Back to Basics: Everything You Need to Know for Choosing the Right Tripod appeared first on Digital Photography School. It was authored by Adam Welch.

tips for choosing the right tripod

Although they seem simple enough at first glance, tripods are tremendously important tools for photographers and videographers. Talking about camera support systems might not be the sexiest topic in photography, but there’s so much to know about tripods. So, allow me to do you a favor. I’m about to clue you in on a few things I wish I’d known about tripods when I first began making photographs nearly twenty years ago. These things will help you when it comes to choosing the right tripod for your needs.

Back to Basics: Everything You Need to Know for Choosing the Right Tripod
Choosing the right tripod may seem overwhelming – but not once you know these things.

Camera tripods come in all shapes and sizes. Materials and mechanisms vary a lot, as do the specific usages of the tripods themselves. This article will show you the basics of tripod anatomy and talk about the things you need to know about them, so choosing the right tripod for your needs will be easy.

Tripod legs: putting the “tri” in tripod

Conceptually, tripods are delightfully simple beasts. Three extendable (usually) legs offer three points of contact to the ground/floor, then terminate at an apex where your camera will hopefully be securely mounted. This is all deceptively simple and leaves a lot of room for many different types of legs made from many different materials with equally varied locking mechanisms.

choosing the right tripod – Legs of tripods.

Let’s break down some of the common tripod leg variants you’re likely to encounter when choosing the right tripod.

Materials

Tripod leg materials range from the oddly archaic to the weirdly space-aged. Fortunately, in most cases, you can make the best choice for which material will be best for your uses based on these three simple maxims:

  1. Your tripod can be lightweight.
  2. Your tripod can be strong.
  3. Your tripod can be inexpensive.

The catch here is that you can only choose two of those when selecting a tripod. This is where tripod leg materials come into play and where you should be honest with yourself about what you need the most from your tripod.

1. Wood and Steel

As difficult as it might be to believe in this day and age, I still own and regularly use a wooden tripod; yes, really.

choosing the right tripod – Tripod with medium format camera.

It’s a beautifully made contraption of steel and ash wood, Berlebach Report 2042 (new version is 242). Primarily, I use it for large format and medium format work and any other time in the studio when I want to use a large setup or happen just to be feeling extra meta. It supports around 27lbs(12.25kg) and is absolutely rock solid. The drawback is my lovely Berlebach weights over 7lbs without a head, and it tips the scales at over 10lbs when fitted with one.

The point here is that yes, there are still tripod legs made using “old world” materials like wood and steel. Many of these are vintage tripods you can pick up for a wide range of prices.

If weight is not a concern for you, a heavier tripod is more ideal than a lighter one. If you do primarily static studio work, don’t overlook these wood or steel tripods.

2. Plastic

Yes, there are some plastic tripod legs out there. Most of these, thankfully, are relegated to smaller, desktop-type tripods for blogging – as they should be.

A plastic tripod.
A tiny little plastic tripod….

As a construction material for longer tripod legs, plastic and plastic derivatives aren’t ideal. Often the strength is far from adequate for the camera support system and flexes under the load.

While some plastic components on a tripod are perfectly fine, it’s advisable to steer clear of a large tripod with legs completely made from plastic.

3. Aluminum

Ahhhh yes, good ol’ aluminum. In the world of tripods, aluminum is the ultimate workhorse. It has an excellent strength-to-weight ratio, is relatively low in price (dropping lower all the time), and makes for a nice, healthy compromise between leg rigidity, compactness, and weight.

choosing the right tripod – Legs of an aluminum tripod.
Aluminum tripod legs.

For the last couple of decades, aluminum has been the tripod leg material of choice when it comes to camera support systems because it checks so many boxes in terms of performance.

However, in the last ten years or so, modern science has thrown a new material into the mix that has all but unseated aluminum as the ideal material for tripod leg construction.

I’m talking about…

4. Carbon Fiber

I’ve made photographs for over half my life now, with about ten of those years professionally. For as long as I’ve been slinging a camera, I only acquired my first carbon fiber tripod about three years ago. Carbon fiber is a lightweight, strong, and extremely corrosion-resistant material, making it perfect for tripod legs.

Carbon fiber legs of a camera support system.
Carbon fiber is strong, lightweight and becoming increasingly affordable.

Not to get all “sciency,” but carbon fiber is, in fact, more stiff than aluminum, being 181Gpa and 69Gpa, respectively. This means that a tripod leg made of carbon fiber flexes less than an aluminum leg of the same diameter. That’s a good thing for a tripod.

Of course, there are multiple carbon fiber species out there, and each has different characteristics.

Going back to our “big three” maxims for tripods, while carbon fiber tripods are strong and lightweight, they are often not cheap. Expect to pay around double for a set of carbon fiber tripod legs compared to aluminum.

However, this price gap is quickly closing as more and more manufacturers begin to bring carbon fiber tripods to the market. In most cases, the benefits of having an easy-to-carry tripod that is both strong and stable are often worth the investment.

5. Titanium

After an exhaustive internet search (okay, maybe about ten minutes), I couldn’t turn up any tripod legs made fully from titanium alloy. However, I did find some tripod sales pages using vague language and simply naming aluminum tripods as “titanium” models.

While titanium is making its way into the world of tripod legs, it is doing so in the form of hardware too. This is expected since titanium offers superb tensile strength and corrosion resistance. Yet, oddly enough, titanium isn’t the ultimate material for tripod legs and parts. It doesn’t wear well against other parts, and the strength-to-weight isn’t as good as some carbon fiber materials.

And the price? Words like “astronomical,” “insane” and “laughable” spring to mind.

Locking Mechanisms

To offer portability, tripod legs generally feature either folding or telescopic sections, with the vast majority being of the latter variety. This means that those leg sections sport some sort of locking mechanism. In general, you’re likely to encounter two main types of leg locks.

1. Flip locks

My very first tripod had flip-type leg locks. Then, my second tripod had flip-type leg locks…so it’s no surprise that I became accustomed to, and prefer, flip-type leg locks on my tripods. This, of course, is wholly subjective.

Flip locks are exactly how they sound: a locking mechanism that flips up to release the tripod leg section and flips down to secure it into place.

Flip locks on camera support system.
A flip-lock.

These locks make deploying the tripod fast and easy. Flip locks can be made of a variety of materials and vary in strength accordingly.

2. Twist locks

It seems as if twist locks are slowly becoming the more prevalent method for locking tripod legs into place. Much like their flip-lock cousins, a twist-type leg lock doesn’t function just as you might expect. Simply twist one direction to unlock and twist the opposite direction to secure.

choosing the right tripod – Twist-locks on a tripod.
A twist-lock style of locking mechanism.

Twist locks are generally less likely to fail due to dirt and sand over flip locks. However, not all twist locks are made equal. Some twist locks require a good deal of “throw” (twisting) to lock or loosen the mechanism resulting in slower deployment retraction.

Tripod Feet

Now that we’ve reached the bottom of our tripod, it’s time to talk about the silent hero of all tripod legs – the seldom applauded feet. No matter what, your tripod ultimately comes to rest on its feet…well…hopefully.

The feet of a tripod come in all shapes and sizes and are another important consideration when choosing the right tripod. In most cases, tripod feet are made from some sort of rubber or rubberized plastic.

choosing the right tripod – rubberized feet
Rubberized tripod feet.

This is where things get interesting.

Now, the shape and characteristics of tripod feet make them more or least apt to remain solid in different environments. The larger the feet of your tripod, the more “flotation” they will offer; meaning the load will be distributed over a wider surface area. The more flotation a tripod foot has, the less likely it is to sink into softer ground materials like sand and mud.

High flotation tripod feet on camera support system.
An example of large, high-flotation tripod feet. These kind are great for sandy environments.

Speaking of the ground, if you know you’ll be using your tripod in widely varying outdoor environments (looking at you landscape shooters), it would be a good idea to make certain your tripod feet feature some type of spike system.

Tripod foot spike.
Retractable foot spike.

Foot spikes are your best friend when you find yourself shooting in icy winter conditions or on exposed rock. However, they are also your worst enemy when shooting indoors and are the menace of wedding venues everywhere. So if you’re a photographer who shoots both outdoor and indoor scenes, make sure your leg spikes are retractable or removable.

It’s also worth mentioning that many major tripod manufacturers offer interchangeable feet for their products, which means you can change your tripod feet depending on the situation.

Center column or nah?

Let’s move a bit north and talk about a topic of contention when it comes to tripods – center columns. A center column allows the photographer to increase the tripod’s height after deploying the legs to their maximum extension.

choosing the right tripod - center columns.
A selection of tripods with center columns.

Center columns add wonderful versatility to a tripod’s capabilities simply because they facilitate the quick and tailored height adjustment. At the same time, center columns also introduce a point of movement into your shooting platform. Thus, causing the debate about whether or not using a center column hinders the overall quality of your photos.

Center columns are very much a double-edged sword in that they can add immense versatility to your shooting possibilities while also causing a few problems if poorly executed. As cliche’ as it might sound, the choice of whether or not you prefer a center column is entirely up to you.

Fortunately, the decision is becoming less and less of an issue, as many tripod makers now offer removable center columns for a large number of tripod models.

There’s so much more!

We’ve covered the main components of your tripod, but we haven’t even begun to talk about the wide world of ball heads, pan heads, and fluid heads! There are even base plates and plate clamps to talk about! So instead of reading about all of these cool little gadgets, why not see them in action?

Have a look at this video I made that covers all of the things we’ve already talked about plus the options that are currently available for mounting your camera to your particular camera support system.

As always, feel free to post your questions and comments about choosing the right tripod below. Have a favorite camera support system or setup you’d like to share with us? We would love to hear about them as well!

The post Back to Basics: Everything You Need to Know for Choosing the Right Tripod appeared first on Digital Photography School. It was authored by Adam Welch.


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DPReview TV: Do you still need camera filters for digital photography?

13 Jun

Are camera filters obsolete in the age of digital photography? Can’t we just Photoshop images? Not so fast! We take a look at four filters you still need in your camera bag.

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  • Introduction
  • Polarizers
  • Neutral density (ND) filters
  • UV filters
  • Graduated neutral density filters
  • Wrap-up

Articles: Digital Photography Review (dpreview.com)

 
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Photographing on Your Home Patch and Why You Need One

19 May

The post Photographing on Your Home Patch and Why You Need One appeared first on Digital Photography School. It was authored by Jeremy Flint.

dps-photographing-on-your-home-patch

Photographing on your home patch is an exciting way to practice your photography. Making a long journey to take photos can seem like a daunting task because of the travel times involved. Photographing closer to home is a much easier and inexpensive prospect and doesn’t require venturing too far.

What is a home patch

You may be wondering what a home patch actually is? Well, it refers to “a local area that is close to home and is easy to access year-round.”

A local patch can be almost anywhere nearby, and for most people will be on public land. It can be a location that is close by that you can visit with minimal efforts, such as a field, woodland, park, city, or river. Being nearby, you can ideally walk, bike, or use a vehicle to get there.

Why do you need a home patch?

There are several reasons why you need a home patch. Firstly, good photos can be achieved close to home with minimal effort. I took this shot less than five minutes from my home. I simply drove down the road, parked the car, and took the picture.

Photographing on your home patch
Misty morning, Oxfordhsire

By
photographing on your home patch, you can focus your efforts in one area, you can
re-visit the location anytime and you can spend more time enjoying your
photography and taking pictures.

Advantages of a home patch

Some great advantages of photographing locally include saving on time, as traveling is minimal, and the area is close by and relatively easy to get to. Going local by photographing on your home patch saves on costs as all you need is your camera. It is also a great way to practice your photography skills.

Focussing your photography on an area close to home will help you to keep your technique sharp whilst improving your images over time. You can even find a local project to capture.

Having traveled to several countries around the world to photograph amazing places, there is nothing I find more satisfying than capturing strong images close to home. You don’t need to travel far to create good photos.

For this shot, I visited the field of dandelions at first light to capture the early morning glow.

Photographing on your home patch
Dandelions in mist

When shooting close to home, you have the added benefit of being able to visit your local patch when the weather is more favorable. You can also visit at any time during the year, which is difficult to do when you visit somewhere abroad for a week on holiday, and the weather is unpredictable.

Other advantages of photographing on your home patch are that it enables you to practice your photography more frequently rather than waiting for a trip. You will also be better prepared for when you do go on a long journey with your camera.

What
to look for?

You may be wondering what you should look for when photographing on your home patch?

Well, once you have identified a great location nearby, you just need to decide what you will photograph. Your approach could be to photograph wildlife, landscapes, street scenes, or even architecture depending on your favorite photography subjects.

Photographing on Your Home Patch and Why You Need One
Deer, Oxfordshire

Finding great subjects close to home is easier than you may think. You don’t need to go on an African safari to take great wildlife photographs, for example. In the UK, we are lucky enough to have deer, rabbits and foxes for wildlife photography. When out in the countryside, observe nature and look for any clues of wildlife being present. You may find animal tracks or signs of life on show.

Local
woodlands and fields can be great places to visit and photograph too whilst
getting some fresh air in the great outdoors. In the UK, they are a haven for
birds and mammals such as squirrels and deer.

Rivers and riverbeds provide homes to otters, herons, and fish too, which you may be lucky to photograph.

Photographing on Your Home Patch and Why You Need One
Oxford, England

Some other ideas for things to look for in nature are beautiful landscape scenes such as valleys, trees or hedgerows, and details such as insects and plants. Shooting close-ups can give a more intimate view of a flower or insect.

If you live in a city, your home patch can include street photography, architecture photography, capturing reflections in windows, doing panning, or light trails to capture movement of traffic.

Working your local patch helps you to gain a
better understanding of your environment and become familiar with your
surroundings, the lie of the land, the buildings and their inhabitants. 

Whenever you visit, remember a familiar location can look very different in diverse light, contrasting weather and variable times of the day and year.

Conclusion

In summary, photographing on your home patch is a great way to practice your photography closer to home and generally requires minimal effort. Finding a local area to photograph that is easy to get to also saves on time and cost. Look to photograph something you enjoy such as landscapes, woodlands, wildlife present in nature and urban scenes in local towns, or cityscapes and night photography.

Be sure to share the images you capture on your home patch with us below and any other tips you may have.

The post Photographing on Your Home Patch and Why You Need One appeared first on Digital Photography School. It was authored by Jeremy Flint.


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DPReview TV: Laowa 12mm T2.9 Zero-D Cine review – Do you need an ultra-wide for video?

07 May

Ultra-wide lenses pose special challenges when shooting video, but can create dramatic effects. We review the Laowa 12mm T2.9 Zero-D Cine lens, which shares the same optical formula as the company’s 12mm F2.8 lens for full frame cameras.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Using ultra-wide lenses for video
  • How the Cine version differs from the standard Laowa 12mm F2.8 Zero-D
  • Lens breathing
  • Distortion
  • Sharpness
  • Sunstars and flare
  • Do you need an ultra-wide for video?
  • Which version should you get: Stills or Cine?
  • See you next time!

Articles: Digital Photography Review (dpreview.com)

 
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Developing film at home: everything you need to know to get started

01 Apr

Introduction

If you’re lucky enough to have some free hours in these uncertain times, there are a lot of ways you could spend them. How about learning how to develop your own film? Or maybe developing film is an activity you tried long ago and one you’d like to jump back into. After all, the smell of fixer singeing the nostrils can be quite an intoxicating/nostalgic aroma (Please do not smell the fixer).

What follows is a quick and easy home developing guide that’ll cover everything from supplies, to chemistry dilutions, to proper cleanup. So turn down your record player and grab a good old fashioned pencil and paper to take notes [glances at the sun dial] – it’s developing time!

Reasons to develop at home

But first, if you still need convincing, here’s are some solid reasons to take the plunge into the wild DIY world of home developing:

1. It’s cheaper to set up a home developing kit than you may think. I was able to get everything I needed from a local brick and mortar store for ~$ 150. Obviously a lot of stores are closed right now, but you may pay even less sourcing items online, or second hand.

2. Home developing is a hands-on experience that makes you better appreciate both the magic of photography and the wonder of chemistry. There’s something really cool about seeing the image creation process from start to end. In short, you’ll feel a bit like a mad scientist.

3. If you are paying a lab to develop and scan your images right now, setting up a home lab can be a cheaper option in the long run. And even if labs are closed (as many are at the present time), you’ll still be able to process your own images.

4. It feels good to learn something new / do it yourself.

Best films to start with

For the sake of this article, we’ll concentrate on developing B&W film, as the process is easier to learn than it is for color. B&W film also tends to be more forgiving to exposure errors than color… not that you’ll make any!

Some good B&W films to start with include Kodak Tri-X, Kodak T-Max, Ilford HP-5 Plus and Ilford Delta 400. Be aware, there are B&W film stocks out there that are meant to be developed in color chemistry, like Ilford XP2. Avoid these.

Chemistry 101: The developing basics

The process of developing film is actually quite straightforward. We’ll go into more detail further into this article, but the basic steps go like this: Load your film into a lightproof tank and pour a series of chemicals in one after another, then wash, dry and scan.

The two main chemicals involved in the process are developer, which does exactly what it sounds like, and fixer, which stabilizes the film after development. A stop bath rinse is done between the developing and fixing stage and a water rinse is done at the end.

What you’ll need to assemble your home mini lab

Here’s what you’ll need to set up your home developing kit: Concentrated developer, fixer and stop bath (optional – plain old water also works). Liquid concentration is easier to work with than powder and is also safer as there’s no chance of particulate inhalation. You’ll also want a wetting agent like Kodak Photo-flo (this is also optional but I find it helps negatives dry without watermarks), a developing tank with reels*, several plastic bottles to mix your dilutions in, measuring beakers, a funnel, a thermometer, a stop-watch/timer and a film squeegee. Many photography stores carry all these items.

You’ll also want a light-proof bag to load your reels, as well as a bottle opener and a sharp pair of scissors. The former is to pry open the film canister the latter is to cut the film (both while in the bag). Film clips are great for drying, but clothespins work well too. You’ll also want plastic sleeves to store your negatives in once dried.

*For those wishing to avoid the developing tank, all-in-one options like the the Lab-Box, may be your cup of tea. We can’t vouch for its ease of use, but our pals over at Pop Photo seem to like it.

Loading film onto reels

There are a handful of companies that make film tanks and reels. In general though the plastic reels are MUCH easier to load than the metal ones. Of the popular plastic brands, I’ve found that Paterson Universal makes the easiest to load reels (avoid Omega brand reels).

Once you’ve got your tank, I recommend practicing loading your reel with the lights on. Yes you will need to sacrifice a roll of film to do this, but it’s worth it. Here are the basic steps/tips for loading:

1. Pop open your film canister from the bottom using a bottle opener. It should not take much to pry the bottom cap off.

2. Pull the film and spool out of the canister and trim off the film leader so that the roll ends in a straight cut line.

3. Insert the freshly-cut end of the film roll into the reel. On a Paterson Universal reel the side in which you load the film is flat and the side it feeds out of is rounded; this makes it easy to load correctly in the dark. Once inserted, hold each side of the reel in either hand and gently twist the opposite direction until the reel hits a stopping point, then twist back; this should advance the film onto your reel one frame at a time.

4. Count in your head how many times you do the above twisting action. When you get to 32 (assuming you’re loading a 36 roll frame) unroll the rest of the film from your spool and cut it free – there’s usually a small piece of tape attaching it.

5. Proceed to load the last of the film.

6. Insert the reel onto the tank’s center column. Remember if you’re only developing one reel to still use two reels in the tank with the loaded one on bottom.

The developing process – mixing up the chemistry

Mixing up photo chemistry requires very little knowledge of chemistry itself. If you can follow the directions required to bake a cake, you can certainly mix up these chemical dilutions with no trouble.

As mentioned, we recommend purchasing concentrated liquid chemicals and some plastic containers to store your dilution in (make sure the containers are photo chemical safe). Most chemistry comes with basic dilution guidelines printed on the bottle. For example I use Ilford Ilfotec DDX Developer, which requires a 1:4 dilution. Conveniently, this is the same dilution as the Ilford Rapid Fixer I use.

When mixing up chemistry I like to make 60 fl oz of diluted developer, fixer and stop bath. This is roughly 3x times the amount of each chemical I need to process two rolls in my Paterson tank. Because I don’t develop too often, I just pour the dilute chemistry back into its respective container after I’m done. The chemistry eventually expires, but it takes many rolls to get there. I also find it extremely helpful to write down the date and dilution of each chemical on its container.

Once you have all your chemicals mixed up and in separate jugs, it’s time to bust out the timer and get processing!

Developing, stopping, and fixing

Printed on the bottom of most film tanks is how much fluid is required, depending on the number and/or type of film you are processing. My tank requires about 22 fl oz for two 35mm rolls of film.

It’s also important to figure how long you’ll need to develop your film for. Many manufacturers include a list of developing agents and developing times on the inside of the film box. But if you tossed the box, worry not, the Massive Dev Chart is here to help. The temperature of the chemicals also affects developing time, so it’s good thing you got that thermometer!

Below are the basic steps for processing your roll:

1. Pre-wash: This isn’t completely necessary but there’s no harm in washing your film before moving on to the chemistry.

2. Developing time: Measure out your developer into a beaker and use the thermometer to find its temperature. The colder the developer, the longer the processing time. For instance if I’m processing a roll of Ilford HP-5 Plus in the aforementioned developer/dilution, I’m looking at nine minutes of developing time if the chemistry is 20 C / 68 F and closer to seven minutes if its 24 C / 75 F. Obviously if it’s warmer or colder than that range, you can estimate your development time accordingly.

3. Developing: Start your timer, pour in the developer, attach the tank’s cap and shake gently for 30 seconds. After the first 30 seconds let the tank sit on the table, then shake for ten seconds at the start of each minute of developing. Tap the tank on the table after shaking each time to ensure there are no air bubbles.

4. Stop-bath: Pour out your developer, pour in your stop bath dilution and replace the cap to the tank. Shake the tank for about ten seconds and then let it rest on the table for an additional 30 seconds (don’t forget to tap for air bubbles). Pour the stop bath out and pour in your fixer.

5. Fixer: Repeat the same shaking, tapping and resting process as you did with the developer for the fixer for 4-5 minutes. Then pour out the spent fixer and fill your tank with fresh water…

Washing, drying and storing negatives

6. Washing part 1: Once filled with fresh water, give the tank a good two minutes of shaking, then pour out the water. Repeat this process several times. Note: your film is fully-developed and light-safe at this point.

7. Washing part 2: Twist off the top of the tank and let water run into it for five to ten minutes.

8. Wetting agent: Dump out a little water, add a few drops of a wetting agent to the tank and screw the top back on (with cap attached). Shake for about five seconds and remove the screw top.

9. Removing the film and squeegeeing: Remove your reels from the center column of the tank and twist in the same way you did when loading them, but do so beyond the initial stopping point. This should allow you to pull either side apart. Grab one end of the film and run a wet squeegee over it once or twice.

10. Drying: Hang your film using clothespins or clips somewhere it won’t be disturbed. Give the negatives about 12 hours to dry before cutting and inserting it into plastic film sleeves.

Cleaning up

It probably goes without saying, but photo chemicals are toxic and you should avoid dumping them down the drain at all costs. Likewise, it’s important to keep your work space clean and tidy. I personally like to work on a piece of plywood on saw horses that I break down each time after I’m done processing. This avoids getting chemistry on my work desk or kitchen table.

Of the chemicals used for home developing, photo fixer presents the most environmental issues. Fortunately there are places happy to take it off your hands (for a small fee). Spent fixer contains valuable liquid silver which can be removed and recycled. Spent developer and stop bath can be taken to most household hazard waste processing locations. If you’re unsure of the best way to dispose of chemicals, contact a local photo lab and ask for their recommendations.

Scanning/digitizing

Once your negatives are dried it’s time to digitize them. There are numerous ways to scan film and varying opinions about which methods are best. I personally use an Epson V-series scanner that can do 12 frames of 35mm in one go. These scanners are reasonably-priced, fairly quick to scan and offer decent output – read our Epson V600 review.

Another fairly-easy scanning methods involves using a camera and macro lens, diffused light source and some sort of film holder like the Pixl-latr or Nikons’s ES-2.

Conclusion: Tips for success

As is the case with anything DIY, there’s going to be a large degree of trial and error involved in your process. I’ve tried my best to lay out all the basics that I’ve learned over the years, but it should got without saying that your mileage may vary.

That said, here’s a few final tips to help you succeed, based on my own trial and error:

1. Write down each step of the developing process as it pertains to your chemistry and the kinds of film you shoot. You’ll find yourself referencing this every time you go to develop.

2. Try your best to avoid getting finger prints on the film while loading and opt to load in a proper lightproof bag over a seemingly dark room.

3. Don’t be skimpy with the fixing time. If the film spends a little too much time in the fixer it won’t have any real negative impact, but too little will.

4. Give your film enough time to dry or it’ll get stuck in the plastic film sleeves.

5. Accept dust as a natural part of the life of a film shooter.

6. Consider wearing gloves unless you like the smell of fixer on your fingers for days (I do).

That pretty much sums up our home developing guide! If there’s something crucial you feel we’ve left out, or if you have any additional tips, feel free to mention them in the comments below. Happy developing!


Want more analog fun? Check out the DPReview Film Photography Forum.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS R5: Here’s why you probably don’t need 8K right now (and a few reasons why you might)

23 Mar

Here’s why you probably don’t need 8K right now (and why you might)

Canon’s recent announcement of the new EOS R5 wasn’t completely unexpected, but one of the camera’s key specifications, 8K video, did catch us a bit by surprise. 8K video has been in development for several years, but to date it’s mostly been limited to Hollywood-level cinema production and tech demos by Japanese broadcaster NHK.

With the R5 it looks like that may be about to change. In fact, we now know that the R5 will be able to capture 8K/30p using the full width of the sensor. Of course, there’s a lot more to video quality than just resolution, and we don’t expect the R5 to challenge a camera like the RED Helium 8K, but the fact that 8K is making its way into any consumer mirrorless camera suggests that this could be the tip of the iceberg.

With that in mind, let’s look at some reasons why you probably don’t need 8K video anytime soon – as well as a few reasons why you might.

Almost nobody is watching 8K

8K displays are absolutely incredible, and once you’ve seen one in person you can’t unsee it. It’s exciting to think that some day 8K displays will be everywhere.

But today, they’re not everywhere. In fact, they aren’t really anywhere except for niche locations like post-production environments or the living room of that guy down the street who always has the latest gizmo (and isn’t afraid to pay top dollar for it). Sure, 8K TVs are coming down in price, but they still run into the thousands of dollars and it will be a while before they’re commonplace.

8K TVs are coming down in price, but they still run into the thousands of dollars…

There’s also the question of whether most viewers will be able to see the difference between 4K and 8K. Even with good eyesight, human vision at typical viewing distances will be a limiting factor unless you’re using an exceptionally large display.

In short, there’s really no reason to get an 8K camera in order to deliver 8K content today.

You’ll probably need a new computer

Unless you’re in the high-end video production business, or possibly a really serious gamer, chances are pretty good that your current computer won’t be up to the task of editing 8K video.

The same thing happened when 4K video came on the scene. It wasn’t uncommon to discover that video rigs designed to cut through 1080p footage like butter could get mired down when working in 4K. We needed faster processors, faster video cards, faster storage and, of course, new 4K displays to take advantage of all that resolution.

We can expect similar challenges in the early days of 8K video. Early adopters will pay a premium to upgrade their editing equipment, so unless you really need to shoot 8K today it might be better to wait a couple years for better, and more affordable, mainstream support.

The files will be huge

Remember when we first started shooting 4K video and discovered just how big the files could be compared to HD? We needed larger memory cards, more of them, and in may cases, faster cards to accommodate the increased bit rates required for high quality 4K. Check out our recent review of the Panasonic S1H for a real world example of how this impacted DPReview’s Richard Butler.

Remember when we first started shooting 4K video and discovered just how big the files could be compared to HD?

Larger files also resulted in workflow changes. Some videographers who were used to editing entire projects on a laptop’s internal hard drive had to start carrying around external hard drives, and later, portable SSDs. Even archiving projects required more storage.

High quality 8K video will, to some degree, begin this cycle over again. At least this time we’re starting out in a world in which SSDs are ubiquitous, but we’re still going to need larger SSDs and faster connections to effectively work with 8K files. The good news is that SSDs are gaining capacity as prices continue to fall, and USB 4 promises to deliver faster connections for consumers without the high cost of Thunderbolt, but early adopters will again pay a premium.

Your current video lenses might hit their limits

A single frame of 4K video delivers around 8.2MP of resolution, something that’s comfortably within the resolving range of almost any lens from the modern digital era (and many earlier ones). In contrast, 8K video delivers roughly 33MP frames.

That’s within the working range of quite a few still cameras, and many recent optics are certainly capable of resolving that level of detail. If you already have higher resolving lenses that’s great, but if you’ve been shooting video using older lenses – including some from the digital era – you may find that you need to upgrade your glass to get the most out of 8K video.

To capture still photos from video

We’ve talked about several reasons why you probably don’t need 8K video today, but let’s consider a few reasons why you might want it anyway.

One might be to capture high quality still images from video. Heck, even 4K video provides enough resolution for many purposes, and features like Panasonic’s 4K and 6K Photo modes have been useful to many photographers. Having the option to capture 33MP images from video takes this to a whole new level.

At a recent NAB Show, Canon displayed a gallery of stunning photos that were extracted from 8K video frames; the quality was so high that they could have been shot with a modern DSLR. Of course, extracting photos from video may not be the ideal workflow for all types of photography, but for some it can work very well. We may very well see 8K photo modes on some cameras. Maybe even the R5.

For video post-production

8K video will provide immediate advantages when shooting and editing 4K projects; the camera operator will be able to plan a shot knowing it will be possible to ‘punch in’ later, and the editor will have more creative flexibility when cutting the project together.

The resolution provided by 8K will facilitate 2x cropping to 4K in post with no apparent loss of resolution, making it possible to simulate longer lenses or edit out distracting elements at the edges of a scene. It will also enable editing tricks like virtual zooms and pans. These techniques are frequently employed when editing 4K footage for HD delivery, but now the entire process can be scaled up.

8K will also allow you to do better green screen work. Good chroma-keying depends on the ability to discern fine details around the edges of your subject, such as hair. The more resolution you have to play with, the better. Other factors, such as color sub-sampling, are also important to the quality of green screen work, but all else being equal more resolution is an advantage.

To create even better 4K video

4K video is impressively detailed, but oversampled 4K video is even more detailed. So, even if you don’t need to create virtual crops, zooms or pans in your video you’ll still benefit from the effects of oversampling.

We’ve already seen a number of mirrorless cameras that oversample 4K in-camera, typically from a 6K starting point. However, sampling theory says that 8K is the minimum resolution you need to correctly capture the maximum resolution that 4K can show. In effect, it’s perfect oversampling, similar to the way the original Sony a7S (above) captured 4K and downsampled it to 1080 with zero luma aliasing.

To future-proof equipment

This one is tricky because it requires us to predict the future a bit more. However, there are a couple useful data points we can look at: 1) As a consumer technology, 4K video experienced more rapid adoption than many expected, and 2) The trend among camera buyers is to upgrade their cameras less frequently than they did in the past.

This suggests that 8K technology could be widely available more quickly than we anticipate as well. In fact, it’s already showing up on some smartphones. As a result, if you plan to keep your next camera for a while and want to make sure it’s future-proof, then it may be a good idea to ensure your next purchase is 8K-ready.

To future-proof content

There was a time when widespread access to HD TVs and displays seemed a long way off, but savvy content creators, including a lot of small, independent videographers, were already producing content in HD instead of SD. Why? Because they knew that if they didn’t, once HD was more widely adopted their content would appear dated quickly (and possibly even be excluded from some platforms).

This was true during the transition from HD to 4K as well, and we’ll likely see a similar trend as we move to 8K. Whether the visual difference between 4K and 8K at standard viewing distances is as noticeable as the previous transitions is debatable: both have so much detail it might be difficult to tell them apart.

Whether the visual difference between 4K and 8K at standard viewing distances is as noticeable as the previous transitions is debatable…

However, screens keep getting larger over time: the 24″ TV that sat in a family’s living room in the 1980s became a 65″ TV by the 2010s. If screens get big enough, the difference between 4K and 8K might actually become noticeable. There’s a counter argument to this, of course, which is that many people watch more content on the tiny screen that fits in their pocket than on a TV, so it depends a lot on your target audience.

Ultimately, if future-proofing your content is important, it might make sense to begin working in 8K early.

8K is coming, but do you need it now?

The Canon EOS R5 is likely the first of many cameras we’ll see with 8K video. At a technical level, we should at least recognize that this is a pretty impressive accomplishment for any manufacturer. However, whether you truly need 8K video in the near future is debatable.

If you’re the type of person who mostly shoots video to capture your own life adventures, share movies with friends on social media, or does fairly minimal editing on the video you shoot then there’s little incentive to adopt 8K today. Chances are good that you won’t notice much difference.

If you’re the type of person who mostly shoots video to capture your own life adventures… chances are good that you won’t notice much difference.

On the other hand, if you’re serious about video and produce 4K content, 8K has the potential to benefit your workflow: cropping to 4K in post, digital pans and zooms, and downsampling to create better 4K video being just a few examples. 8K will appeal to some stills photographers as well. Do you enjoy using 4K and 6K photo modes on your camera to nail the perfect frame? If so, you’ll probably love 8K photos.

Not sure if 8K is in your future? You can watch this 8K video on YouTube while you decide. Of course, you’ll need an 8K monitor to properly watch it, which you can find here. We’ll wait while you try it out.

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2 Important Skills All Photographers Need

11 Mar

The post 2 Important Skills All Photographers Need appeared first on Digital Photography School. It was authored by Ana Mireles.

important skills all photographers need

Do you know what are two of the most important skills all photographers need? Since photographers don’t usually apply for jobs with a traditional CV, we’re not really used to thinking about things like soft skills. Yet, we really should.

important skills all photographers need

As a photographer, you are very conscious of technical skills and you ‘sell’ them to the client. But what about soft skills? Usually, everything falls into the creative category, but learning to recognize individual soft skills can help you to improve as a photographer and grow your list of clients.

What are soft skills?

Soft skills are a list of personal competencies or attributes that impact the way you do your job. Because they come from a personal level, they are not necessarily job-specific. However, some are more important than others for each professional profile. Two important skills all photographers need are resourcefulness and flexibility.

A streak of bad luck during the shoot, or a slip of memory that made you forget some equipment, can happen to anyone. This is where soft skills kick in – how do you solve the problem? I’ll give you two examples where simple things can go wrong, and why these are important skills all photographers need.

Example 1: a broken tripod

You have a photoshoot where the composition was laid out considering a high point of view looking down on the subject. Unfortunately, the quick-release plate of the tripod brakes, what would you do? Problem-solving may lead you to change the settings to do the photo handheld, but sometimes you can’t.

Let’s explore some other ways to deal with it.

Resourcefulness

It means that you’re able to face a difficult and unexpected situation by using any resource you have at hand. In this case, you’ll need to find a steady support for your camera. Look around and find any stable thing that you can use considering the height you need to reach. You can use your equipment cases, or some boxes for example.

important skills all photographers need

Next, think about the angle you need to give your camera and find something malleable to put on top of the boxes. Most photographers have a sandbag to put weight on the tripod, you can use that. Otherwise, you can find a cushion, a bag of sugar, or anything you can find. This would potentially solve your problem with resourcefulness.

Flexibility

If there weren’t any resources available to solve the problem, or not in an acceptable way, then you need flexibility. This means that you have the ability and willingness to adapt to changing circumstances. For example, being open to change the aesthetics of the image by rearranging the composition and reframing it.

important skills all photographers need
1/125 f8 ISO 200

If you’re working with still life, products or food, you can even place the camera on the same surface as the subject. If it’s a portrait or a landscape, try placing your camera on the tripod without having to angle it.

Example 2: no flash trigger

A wireless flash trigger is a device that allows your camera to communicate with your flash so you can fire it in sync. Usually, it’s two pieces of equipment – the transmitter and the receiver. If you forget one of the pieces, run out of batteries, or it breaks, what can you do to trigger the flash?

Resourcefulness

Even if your set-up involves several flashes, you can use most speed lights and strobes in slave mode. This means that you only need to fire one flash and the others will react to it. So, which flash can fore without extra devices or cables? The one from your camera (if your camera has an onboard flash).

important skills all photographers need

Normally, you don’t want to use that flash to illuminate your scene, as it tends to be quite unflattering, but you can use it to trigger your other lights. Using a piece of cardboard, or a small box, block the front (and at least one of the sides) of the flash so that it won’t spill any light into your scene.

Leave open one side so that the light triggers the slave flashes.

Flexibility

Another possible solution is to fire the flash manually. In order to do this, you’ll need a longer shutter speed so you can react and fire it on time.

important skills all photographers need
1,6 sec f8 ISO 200

The last time I faced something like this, I started processing whatever I had shot before the trigger broke, this way the client didn’t feel we were just waiting around doing nothing and I used the time productively. If not, you’ll need to be open to reschedule or run to buy a new trigger (or batteries, depending on what happened). In any case, flexibility is key.

Conclusion

As you can see, soft skills are small things that you probably already have but never considered an extra asset. The important thing about identifying your soft skills is that you can improve on them.

Also, now that you know them, don’t be shy about letting your clients know about it. In the end, they want a photographer that gets the job done, no matter what. This is why resourcefulness and flexibility are important skills all photographers need.

Have you faced any scenarios where you had to think quick on your feet to get the job done? Share with us in the comments!

The post 2 Important Skills All Photographers Need appeared first on Digital Photography School. It was authored by Ana Mireles.


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Tips for Retouching Skin in Photoshop That You Need to Know

16 Feb

The post Tips for Retouching Skin in Photoshop That You Need to Know appeared first on Digital Photography School. It was authored by John McIntire.

tips-for-retouching-skin-in-photoshop

When it comes to retouching skin in Photoshop, there are a lot of tools and techniques available to you. Some of these are fairly easy and self-explanatory, like the Healing Brush. Others, like frequency separation, are complicated multi-step processes. They involve such obscure features of Photoshop that you would never be able to figure it out on your own. Many of the skin retouching techniques are useful and work well when used together with one another.

This article will provide you a set of tips to get the most out of some of the most common and most useful (read: my opinion) of these techniques. It assumes you have a basic understanding of how to use them. If you don’t, there are a myriad of good quality tutorials available.

Tips for retouching skin in Photoshop.

Tutorials

Here’s a short list of tutorials for all of the techniques listed in this article:

  • Healing Brush
  • Patch Tool
  • Clone Stamp
  • Frequency Separation
  • Dodging and Burning

Healing Brush

The Healing Brush is probably going to be the first thing you reach for when you are retouching skin in Photoshop. It’s a somewhat intuitive tool, that doesn’t take that long to figure out and it is very effective at what it does.

To get the very best results from using the healing brush:

1. Work on a new layer

When working with the healing brush, be sure to work on a new blank layer. That way, you can be sure that you are not altering your original image. This also allows you to make changes later.

To do this, press the New Layer button on the Layers palette or press Ctrl+Shift+n (Cmd+Shift+n Mac). With the new layer set up, be sure that the drop-down box for the Healing Brush labeled “sample” is set to Current and Below.

Using the healing brush for retouching skin in Photoshop.

Working on a blank layer will ensure you can undo any changes you make should you decide to later.

2. Use as small of a brush as possible

You can quickly change your brush size with the bracket keys ( { and } ). Try to keep the brush just big enough to cover only the blemish that you are trying to remove.

Image: For the best results, use a brush size that is just bigger than the blemish you are trying to...

For the best results, use a brush size that is just bigger than the blemish you are trying to remove. This ensures that you don’t make too many alterations to the natural pattern of the skin.

3. Sample often

Don’t make a sample selection just once – do it often. Do it between every blemish if you can. This may seem like a lot of effort, but with practice, it’s really not. Your images will be better for it too.

4. Zoom in

To make sure that you are only trying to heal blemishes, and not the area of skin around them, zoom in as far as you need to.

I understand some photographer’s reticence to zoom in to 400% to 500% for the sake of retouching, but doing so will make sure that you only affect the areas of your subject’s skin that need it.

This tip (and the next one) doesn’t just apply to the Healing Brush. Do this with every skin retouching technique listed here.

Image: Zooming in allows you to be more precise with your adjustments and leads to more natural-look...

Zooming in allows you to be more precise with your adjustments and leads to more natural-looking results.

5. Zoom back out

When you are very zoomed in on your subject, you can get lost in all of the details that you can now see. Make it a point to zoom back out frequently so you can make sure that the changes you are making are actually affecting what you can see on the image at 100%. This can save you hours.

6. Don’t paint

Instead of painting with the Healing Brush, just press once (or click with a mouse) over the blemish you are trying to remove. This will limit the alterations to the surrounding skin.

Using the healing brush for skin retouching in Photoshop.

Painting with the healing brush leads to weird artifacts. To avoid these, simply click on the blemish you want to remove and nothing more.

Patch tool

The patch tool is a powerful utility that allows you to select an area that you want to retouch with a lasso and then drag that over to a sample area that you want to use to fill that first area in. It’s fairly easy to use, but it can be tricky at first.

1. Work on a new layer

You can use a copy of your background layer.

If you’ve already created and worked on a few layers at this stage, you can press Ctrl+Alt+Shift+E (Cmd+Alt+Shift+E – Mac) to create a new layer with all of those adjustments merged into it.

This will allow you to reduce the opacity of what you’ve done with the patch tool in case you go too far. It will also make it easy to delete the layer and start from scratch if need be.

Image: The patch tool can’t be used with an empty layer. Instead, duplicate your background la...

The patch tool can’t be used with an empty layer. Instead, duplicate your background layer and work on the copy. If you’re later on in your workflow, press Ctrl+Alt+Shift+e (Cmd+Alt+Shift+e) to stamp all existing layers into a new one above the rest.

2. Avoid the content-aware fill

In terms of skin, the Content-Aware Patch Tool never seems to perform very well.  Instead, leave the mode set to normal and use the Patch Tool that way. For things like backgrounds, by all means, use content-aware; just avoid it for skin retouching.

Image: Content-aware fill, as it works with the Patch Tool, is great for many things, but skin is no...

Content-aware fill, as it works with the Patch Tool, is great for many things, but skin is not one of them. Although this was sampled from a very similar part of his face, content-aware has made a mess of it.

3. Patch small areas

It’s tempting to just select a large area of skin and try to work that way. However, this will only serve to create a bunch of artifacts on your subject’s skin. Keeping your selections small allows you more control over the end result and will result in fewer problems down the line. 

4. Use similar tonal areas

When possible, use a sample area that’s similar in tone to your selection area. This will reduce the chances of creating problematic artifacts and blur.

Using the patch tool for skin retouching in Photoshop.

Here, you can see the various areas of similar tonality circled in red. When using the Patch Tool, try to sample from similar areas of tonality.

5. Reduce opacity

Once you’ve done the work that you want to with the patch tool, feel free to reduce the opacity of the layer that you are working on. This can help to hide a heavy handed approach and help to give more natural looking results. This tip applies to pretty much every other skin retouching technique as well.

Clone stamp

When you are retouching skin in Photoshop, the clone stamp tool will probably be one of your least used tools. It’s tricky to use and it’s often easier and faster to get similar results with other techniques. The one notable exception is when you are using frequency separation (covered below).

1. Use a soft brush

This may be a preference, but the Clone Stamp is a heavy-handed tool that makes drastic changes with a single click. By using a soft-edged brush, you will reduce the impact of the area of skin around the blemish you are removing.

To get to your brush menu, just right-click.

Image: This may be preference, but for the most part, you will want to use the softest brush possibl...

This may be preference, but for the most part, you will want to use the softest brush possible when using the Clone Stamp. The Clone Stamp is a very aggressive tool that can affect skin patterns in an undesirable way if used without care.

2. Do not paint

As with the Healing Brush, do your best not to paint an area of skin with the Clone Stamp. Try to keep the affected area limited to an individual blemish, pore or other marks.

Using the clone stamp for retouching skin in Photoshop.

Even though the sampled area was identical in tone, you can see the results of painting with the clone stamp tool in one large stroke.

3. Use sparingly

Again this may be personal preference talking, but try to resort to the Clone Stamp when it’s the only tool left for the job, at least in terms of skin retouching. The problems this tool can create with odd aberrations in skin texture patterns are hardly worth the risk.

Frequency Separation

Frequency Separation is one of those techniques that appears as overcomplicated sorcery at first glance. Once you’ve learned the fundamentals of the technique and how to set it up, it’s actually quite easy. It’s also a very powerful technique that can transform your skin retouching workflow. It is; however, very easy to go overboard with this technique and a heavy hand will result in less than ideal results. Once you’ve got the implementation and the basics of frequency separation down, there are a few tips to help you get the best results.

1. Gaussian Blur settings

When setting up your frequency separation layers, keep the Gaussian Blur settings to the lowest possible number while it is still obscuring all of the detail in your subject’s skin.

“4” is a good number to start with, but it might vary depending on the resolution you’re working with and how much of the frame your subject’s face fills.

Image: When setting up your Low-Frequency layer, use just enough blur to remove all of the skin text...

When setting up your Low-Frequency layer, use just enough blur to remove all of the skin texture in that layer. Here, Gaussian Blur was set to 2.

2. Blur

When applying Gaussian Blur to your Low-Frequency layer, keep the amount of blur to either equal or less than the amount that you used when setting up the layer in the first place.

3. Blur – Tones

Only blur areas of skin that are a similar tone. Blurring midtones and highlights (or shadows and midtones, or any other combination) can result in muddied tones that often don’t look good. Keep your selections to areas of similar tonality to avoid these muddied tones.

Using frequency separation for skin retouching in Photoshop.

When applying blur to sections of your Low-Frequency layer, try to make your selections in areas of similar tones. This will still help to smooth the tonal transitions without muddying them.

4. Zoom in

Ensure that you are zooming in to at least 100% on your images to watch for any hard edges that may appear while applying blur.

This can happen as you get close to hard edges within your frames, such as lips and eyes. If they do start appearing, you can reduce the amount of blur you are using, or you can make a new selection farther away from the areas causing you trouble.

5. Clone Stamp

For the High-Frequency layer, you just need to be careful with how you use the Clone Stamp. As above, the Clone Stamp is best used on very small areas with a single click. Sample often and don’t paint with it and you should be fine.

Dodging and Burning

Probably the most powerful and versatile of the techniques listed in this article, Dodging and Burning might as well be considered an essential tool for anyone that expects to be doing a lot of skin retouching. There are a lot of ways to do dodging and burning, but for the sake of these tips, I am going to refer to the method that involves using a 50% gray layer set to Overlay that you then paint on with the brush tool with white to lighten the tones and with black to darken them.

1. Keep the brush flow at 1%

Like all skin retouching techniques, subtlety is the key, and with the brushes flow at 1%, you can slowly build up any alterations that you are making.

Dodging and burning for skin retouching in Photoshop.

When dodging and burning on a grey layer, set the flow of your brush to 1%. This will allow you to build strokes slowly for more natural results.

Using dodging and burning for skin retouching in Photoshop

Circled at the top: The flow for the brush was set to 10%. Circled at the bottom: The flow here was 1% You can see the drastic difference just 9% makes on the flow settings.

2. Try to avoid broad strokes

Instead of trying to alter large aspects of your image at one time (for example, lightening an entire forehead in one go), zoom in on the area you want to work on and work on areas of a similar tone. By working with smaller areas, you will get more natural results.

3. Use multiple layers

If you are using broad strokes and working on finer detail with dodging and burning in the same image, do both of these on separate layers. Dedicate one to each layer.

With the large brush strokes, you will likely be more concentrated on overall contrast. You will often want to use a Gaussian blur on your brush strokes to even them out too.

This is not the case with fine detail where your brushstrokes should only deal with tiny, precise areas.

Using dodging and burning for skin retouching in Photoshop

For very fine control over your image, use a different layer for dodging and burning all of the sections of your image. This will allow you to alter, or get rid of any changes you might change your mind about later on without undoing all of your work elsewhere.

4. Use a small brush

Skin has a lot of fine detail in which the light in your scene passes over and creates contrast. It’s this contrast on the skin that creates the appearance of blemishes in your photos.

Because these blemishes are often small, you want to try and use a brush that is at least as small as the area you are working to lighten and darken with dodging and burning. This will ensure that you are lowering the contrast – therefore lowering the visibility of the blemishes – rather than adding it where you don’t want to.

5. Use Ctrl+z (Cmd+z) often

When you’re using a technique like dodging and burning for retouching skin in Photoshop, you are using a lot of little adjustments, maybe even thousands of them, to build up to a  finished result. You will get some of these wrong. Don’t be afraid to undo anything you’ve done if it isn’t right.

6. Reduce the Layer Opacity

Once you’ve done any adjustments that you are going to make with dodging and burning, try reducing the opacity of the layer(s) to see if you can get a better result with less of an effect.

With a time-consuming technique like this, it is easy to get lost in it and go overboard. Sometimes reducing the effect at the end is just what is needed for a more natural result.

Using dodging and burning for skin retouching in Photoshop

When you’re finished with your dodging and burning, you can always turn the opacity of the layer down to see if you might have gone too far. It’s a good idea to always at least look, even if you don’t decide to lower the opacity in the end.

7. Zoom way in

Unless your image will never be printed and only viewed in a small resolution, zoom as far into your images as you dare while retouching skin in Photoshop (this applies to all of the techniques here) to achieve the absolute best results.

Sometimes, you will find that you need to be zoomed in at 300-500% to see all of the detail that you need to work with. Sure, working this way takes a lot longer and is intimidating to think about, but putting that amount of effort in will help you to achieve better results.

The end

There are, of course, many other techniques available for retouching skin in Photoshop, but these are the ones that I use the most often.

If you’re new to these techniques, you now (hopefully) have a few tips to help you figure out how to make the very most out of them.

Of course, with techniques like these, there are always more ways to do things. If you have any tips of your own on retouching skin in Photoshop, please feel free to share them below.

The post Tips for Retouching Skin in Photoshop That You Need to Know appeared first on Digital Photography School. It was authored by John McIntire.


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Everything You Need To Know For a Fashion Shoot

13 Feb

Preparing for a fashion shoot sounds easy on paper, but in reality requires a lot of thought out planning – namely for the equipment you’ll need. There’s flexibility within this, but there are certain elements that are necessities (such as your camera and lighting). Luckily, we’ve written up the perfect guide to help you, and to make your own fashion Continue Reading

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Photography Gear You Will Need for Different Types of Photo Shoots

28 Jan

The post Photography Gear You Will Need for Different Types of Photo Shoots appeared first on Digital Photography School. It was authored by Lily Sawyer.

photography-gear-you-will-need

Have you ever wondered if there is specific photography gear that you will need for different types of photoshoots?

dps-photography-gear-you-will-need-for-different-photoshoots

It has now been over a decade since I started shooting professionally. Over the course of that time, I have often been asked for advice on what camera to buy to take professional images. Now, if you’re into photography, I think you’d agree with me that this is the wrong question to ask. There are far more important factors to consider when taking an amazing image rather than the latest shiny camera.

My answer to the above question is always the same: it’s not the camera (given that camera manufacturers churn out new models year in year out). But instead, it’s two other things – the lens and the photographer.

dps-what-gear-to-bring-for-different-photoshoots

A camera is no good if the photographer doesn’t know how to use it properly to achieve the image they have in mind. Equally, what good is a new latest-tech camera if the lens used for the purpose is not the correct lens? An example being, using an ultra-wide lens to capture a portrait.

Therefore, the better question to ask is, “which is the appropriate lens to use for a particular photoshoot?”

dps-photography-gear-you-will-need-for-different-photoshoots

In other words, it is crucial that you, as the photographer, match your gear to the needs of the photoshoot. This will enable you to achieve the image you have in mind.

This article discusses the photography gear you will need for different types of photoshoots.

However, I know that we each have our own ways of doing things and our own preferences, so bearing this in mind, what I have written below are suggestions and based on what I do as a photographer.

What’s in my gear bag depends on what I’m shooting. I have a variety of photography bags for this reason. As a side note, it is worth investing in proper photography bags to protect your gear.

The Staples

photography-gear-you-will-need

But first, the staples. If you are (or want to be) a professional photographer, this is my recommended minimum photography gear you will need.

For photoshoots, always carry at least 2 camera bodies, ensuring you have one for back-up in case something happens to the other one.

Make sure you sync the times for both cameras, and that the settings are the same.

Also, fully-charge your batteries in both cameras. My cameras are all full-frame. If you have a camera with a crop sensor, this changes the way you capture your images. Here is a helpful article on the difference between full-frame and crop-sensor cameras.

On top of the camera and lenses, I always bring at least 2 flashguns with me and make sure I have spare batteries (or fully charged if they are rechargeables). I use a diffuser cap with my flashguns and generally use these to bounce light both indoors and outdoors rather than directly at the subjects unless I’m shooting backlit.

1. Family photoshoot

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In general terms, the ideal set of lenses for a family photoshoot includes a wide, medium, and a long range of lenses.

My preference is for prime lenses, as they are usually small and handy, and give me sharper and cleaner images.

Good prime lenses can be heavy and also a little expensive. I carry the 35mm f/1.4G, 85mm f/1.8G (also available in 1.4G) and the 105mm f/2.8G. Because these are used on a full-frame camera, the lenses capture their expected focal range accordingly, that is, that a 35mm lens has a 35mm effective field of view. If your camera has a crop sensor with a crop factor of 1.3x for example, then the 35mm will have an effective field of view of a 46mm, the 50mm will have the 65mm and the 105mm will be 135mm. Therefore, you would then need to consider more wiggle room when shooting.

These are important to bear in mind, especially when shooting in small spaces indoors.

The 105mm gives not only a long-range but also macro capability. I like having a macro lens with me, which works wonderfully to capture details.

You can also have zoom lenses in your bag instead of primes. Zoom lenses can be very versatile. For example, the 24-70mm lens will allow you to capture wide and medium-range images with just one lens.

However, they are a little bulky in comparison to primes, especially if the lens is professional and has a fixed aperture. That would also mean better optics, and it would be heavier too.

If you just want to use one lens that covers this range, then there is the 24-105mm Canon lens option.

2. Event Photography

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For events such as birthday parties, product launches, conferences, and suchlike, my preference is to go for zoom lenses rather than primes. Events are usually fast-moving, and I don’t have the time to keep changing lenses.

Often I will have both cameras on me with a double rapid strap. One camera will have the 24-70mm, and the other has the 70-200mm. These are usually sufficient.

I always carry a macro with me, though, just in case. However, with both bulky zooms that cover wide to long-range, I use my nifty 60mm micro lens for extreme close-up and macro shots.

In addition to the above, I also carry with me wireless transceivers that enable me to shoot with off-camera flashes.  Transceivers are wireless transmitters and receivers that enable you to control your flash remotely. This also means you need stands for the flashes. So, carrying a monopod and a gorilla pod, or a tripod if you need more stands.

3. Weddings

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If I’m shooting a wedding alone, I pack all the above minus the 35mm and the 50mm as the zooms already cover these focal ranges. 

Needless to say, I pack my entire arsenal and the kitchen sink when shooting weddings with a second photographer, as with two of us, more gear and back-ups are needed. That means at least four camera bodies, at least six lenses, a minimum of four flashes (sometimes six), and all the transceivers and stands required. 

I have written an article on wedding photography gear you will need when starting out on here.

4. Portraits

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Portrait photography is a specialty that requires a different set of lenses.

For flattering images of a person, I would always use the 85mm for headshots, the 50mm for medium shots, and the 35mm for full-body shots.

You may not need to use all three, so plan ahead of what you might be shooting, so you don’t bring unnecessary gear.

Again if you want the zooms as opposed to the primes, you could always use the 24-70, 24-105, and the 70-200. Just make sure that you shoot within the range mentioned above as a guide.

Longer focal ranges compress the background resulting in a more flattering look compared to using a wide lens. For example, if you use the 24mm, you are shooting so close to the person, you will end up with image distortions.

Depending on the portrait session, I may or may not use off-camera flashes which would require the transceivers. A small reflector is also really handy for portraits, especially when controlling shadows. I have written an article on gear essentials for portrait photography when starting out here.

5. Landscape

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Landscape photography is the opposite of portrait photography, and the lenses and accessories required are different.

You would need wide lenses, such as a 16-35mm or a 24mm to capture wide, expansive shots. You may also want to invest in a telephoto to capture long landscapes with great background compression if you are shooting mountains, for example.

If you plan on doing long exposure photography to achieve soft, blurred waterfalls and waves, you will also want to invest in a tripod and some filters, such as ND and graduated filters. This will enable you to reduced the amount of daylight coming into your lens so that you can slow your shutter speed down without completely over-exposing your image. You would also need a cable or remote shutter release so that you don’t introduce camera shake by pressing the shutter button.

To find out more about landscape photography, read these helpful articles here.

6. Travel

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When speaking of travel, my only experience in this type of photography is family holidays. For professional travel photography, read these articles.

If you are just after good holiday photos that capture memories of your family, then I can help with that. I have tried various holidays with only one lens. One time I just took the 85mm. Another time, I took just the 35mm, the 50mm on another holiday, and, more recently, the 60mm. Following on from these experiences, my personal travel lens is now the 60mm.

The 50mm is also a favorite.

7. Product

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Occasionally, I do some product photography. My go-to lenses for these are the 24-70 and the 60mm micro.

I use off-camera flashes and transceivers and some flags. When shooting small items in a white seamless background, using a white lightbox will help you achieve this easily.

For more tips on product photography, read this article.

8. Interiors

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For interior photography, my go-to lenses are the 24-70mm and the 50mm. You can read more in-depth as to why I use the 50mm here and how I use the 24-70mm especially for shots of an entire room scene.

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I hope this article and the further links provided have helped you think through what photography gear you will need for different types of photoshoots. If you have any suggestions to add, write them on the comments below.

The post Photography Gear You Will Need for Different Types of Photo Shoots appeared first on Digital Photography School. It was authored by Lily Sawyer.


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