The post ISO Settings in Digital Photography appeared first on Digital Photography School. It was authored by Darren Rowse.
ISO is one of three important settings on your camera that are used to take well-exposed photos.
The other two fundamental settings are aperture and shutter speed – and if you’d like to learn about these settings, check out our introduction to aperture and our beginner’s guide to shutter speed.
An introduction to ISO settings in photography
We regularly get questions about ISO from readers of Digital Photography School like these:
What is ISO and why is it important?
What is the best ISO setting?
Should I always choose the lowest ISO?
In this short tutorial, I want to answer each question in turn.
Let’s start with a definition of ISO:
What is ISO?
ISO actually has two definitions, depending on whether you’re discussing film or digital photography:
ISO in traditional/film photography
In traditional (film) photography, ISO (or ASA) is an indication of how sensitive a film is to light.
In film photography, ISO is measured in numbers. You’ve probably seen them on film canisters: 100, 200, 400, 800, etc.
The lower the number, the lower the sensitivity of the film, and the finer the grain that will appear in your photos.
ISO in digital photography
In digital photography, ISO measures the sensitivity of the image sensor.
The same principles apply as in film photography:
The lower the number, the less sensitive your camera is to light and the finer the resulting grain.
Higher numbers mean your sensor is more sensitive to light, and this allows you to use your camera in darker situations. The cost of doing so is more grain – although cameras are improving all the time. Today, many cameras can use high ISO settings and still get very useable images.
Here’s a time when you might want to choose a higher ISO:
If you’re photographing an indoor sporting event where the light is low and your subject is moving fast.
In such a situation, by choosing a higher ISO, you can use a faster shutter speed to freeze the athletes’ movement.
ISO settings and grain
Choosing higher ISO settings comes with a serious cost:
The higher your ISO, the more grain or noise that appears in your photos.
I’ll illustrate this below with two enlargements. The image on the left was taken at ISO 100, and the image on the right was taken at ISO 3200.
Can you see the difference? The high-ISO photo (right) is full of unpleasant noise, whereas the low-ISO photo (left) is completely clean.
ISO 100 is a “normal” or “standard” ISO on most cameras. It’ll give you lovely, crisp shots (with little to no noise or grain).
Most people tend to keep their digital cameras set to Auto mode, where the camera selects the appropriate ISO setting depending on the conditions you’re shooting in. However, most cameras also give you the opportunity to select your own ISO.
When you do override your camera to choose a specific ISO, you’ll notice that this impacts the aperture and shutter speed needed for a well-exposed shot.
For example:
If you bumped your ISO up from 100 to 400, you’ll notice that you can shoot at faster shutter speeds and/or smaller apertures.
Questions to ask when choosing ISO
When choosing my ISO setting, I generally ask myself the following four questions:
Light – Is the subject well lit?
Grain – Do I want a grainy shot or one without noise?
Tripod – Am I using a tripod?
Movingsubject – Is my subject moving or stationary?
If there is plenty of light, I want little grain, I’m using a tripod, and/or my subject is stationary, then I will generally use a relatively low ISO rating.
If it’s dark, I want grain, I don’t have a tripod, and/or my subject is moving, I might consider increasing my ISO. This will enable me to shoot with a faster shutter speed and still expose the shot well.
Of course, the trade-off will be noisier shots.
Situations where you might need to push ISO higher include:
Indoor sports events, where your subject is moving fast, yet you have limited available light
Concerts, which are low in light and often “no-flash” zones
Art galleries, churches,and more, where there are rules against using a flash and the interiors aren’t especially well lit
Birthday parties, where blowing out the candles in a dark room can give you a nice, moody shot that would be ruined by a bright flash. Increasing the ISO can help capture the scene.
ISO is an important aspect of digital photography to have an understanding of if you want to gain more control over your digital camera. So experiment with different settings and how they impact your images. And in particular, learn more about aperture and shutter speed, which – along with ISO – are a part of the exposure triangle.
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More photography tips for beginners
Feel like a beginner at photography? We’ve compiled our best tutorials for beginners here on our Photography Tips for Beginners page.
The post ISO Settings in Digital Photography appeared first on Digital Photography School. It was authored by Darren Rowse.
The post Weekly Photography Challenge – Grey appeared first on Digital Photography School. It was authored by Sime.
Very simply – this week’s dPS Weekly Challenge Theme is ‘Grey’ and that can be a sky or a scene or anything that you want to find and photograph, creatively, that is grey or mostly grey! My example is the work table I was using at a recent (pre-covid) food shoot.
Or you can work on your greyscale (More here!)
Great! Where do I upload my photos?
Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.
Share in the dPS Facebook Group
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSGrey to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.
Follow us on Instagram?
The post Weekly Photography Challenge – Grey appeared first on Digital Photography School. It was authored by Sime.
This year’s International Photography Awards (IPA) received over 13,000 submissions from 120 countries. Judges selected winners and finalists for 13 categories and they were announced on Tuesday, October 27th.
‘In these unprecedented times, this year’s entries reflect some of the biggest challenges facing our generation–not the least of which is dealing with a virus which, for the first time, is an event that has affected every person on earth in some way. We see photography at its best–whether covering the COVID pandemic, or the world’s uprising against injustice–the images captured are breathtaking. I can easily say these are the best images I have seen in the last decades,’ says Hossein Farmani, IPA’s founder and president.
This slideshow contains images from Professional Category winners who received the Lucie Trophy and a $ 10,000 cash prize. The Non-Professional/Student Finalists for “DISCOVERY OF THE YEAR,” who were awarded a Lucie Trophy and $ 5,000 cash prize, can be found here. The final winners of the Pro and Non-Pro titles will be announced in an online event later this year and will be recognized at the Lucie Trophy at the 2021 Lucie Awards event.
Analog/Film Photographer Of the Year: ‘New Seas’ by Paulius Makauskas (Lithuania)
Artist Statement: Timothy Morton thinks of climate change as a ‘hyperobject’ – an incomprehensibly large object stretched in the space-time. Recognizable only in parts, but never all at once.
Microplastics are barely noticeable particles, but at the same time omnipresent in the ocean. I imagined them as synthetic plankton of all conceivable colors, invisibly wandering from one place to another. I have spent a great deal of time by the sea, so it was easier for me to see that the white ridges of waves creates boundless white-gray paper in space and time. I only needed to fill it with light to reveal the invisible.
Architecture Photographer Of the Year: ‘From the Stage’ by Jesús M. Chamizo (Spain)
Artist Statement: El teatro puede convertir el escenario en un templo, y el espacio de actuación, en algo sagrado. En el sur de Asia, los artistas tocan con reverencia el suelo del escenario antes de pisarlo, una antigua tradición donde se entrelazan lo espiritual y lo cultural.
Este es mi especial homenaje al Templo del Teatro y lo que representa, una noble labor cultural que ayuda a la humanidad a crecer. Contemplado desde el escenario, observamos ese majestuoso espacio vacío, que adquiere un doble significado. De asombro, pero también de esperanza, con este mensaje: ”La representación, sin duda…continuará.
Translated (Machine): The theater can turn the stage into a temple and the performance space into something sacred. In South Asia, artists reverently touch the floor of the stage before stepping on it, an ancient tradition where the spiritual and the cultural intertwine.
This is my special tribute to the Temple of the Theater and what it represents, a noble cultural work that helps humanity to grow. Contemplated from the stage, we observe that majestic empty space, which acquires a double meaning. Of astonishment, but also of hope, with this message: ”The performance, without a doubt… will continue.
Technical Info: Nikon, varias ópticas
Book Photographer Of the Year: ‘ANTARCTICA: The Waking Giant’ by Sebastian Copeland (Germany)
Artist Statement: This book documents over a decade’s worth of trips on and around Antarctica. While the coast stirs up visions of a lost world, it is the interior that hints to another planet. I spent 84 days crossing its lifeless plateau with no help but skis and kites.
Temperatures never warmed above -35C, a challenge on everything, particularly the equipment. My research gave me a deeper perspective on the variations taking place at the hands of climate change. The images I bring back tell the story of a changing environment which spells the oncoming re-drawing of the world’s map, and all that it implicates.
Deeper Perspective Photographer Of the Year: ‘Exodus’ by Nicolo Filippo Rosso (Columbia)
Artist Statement: This project chronicles the epic journey of the Venezuelan migrants, driven by desperation and hunger, at the stake of forces beyond their control. Two years ago, I decided to document their story and self-funded the project Exodus.
Spending weeks, and months at a time, in some of the border areas, I traveled alongside migrants who call themselves ‘the walkers.’ They were taking a long journey from the eastern Colombian border, through the Andes, up to the capital city, Bogotá. This series of photographs is the result of the time spent with them.
Editorial / Press Photographer Of the Year: ‘Pro Democracy Demonstrations, Hong Kong: The Revolution of Our Time’ by Kiran Ridley (France)
Artist Statement: On June 9th 2019, an estimated one million people took to the streets of Hong Kong to march in protest to the government’s proposed Extradition Bill, allowing citizens to be extradited to mainland China for prosecution.
Since that day, Hong Kong has been plunged into a political crisis, with waves of demonstrations and violent clashes between Police and protestors with an alarming rise in the number of police brutality and misconduct allegations, as protests morphed into a wider call for democratic rights and freedom in the semi-autonomous city.
Technical Info: Canon EOS 1Dx Mark ii, Canon 24-70mm f2.8L
Event Photographer of the Year: ‘Elements’ by Katja Ogrin (United Kingdom)
Artist Statement: Exploring the elements of live music performance such as water, fire, smoke and other pyro effects that enhance the visual impact for the viewing audience.
Fine Art Photographer of the Year: ‘Looking out from Within, 2020’ by Julia Fullerton-Batten (United Kingdom)
Artist Statement: Looking Out from Within, 2020 Covid-19 came. Life changed. Probably irrevocably. I felt numb. Couldn’t stand around helpless. I decided to document the new daily existence of millions. I advertised my idea on social media and through my local paper in West London. The response was enormous. Imprisoned in their home, they gaze forlornly out of their window onto a different desolate world outside.
Technical Info: f5.6, 1/30th sec.
Nature Photographer Of the Year: ‘Black Mountain’ by Ari Rex (Australia)
Artist Statement: On January 2019 Canberra had one of the most spectacular lightning storms ever. It passed the city from West to East over the black mountains and continued towards Brindabella mountains.
Technical Info: Canon EOS 5D Mark iii 88mm, x16, 4″, f5.6, ISO 640
People Photographer Of the Year: ‘Odilo Lawiny – Handmade Soccer Balls’ by Brian Hodges (Australia)
Artist Statement: Miles from the main roads in rural Uganda, soccer balls bounce unevenly. Playing fields are arid, lush, weedy, sandy—any flattish space will do. Some feet are bare, others shod in fraying sneakers, boots, or rubber sandals. Yet children kick and chase handmade, lopsided balls with skill and abandon, competing for pride and joy—for the sheer pleasure of playing.
The balls are spun into being with whatever’s at hand: rag or sock, tire or bark, plastic bag or banana leaves. Made entirely of recuperated materials, they give another life to something that would otherwise just be thrown away.
Technical Info: Leica S
Special Photographer Of the Year: ‘The Silent Menace’ by Toby Heikkila (Canada)
Artist Statement: An eerily quiet downtown Calgary during what normally is rush hour. The only inhabitant, a silent menace. Unseen and invisible.
Technical Info: Sony, 7rm2, FE 55mm f1.8
Sports Photographer Of the Year: ‘Bodies of the NFL’ by Howard Schatz (United States)
Artist Statement: The body type informs what position a player plays. The position necessitates the body type All NFL players.
Still in Motion / Video Photographer Of the Year: ‘The Journey to the Land of Dreams’ by Iwona Podlasinska (Poland)
Artist Statement: The video is a series of moving pictures that tell the story of an imaginary journey to the wintry land of dreams. Children shown in the photos travel by horses, trains or on foot to finally reach the land of imagination. The video was created by Zaman Dizini with photos taken by Iwona Podlasi?ska.
The post 11 Easy Creative Photography Techniques You Can Try on Any Camera appeared first on Digital Photography School. It was authored by Simon Bond.
A lot of photography techniques can be complex and require a steep learning curve.
But in today’s article, you’ll learn 11 easy creative photography techniques you can start using today! The techniques described below all require minimal extra equipment and don’t require additional post-processing.
Read on to get the most creativity from your camera with these easy-to-use techniques.
1. Reflection
It’s worth getting down to a low angle for reflections.
This is an easy creative photography technique to learn and is popular among many photographers. The main requirement is finding a reflective surface, though this is not all there is to it. Consider the following, and you’ll be capturing amazing reflection photos in no time:
Reflective surface: Look for surfaces that reflect (and there are many). Flat water works well, as does glass, marble, or even a regular mirror.
Choose a main subject: A successful photo will match up a reflective surface with an interesting main subject. Consider going out after it’s rained, as a puddle in front of a famous monument may only be there after heavy rain.
Find the angle: To get a better reflection, choose the correct angle. This often means getting right up against the reflective surface so the angle of reflection is shallow.
Create your own: No reflective surface? No problem. Just create one! Use the surface of a smartphone, a small mirror, or perhaps a bucket that you use to spread water and create a puddle.
A filter: The best way to control your reflection is by using a circular polarizing filter.
2. Silhouettes
Strong silhouettes work well against a horizon line.
The next option on this list of easy creative photography techniques is silhouettes.
Silhouettes occur when you photograph against the light. The key is to find an interesting shape, and then make sure the background is brighter than the object itself.
You’ll often need to get down to a low angle and then photograph up toward the sky; that way, you can ensure the silhouetted object stands out against the bright background.
Also, when photographing silhouettes, make sure you expose for the bright background. This will turn the subject into a dark silhouette.
3. Repetition
Lines and repetition can make for a strong composition.
A great design element to add to your frame is repetition.
This is something you’ll usually need to look for, but it’s sometimes possible to create your own repetition. There are possibilities for this both in nature and in the man-made world. Repetition may take the form of a line of trees, or of many bricks in a wall. The question, then, is how you’ll use this repetition.
Here are a few ways you can work with repetition to improve your photos:
Create a texture photo: In this case, the high level of repetition forms a texture.
Break the pattern: Here everything else is the same, with one variation. This works well to highlight that variation, which will then be the photo’s main subject.
Use background repetition: Backgrounds with repetition work very well for portrait photos or still life images.
Two or three: You don’t need to have repetition to infinity; two or three repeating objects, such as wine glasses, can work well.
4. Refraction
Wine glasses filled with water will produce refraction.
This is a form of photography that can be practiced with a camera as simple as a smartphone. You’re probably thinking of lensballs, but refraction photography can take many forms, including:
A lensball: This is a large glass ball that creates a refracted image of the background inside it.
A prism: A prism splits the light and can be used to produce a rainbow. You could either photograph the projected rainbow or photograph through the prism.
Water drops: Get out after it’s rained, and you can produce refraction in things such as water drops on a spider’s web.
A wine glass: Fill a wine glass with water, and you will see the refraction effect!
5. Contrast
Contrast with silhouettes works really well.
Contrast is a great concept to use in your photography.
The most obvious way to use contrast is by emphasizing dark and light areas of your photo through things such as silhouettes and shadows. But this is not the only way contrast can be used in your photography; anything that has an opposite can be used. You might choose to contrast something old with something new, for example.
6. Framing
Natural frames such as cave entrances are good frames.
The world is full of frames, from pictures on the wall to window frames. These frames can be used in photography, which is another easy creative photography technique.
You can achieve a great framed photo with any kind of camera. Good options for this include doorways and windows. You can even become more creative and make your own frame using objects that contextualize the scene behind it.
7. Panning
Bikes are the easiest moving object to try panning with.
Panning is a form of intentional camera movement. The technique involves following the motion of a moving object and using a slower shutter speed to blur the background behind it.
As long as your camera allows you to use a slow shutter speed, this is a technique you can try. Those using a smartphone should download an app that allows you to use a slower shutter speed to take a photo.
8. Point of view
A worm’s-eye view can look amazing. This example also shows how lines and repetition can work in a photo.
Changing your angle can give you dramatically different results, and it doesn’t matter which type of camera you use for this technique.
It’s easy to photograph from a standing position, but try some of these alternative angles:
Low angle: With this angle, you’ll get low to the ground. Things look different from down there!
Worm’s-eyeview: This angle involves looking straight up. It can be even more dramatic when you get right down to the ground.
Bird’s-eyeview: The easiest way these days to take a bird’s-eye view image is with a drone. However, find a high vantage point from a tall building and you can achieve a similar result.
9. Lines
This photo shows several lines converging in the left third of the frame.
Using powerful lines in your photos will almost always give you a strong composition. The trick, of course, is to utilize those lines correctly using the focal length available to you.
Here are some of the lines that can be used in your photography:
Leading lines: A leading line leads the eye to the main subject of your photo. This line might take the form of a road or a river meandering through your frame.
Horizon lines: Many photographs have horizon lines in them, which is a strong line running through the middle of your frame. Look to position it at the top or bottom third of your photo (using the rule of thirds).
Converging lines: In some photos, many lines converge at one point: the infinity point. This can be compositionally very strong. Look for lines of trees or a tunnel for this type of photo.
10. Shadows
The shadow in this photo shows an element of repetition, as well.
Photographing shadows requires a strong light source. This can be the sun, but an external flash is another option.
The best time of the day to photograph shadows is therefore when the sun is at a low angle: an hour after sunrise or an hour before sunset.
Shadows can be formed and used in different ways. You might photograph a person’s shadow, shadows formed from trees, or the way shadows emphasize the shapes of hills.
11. Minimalism
This minimalist photo uses a bird’s-eye view taken from a bridge.
Keeping your composition nice and clean is the key to a good photo. This means that one of the best easy creative photography techniques is minimalism.
You can create minimalism even in the most cluttered environment as long as you frame your photo correctly. This style of photography requires that you give your subject some room to breathe. Focus on the main subject and position it in front of an uncluttered background.
Try out these easy creative photography techniques, yourself!
There are so many ways to be creative with photography. Which techniques do you like to use? Are there any simple-to-apply techniques you’ve tried that didn’t make this list? Share your thoughts in the comments!
And if you have any photos that illustrate these techniques, share them in the comments, too!
Then get photographing with these easy creative photography techniques!
The post 11 Easy Creative Photography Techniques You Can Try on Any Camera appeared first on Digital Photography School. It was authored by Simon Bond.
The post Food Photography Techniques and Tips appeared first on Digital Photography School. It was authored by Jonathan Pollack.
Editor’s note: This article was updated in October 2020.
I originally wrote this article in 2009 when I was beginning to take pictures for my wife’s baking blog and various local magazines. Since then, I’ve had a lot of practice, and I’ve honed my food photography techniques.
I’m thrilled to update everyone with what I’ve learned, and I hope that you find the information here helpful when taking pictures of your food.
Food styling
When you’re taking pictures of food, it’s critical that your subject looks as good as it hopefully tastes. If you don’t have the budget to hire a food stylist, it’s important to know some basic styling techniques that can make food look its best.
Make more food than you think you’ll need, and always photograph the examples that look the best. You cannot make a burnt waffle or soggy asparagus look appetizing.
Props can help you set the mood for your food photos. I have a basement full of plates, platters, chargers, cups, glassware, utensils, napkins, tablecloths, surfaces, and cutting boards at my disposal. With those, I can pull together what I need to set a table (or a portion of a table) for a picnic setting, a fine-dining scene, or something in between.
While you don’t need to have a ton of food photography props, I recommend that you at least have a few place settings and utensils, as well as a nice surface to photograph on.
Plating your dish properly can elevate it from mundane to extraordinary. If you aren’t working with a professional chef or food stylist, I recommend you read articles and watch video tutorials about plating as a starting point.
Think about ingredient placement, creating height or depth, adding color, or increasing contrast.
Here are a few plating tips to improve your food photography:
Plate an odd number of the item you’re photographing.
Add garnish where appropriate, such as with soups.
Lean longer flat items against those with some height.
Use edible flowers or fresh herbs to add some contrasting color to your plate.
Food photography composition
When taking pictures of food, you have the advantage of a subject that is stationary. This means you have complete control over the camera’s position and angle, and how close or far away the camera is from the scene.
To get the best composition, I recommend you start with a few food photography techniques:
Use the traditional rule of thirds to yield strong compositions if you don’t have a lot of experience. Mentally divide your frame into a 3×3 grid and place key elements at the gridlines or intersections. Once you’re familiar with the rule of thirds and you can see how it can lend power to your scene, treat it as a suggestion and experiment.
Draw the viewer into your composition. Show part of the plate in your photo rather than the entire dish. Use utensils or napkins to help guide the viewer’s eyes to what you want them to focus on. And remember that the same contrasting elements that help you style a plate will also work in your favor when it comes to composition.
Use negative space to make a powerful photo. Clutter in your scene causes visual confusion, so remove it. The less your viewer is drawn to, the better.
Think of how the dish would best be viewed. Head-on views, overhead shots, and views looking slightly down into the dish are always preferable to looking down at a plate from a 45-degree angle.
Keep your camera level. Early in my food photography career, I felt that angles conveyed a sense of excitement to the viewer. They did – because they made it look like the food was falling off the plate! I stopped rotating my camera, and my photos became much stronger overnight.
Zoom with your lens and your feet. There are times when macro photos of food work well, and there are times when a wider shot conveys a better sense of place and atmosphere. See if background compression helps remove distractions from your dish. Try a number of options with your food and see what works best.
Food photography lighting and exposure
While you don’t need the absolute best equipment to photograph food – I’m using camera equipment that’s a decade old! – you do need to think about how your choice of lighting, exposure, and even camera equipment affect your photo.
Placing your dish with natural light to the side and behind generally yields great results, but it’s also not consistent or reproducible; a passing cloud or thunderstorm can suddenly destroy all of your styling and composition efforts.
If you’re working on taking photos over the span of a few hours and you want them all to look similar, I highly recommend that you use artificial light of some sort. Most food photos I’ve taken indoors are photographed using flashes with diffusion from behind or off to the side of the food. I use reflectors to bounce some light back to the front of the dish, if needed.
If you’re working within a budget, consider getting inexpensive work lights and putting white linens between the lights and your food.
Learn how to use the exposure triangle whether you’re using natural or artificial lighting, and start setting everything on your camera manually. Aim to blur out your background while keeping the foreground nice and sharply focused. And, of course, make sure everything is lit just right.
Equipment for food photography
The best camera equipment in the world won’t help if you haven’t learned what to do with it. I always advise people to start by renting equipment or buying cheap, used gear.
To start off, I recommend a tripod, a camera body that supports detachable lenses, and a medium zoom lens. I encourage you to learn to shoot and edit RAW photos, as you can adjust far more in post-production with them than you can with JPEG images.
If you’re ready to move on from your basic camera setup, I recommend you buy color calibration equipment and lighting. And when you feel confident that you have a good understanding of all of the gear you have and you feel that your current gear is holding you back, finally commit to a full-frame camera system and professional lenses.
Food photography techniques: conclusion
What food photography techniques have worked for you? What techniques have been problematic? Please let me know in the comments!
The post Food Photography Techniques and Tips appeared first on Digital Photography School. It was authored by Jonathan Pollack.
The post Weekly Photography Challenge – Silhouette appeared first on Digital Photography School. It was authored by Sime.
This week we’re looking forward to not seeing the subject of your photographs because the theme is ‘Silhouette’ we hope you’re up for it! #dPSSilhouette is the hashtag we’d like you to use (add it to your post wherever you post it: details at the end of the post)
See ALL of our weekly challenges right here
Not sure how to make a silhouette photograph? Have a look at these articles!
Photograph silhouettes in eight easy steps
18 Shape defining silhouette images
Perfect outdoors silhouettes
Great! Where do I upload my photos?
Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.
Share in the dPS Facebook Group
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSSilhouette to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.
Follow us on Instagram?
The post Weekly Photography Challenge – Silhouette appeared first on Digital Photography School. It was authored by Sime.
The post Photography Equipment for Beginners: What to Buy When Starting Out appeared first on Digital Photography School. It was authored by Rick Ohnsman.
You’ve decided you want to get more serious about photography, move beyond just making snapshots with your cellphone, and perhaps even pursue making money from your hobby. You’re ready to start shopping for a better camera and the accessories that go with it.
Many articles about photography equipment for beginners will immediately start recommending makes and models. Or, if you walk into a traditional brick-and-mortar photo store, a salesperson might start showing you equipment, eager to make a big sale.
Your needs should dictate what to buy. Might a simple point-and-shoot be a good starter camera, or will you need a full-frame DSLR with a long lens and a big tripod? Don’t just buy what a salesperson or someone else tells you is “the best.” Ask yourself some important questions.
Ask other photographers, “What should I buy?” and many will launch into a list of equipment they like, probably favoring the make and model of the gear they own.
(Stay far away from “fanboys,” people who will tell you Brand X is the only way to go and only idiots would buy anything else.)
I’m here to suggest that, rather than immediately seeking a make/model answer to the “What should I buy?” question, you should instead start by asking yourself some more general questions.
Assessing your needs
Cameras and associated equipment will not make you a great photographer, any more than buying an expensive sports car will instantly make you a winning race car driver. To take that analogy further, why would you plunk down the big bucks for that exotic sports car when all you need is something to drive to the grocery store?
The same goes for simply buying the “latest and greatest” gear because that’s what other photographers are excited about, or because that make/model is the buzz of trade magazines and online photo sites. Porsche sports cars have a great reputation, but do you need one? The new mirrorless cameras from the big-name camera manufacturers are exciting, but are they right for you?
If money is no object (I wish that were my situation!), does that mean you should buy the most expensive, sophisticated camera and all the lenses and goodies to go with it? Will that guarantee you have the “best” and most capable gear that will ensure you make stellar photos?
I hope you don’t just reach for your wallet. Instead, do a little self-assessment and homework first.
You could just buy the top-of-the-line flagship camera from one of the big-name companies and figure it would do everything you’d ever need. But when you’re still learning, the plethora of buttons, dials, knobs, and menus would likely overwhelm you. Then you’d be paying for things you won’t use or understand. The “best” is not always what is best for you.
So, let’s explore the questions you should be asking yourself as we dive into photography equipment for beginners.
What do you already know about photography?
If you’re looking for photography equipment for beginners, here’s the first question you should ask:
What do you already know about photography?
How much knowledge and experience do you already have? Have you only made some “pretty pictures” with a single press of the shutter button on your cellphone? Have you heard of the exposure triangle? Do you understand what ISO, shutter speed, and aperture are and how they interact to control exposure, depth of field, and motion capture? Have you had or might you have an interest in pursuing formal instruction to better learn both the artistic composition of photos and the technical operation of the camera?
What do you already know about photography? Do you understand the exposure triangle? When exploring photography equipment for beginners, your pre-existing knowledge, as well as your interest in learning, should be factors in deciding the right gear for you.
Sure, you can buy a fancier, more expensive camera with the idea that you will “grow into it.” Of course, that more sophisticated camera with buttons, knobs, dials, and cryptic menus could also overwhelm you as a beginner. Sometimes simpler is better, especially when you’re still learning.
On the flip side, a cheap point-and-shoot, highly automatic camera might be easy to learn, but can very quickly create limitations for you as you grow as a photographer.
The real question here is, “How serious are you about photography?”
Do you simply want a camera you will use on occasion, perhaps take on vacation, and that will make good photos with its automatic modes? Or do you plan to make this a serious hobby in which you will invest time, study, and frequent practice? Do you want to dig in and really learn?
What type of photos will you be making?
Cameras don’t make photographs; photographers do. A camera is simply a tool a photographer uses to create a photograph.
In any endeavor, having the right tool for the job makes the work easier and gives improved results. So, when choosing the right camera for your photography, an essential question is, “What kind of photographs do I intend to make?”
I purposely use the word “make” rather than what many people say about “taking photos.” Snapshooters might take photos, seeing something of interest and quickly, without much thought, snapping a shot. Serious photographers, however, are craftspersons, thinking about composition, camera settings, and many other things involved in creating and “making” a photograph.
Whether you just want to take snapshots or make photographs will also influence what kind of equipment you should buy.
So what kind of photos do you want to make? What subject matter is your favorite?
I hear some saying, “I’d like to make all kinds of photos of whatever catches my eye.” So let’s ask the question this way: “What kind of photos do you envision making 80% of the time?” Photos of your kids as they grow up? Formal portraits? Landscapes? Vacation photos? Wildlife photos? There are hundreds of photo genres to explore and, while some camera and lens combinations might be able to handle a greater variety of these, expect to pay more for such photography equipment.
Specialized kinds of photography, such as bird or wildlife shooting where fast camera responsiveness and long lenses are required, will take more specialized gear. Perhaps you want to take photos of your kids playing soccer or engaging in other sports. You might consider an inexpensive point-and-shoot camera, but even if it does have a built-in 10x “superzoom,” will the lag-time between when you press the shutter and when it fires cause you to frequently miss the action? Will the tiny built-in flash have enough power to light your kid at the other end of the basketball court as he hits the winning shot at the buzzer?
Finding the balance between spending enough to have the most versatile equipment and yet not paying for things you will never or only rarely use can be hard. Back to the “80% factor” I mentioned: Buy the gear that will accommodate 80% of your needs. If you suddenly get to photograph that African safari and don’t have the equipment you need, then you can upgrade or, better yet, rent the equipment to handle that unique opportunity.
How will your photos be used?
Before digital photography and the internet, a photograph meant a print. Today, it’s becoming rarer and rarer to see printed photos. Some of these statistics are from 2017, so they’re already dated, but still amazing to consider:
An estimated 1.3 trillion photos are taken each year
75% of those photos are taken with cellphones
Less than 13% of photos are taken with dedicated digital cameras
Approximately 121.5 million digital cameras were sold in 2010; that dropped to 14.8 million in 2019
Over 1.3 trillion photos are being taken each year, the vast majority with cellphone cameras. Just a small percentage of those are printed. If you don’t plan to make prints, do you need a high-megapixel camera?
Do you wonder why companies such as Olympus have folded and even the largest digital camera makers are struggling? Sure, you’re reading this because you intend to continue pursuing digital photography, but the question I’m heading toward is, “What percentage of your images do you intend to print?”
Do you need a high-megapixel camera?
Top-end camera manufacturers like to boast about the high-megapixel cameras they are producing and, yes, these can produce some amazing images. Cameras from the top manufacturers now tout specs showing sensors between 40 and 60 megapixels (with prices to match).
The question is: If the vast majority of the images you shoot are only for display on your monitor or online, do you need such high megapixel counts? You can print a beautiful 300 DPI 16” x 20” print with a 4800 x 6000 pixel (28.8 MP) image.
At the time of writing, the Sony A7R IV is the highest megapixel full-frame camera, and it produces a 9504 x 6336 pixel (60.2 MP) image. Printing that at 300 DPI would give you a nice 20″ x 30″ print, and it would be quite easy to go far bigger than that.
On the other hand, if the largest you’d ever print is 8″ x 10″ (about an A4 size using European standards), a 7.2-megapixel image would be just fine. Most current smartphones produce higher resolution images than that.
If you do intend to make prints, think about how large you’d like to make them. My Canon Pixma Pro-100 can print up to 13″ x 19″. To print at 300 DPI, that means I need a 3900 x 5700 pixel image. My Canon 6D is a 20.2-megapixel camera with a maximum resolution of 5472 x 3648 pixels. 13” x 19” is about the maximum I can go with good quality. There are ways to go larger, but give consideration to your printing needs when purchasing a camera.
I don’t mean to confuse you with math. But I want you to ask yourself the question, “Do I expect to be printing my photos and, if so, how large might I print them?”
Do you need an expensive, full-frame, high-megapixel camera if all you’ll ever do is share your work on social media?
My first digital camera was the 1.2 MP Nikon Coolpix 950. I still have it.Here’s a slightly-cropped image from the Nikon Coolpix 950. The maximum resolution for that camera was 1600 x 1200 pixels, just enough to make a 4″ x 6″ print. If all I wanted to do was post images online or to social media, however, that still would be plenty of resolution. What you intend to do with your photos should be an important consideration when purchasing a camera.
The little Coolpix 950 excelled at macro shots.
Size, weight, and environmental factors
You’ve heard the saying, “The best camera is the one you have with you.” I suppose the corollary to that is, “The worst camera is the one you left at home” (or in your car, or anywhere that is not with you). If you buy a camera (and lenses, and tripods, and other equipment) that becomes a nuisance to bring along, or makes you wish it were smaller and lighter, you’ve probably bought the wrong gear.
Interestingly, many people believed the way to save on size and weight was to move to the latest mirrorless cameras. Yes, mirrorless cameras are marginally smaller and lighter, but lenses for them are not appreciably smaller and lighter. Many mirrorless cameras also draw more battery power, and so the weight saved with smaller equipment is offset by having to carry more batteries. About the only thing that has grown appreciably lighter are photographers’ wallets, because the new smaller, lighter cameras often carry a premium price.
Something else to be considered when shopping for photography equipment for beginners is where and how the camera and accessories will be used. If you’re taking a camera on vacation for travel photos, how much equipment do you want to pack and carry around all day? If you’re a backpacker or outdoorsman, do you want to take a tripod? An array of lenses? Might one of the more sophisticated bridge cameras be a better option for a travel camera?
Another consideration might be the operating environment in which you intend to make photos. If you will frequently be in dusty environments, you may not want a camera with interchangeable lenses. Maybe you frequently shoot in the wet, rain, snow, or in other inclement weather. If so, a camera that is weather-sealed might be worth considering.
Upgradability
If you intend to pursue photography for many years, you will want to give consideration to upgrading your equipment as you improve, as new innovations come along, as you diversify in your shooting, or even as equipment wears out.
Photographers who shoot with interchangeable lenses often find that they soon have more money invested in good lenses than their camera bodies. “Good glass” that can still be used when a camera body is replaced becomes a good investment. Because camera manufacturer lens mounts are usually proprietary to that brand, once you select a make and purchase a few lenses, you will likely want to stick with that manufacturer in the future, rather than sell off everything and start all over.
Once you start buying lenses and accessories, you will soon have invested more than the price of your camera body. Because each camera make typically has its own proprietary mount, picking and sticking with a camera brand makes upgrades less expensive. You’ll be reluctant to switch brands if it means selling off everything and starting over.
New, used, or refurbished?
Some people only want to buy new equipment and, if paying full-price for equipment to get factory-fresh gear with a full warranty is worth it to you, go for it.
But sometimes, when researching photography equipment for beginners, substantial savings can be had by buying well-cared-for, used equipment (with stress on well-cared-for). Here’s a good article from Jaymes Dempsey about considerations when buying used photo equipment, and here’s another by Tom Mason. I have had generally good experiences buying used equipment because I:
Buy from photographers I personally know who take good care of their gear, or
Buy from top resellers such as B&H, Adorama, KEH, and others that check and give their used equipment full inspections, ratings, and even limited warranties, or
Buy directly from manufacturers who service, inspect, sell, and warranty refurbished equipment.
Do you need the “latest and greatest” as a beginner? Do you need new equipment, or might a slightly used and well-cared-for earlier model save you some money and be more than adequate for you?
Excellent savings can often be had by purchasing used when new equipment is just coming out. Photographers with GAS (Gear Acquisition Syndrome) just have to have the latest, greatest thing. Many of these shooters, eager to trade up, are willing to sell their slightly used equipment for bargain prices.
Now, as a beginning photographer, you don’t need the newest cutting-edge equipment, because you likely still have to master the basics. If last year’s top (and now slightly used) camera can be had, helps you learn the basics, allows you to better understand your needs, and fits the bill at a reduced price, so what if you only have it a short while before you upgrade?
Who to purchase from?
Some good advice about buying photo equipment (or anything else for that matter) is the Latin phrase caveat emptor. You likely know that means let the buyer beware.
It used to be that you could walk into a camera store and deal face-to-face with the store owner or at least a salesperson. Even then, you always had to be wary of the unscrupulous salesperson who, once you were pegged as a beginner without much knowledge, would try to upsell you into purchasing far more gear (or more expensive gear) than you really needed. You hoped instead that you’d get a dealer who really wanted to understand your needs and outfit you with the best equipment suited to your budget and needs. This second type of dealer would ask the kinds of questions we’re exploring here, knowing that a satisfied customer would tell others of their good experience and thus bring in more business.
Sadly, these kinds of brick-and-mortar camera stores are becoming rare (the last dealer in my town closed shop about a month ago after 74 years in the photo business). That doesn’t mean there aren’t reputable online dealers who offer good customer service on photo equipment. You just have to do your research. Talk to experienced photographers and ask them where they buy their equipment, who gives good deals, who provides good advice and service, and who honors warranties.
Idaho Camera had been the camera store in my town for 74 years. They closed permanently this past month, a victim of changing economic times, competition with online dealers and, finally, the Covid-19 crisis.
Always be cautious of dealers who have questionable reputations and, even more so, offer deals that are too-good-to-be-true. Often photo equipment manufacturers will require all dealers to offer their equipment at the same price, and so where you shop won’t change the price. Some dealers will thus come up with their own incentives and offer packages of accessories they throw in to sweeten the deal. Look carefully at whether this is really worthwhile. You might get a cheap cleaning kit, a worse-than-nothing tripod, or a shoddy camera bag, stuff that’s not worth it if it tempts you to do business with a shady dealer.
Also, beware of the dealer who tries high-pressure tactics to get you to add on stuff you didn’t initially intend to buy or a questionable “extended warranty.” And beware of “gray market” equipment, which most manufacturers won’t warranty at all.
Using online buying guides
I have refrained from suggesting any specific makes or models targeted as specific photography equipment for beginners. If, after asking yourself the questions I’ve outlined, you think you’re ready to begin looking at specific gear, there are some great places to check out.
Here on the Digital Photography School (dPS) site, check out the Cameras & Equipment section.
Check out the Cameras & Equipment section here on dPS for good information and reviews of photo equipment.
Another place I particularly like is the Digital Photography Review site (DPReview.com) and their Buying Guides section. The Cameras by Use Case pages are great for helping suggest makes and models based on how you intend to use your camera.
I’ve primarily discussed cameras, but if you’re shopping for tripods, lighting equipment, or any other kind of photo accessories, places such as dPS and DPReview offer a wealth of information. There are also forums where you can learn from other photographers about the ins-and-outs of specific gear.
Do be cautious, however. Fanboys and trolls like to hang out in places like that, so don’t just go with the first opinion you read.
The Digital Photography Review site. Cameras by Use Case is great for helping you explore photography equipment for beginners and is specifically geared toward how you intend to use your equipment.
Photography equipment for beginners: The questions to ask
I’ve thrown out a lot of stuff here, so let’s summarize with a list of questions to ask yourself:
What are my needs for a camera (or other photo gear)?
How much do I know about photography?
How serious do I intend to get? Will I pursue learning opportunities?
How often will I use this equipment?
What kind of photos will I be making (use the 80% rule)?
Do I want to specialize in a particular photo genre/subject?
How will I use my photos? (Online? Print? Sell?)
How much resolution (megapixels) do I need?
Is size/weight an important factor?
Where will I use my gear (environmental factors)?
Do I plan to upgrade, add lenses, and add accessories?
Do I want new gear, or might I consider used or refurbished equipment?
Who should I buy from? A store, an online dealer, or a private individual?
Have I done research (via buying guides, and/or discussions with trusted photographers)?
Here, take my money! I guess if money is no object, you might just buy what someone else tells you is the “best.” But, for most of us, research will help you get what you need, and what will be the best tool for the job at the best price.
Now take my money
Some people aren’t much for researching purchases and simply want someone to tell them what to buy. It’s easy to find salespeople perfectly willing to tell you what you “need” and take your money.
I suspect that, if you’ve read this article, you are not one of those people.
So, in writing this guide to photography equipment for beginners, my aim is not to tell you what to buy, but rather to have you ask yourself the right questions. If you do that, you can best make a wise purchase and get the photo tools that best suit your task.
The ultimate objective is that you learn and grow as a photographer, enjoy photography, and make increasingly better photographs. Best wishes!
The post Photography Equipment for Beginners: What to Buy When Starting Out appeared first on Digital Photography School. It was authored by Rick Ohnsman.
Pinhole photography is often associated with ‘intro to photography’ -type classes, because it simplifies the process of recording an image down to bare bones. But there is both an art and a science to creating a well-functioning pinhole camera. Specifications like hole diameter and the light-sensitive material’s distance and angle-of-view to the pinhole make a huge difference.
So, how does one elevate the pinhole camera from DIY beginner project to serious creative tool? With a little bit of technical know-how and a whole lot of trial-and-error. Join 35mmc’s Sroyon on their adventures in the world of cardboard cameras.
Read: Making and using a cardboard camera – adventures in pinhole photography
About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at KosmoFoto and 35mmc.
Winners of the 1st annual Paris Aerial Photography Awards
Several thousand photos from 65 countries were submitted to the 1st annual Paris Aerial Photography Awards – a competition open to artists using drones, kites, balloons, helicopters, and planes to capture imagery. The jury, including From Where I Drone’s Dirk Dallas, Costas Spathis, Women Who Drone’s Elena Buenrostro, the Abstract Aerial Art team, and Florian Ledoux awarded 106 photos in 22 categories and 11 photographers in 6 master categories.
‘When I submitted my images to the Aerial Photography Awards I knew the competition was going to be fierce. The number of aerial photographers has grown exponentially in the past few years. The advent of high quality, inexpensive and easy to fly drones is the obvious cause. But it takes more than just good gear. The incredible images submitted to the competition shows the dedicated and talented artists that the Aerial Photography Awards attracts,’ Jamie Malcolm-Brown, who received a nod in the Special Mentions section, tells DPReview.
A few of the Master category winners include these photos, from left to right, in the Abandoned, Travel, and Cityscapes categories.
Sebastian Nagy was awarded overall Aerial Photographer of the Year. He got his start in aerial photography on city rooftops. Six of the images he submitted were category winners. Make sure you check out the Awarded Photographers, Aerial Photos of the Year, and Special Mentions.
Aerial Photographer of the Year 2020, 1st Place, Daily Life: ‘The Lady of the Sea’ by Duy Sinh (Vietnam)
Artist Statement: A fishing boat is dropping a net and accidentally the waves pull the edges of the net into a lady on the blue sea. An accident of creation.
Aerial Photography Technique: Drone
Aerial Photographer of the Year 2020, 2nd Place, Daily Life: ‘Anchovy Catching’ by Thien Nguyen (Vietnam)
Artist Statement: Soft light of new day illuminating the long smoke from fishing boat engine & the shape of green nets moving underneath the water surface when local fishermen pulling their nets.
Many local fisherman families along the coastline of Phu Yen province will follow the near-shore currents to catch the anchovy during peak season. Salted anchovy is the most important raw material to create traditional sh sauce – the spirit of Vietnamese cuisine.
Aerial Photography Technique: Drone
Aerial Photographer of the Year 2020, 1st Place, Patterns: ‘Umbrella Crossing’ by Daniel Bonte (Japan)
Artist Statement: Crossing of umbrellas bring colors on a gray rainy canvas.
Aerial Photography Technique: Drone
Aerial Photographer of the Year 2020, 2nd Place, Editorial: ‘Eid Congregation’ by Azim Khan Ronnie (Bangladesh)
Artist Statement: South Asia’s largest Eid-ul-Fitr Congregation held in Gor-e-Shahid Boro Math, Dinajpur, Bangladesh. According to the organizers’ claim, over 600,000 devotees participated in this Eid congregation. The prayers began at 8:30 am with devotees coming from different parts of the region. Eid-ul-Fitr is a Muslim festival of happiness celebrated all over the world.
Aerial Photography Technique: Drone
Single Category Winner, Digitally Enhanced: ‘Airplanes’ by Cassio Vasconcellos (Brazil)
Artist Statement: These aerial images are all constructed after many different photos that I did flying by helicopter. All images presented here are done after 2015 but is impossible to determine just a one-day shooting since I use sometimes hundreds of photos.
Aerial Photography Technique: Helicopter
Aerial Photographer of the Year 2020, 1st Place, Documentary: ‘Fire Attack’ by Marc LeCornu (Jersey)
Artist Statement: Firefighters from the Jersey Airport Rescue & Firefighting Service work as a team to attack a simulated aircraft response. These live response scenarios are designed to ensure the crews are fully skilled and ready should a real incident occur.
Aerial Photography Technique: Drone
Aerial Photographer of the Year 2020, 1st Place, Waterscapes: ‘Arctic Paradise’ by Kyle Vollaers (United Kingdom)
Artist Statement: This image was taken o the coast of Qeqertarsuaq in -25° celsius. One of the most beautiful yet abstract places I’ve ever seen.
Aerial Photography Technique: Drone
Aerial Photographer of the Year 2020, 1st Place, Landscapes: ‘Skyggnisvatn’ by Sebastian Müller (Switzerland)
Artist Statement: The Highlands of Iceland.
Aerial Photography Technique: Drone
Aerial Photographer of the Year 2020, 1st Place, Trees & Forests: ‘Forest Path’ by Mehmet Aslan (Turkey)
Artist Statement: Herd of sheep uses forest road to return home.
Aerial Photography Technique: Drone
Aerial Photographer of the Year 2020, 1st Place, Abstract: ‘Tatacoa Desert’ by Johan Van Den Hecke (Belgium)
Artist Statement: A topdown view of the rock formations of the Tatacoa desert at sunset.
Aerial Photography Technique: Drone
Aerial Photographer of the Year 2020, 1st Place, Accommodations: ‘Colors of Dubai’ by Kevin Krautgartner (Germany)
Artist Statement: Real estate shooting for accommodations in the Burj Khalifa.
Aerial Photography Technique: High point of view.
Special Mention: ‘Love Island’ by Jamie Malcolm-Brown (United States)
Artist Statement: The fog dissipated as the sun rose behind some storm clouds over this heart-shaped island.
The post 3 Lightroom Tools to Enhance Your Nature and Wildlife Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.
Do you want to bring out texture in your images of flowers, butterflies, plants, or macro subjects?
Are you looking to remove haze from your beautiful landscape images?
Do you want to reveal fine detail in your wildlife images?
Then you’re in the right place.
Because today I am going to share with you three Lightroom tools for nature photography. I use these three tools to enhance my own nature and wildlife images. And I am sure these tools will be helpful to you, as well.
And the best part is?
All of these Lightroom tools are easy to apply. It doesn’t matter if you are a beginner or an intermediate-level photographer; you can pick up these tools and start enhancing your nature images right away.
Note that these three Lightroom tools can be applied to an overall image (as a global adjustment) or to a targeted area of the image (as a local adjustment).
Let’s do this!
The 3 Lightroom tools for nature photography
Here are the three Lightroom tools that will instantly enhance your nature photos:
Texture
Clarity
Dehaze
To access these tools, head to the Develop Module, find the Basic Panel, and scroll down to Presence:
The Texture, Clarity, and Dehaze sliders in Adobe Lightroom.
Texture
Texture has a subtle sharpening effect. It brings out the finer details.
You can use the Texture tool in Lightroom to subtly add sharpening to flowers, patterns, plants, and more.
By default, the Texture slider is set to “0.” Drag the texture slider to the right to increase the texture effect.
Or drag the Texture slider to the left to reduce its effect.
Here is an example of the Texture slider in action. First, take a look at this chameleon photo without any added texture:
Before applying the Texture slider.
Then, as you increase the texture, the chameleon details appear sharper:
After applying the Texture slider.
Here’s a final before and after:
The effect of the Texture slider (before and after).
Clarity
The effect of the Clarity slider is more prominent than the effect of the Texture slider.
What does Clarity do?
It primarily increases the midtone contrast.
Now, the Clarity slider is set to “0” as a default.
To add Clarity, drag the slider to the right:
The Clarity slider is a useful Lightroom tool for nature photography.
To reduce the effect, drag the Clarity slider to the left.
Since the effect of the Clarity slider is strong, make sure you use Clarity in moderation.
If you capture a well-exposed image with a relatively centered histogram, then the Clarity slider will improve the midtone contrast and can bring out additional details in your picture.
Here’s an image without the Clarity slider applied:
Before applying the Clarity slider.
As well as its corresponding histogram:
The histogram before applying the Clarity slider.
And here’s the image with the Clarity slider applied:
After applying the Clarity slider.
And its corresponding histogram:
The histogram after applying the Clarity slider.
As Clarity increases, the midtone contrast increases, too; notice how the center of the histogram has expanded.
Additionally, after increasing the Clarity, details on the bird have begun to pop.
Dehaze
The Dehaze slider is quite helpful for landscape images.
When out photographing, you may end up with haze in the atmosphere. Additionally, fog or rain will make an image look hazy.
You can use the Dehaze slider to reduce the haze.
To apply the Dehaze effect (and reduce the haze), drag the Dehaze slider to the right:
The Dehaze slider in Lightroom.
To reduce the Dehaze effect (and increase the haze), drag the Dehaze slider to the left.
As you increase the Dehaze effect, haze in the picture will be reduced, and the overall saturation of the image will increase. If the saturation increases too much, then bring down the Saturation slider slightly.
Note that the Dehaze slider will shift the histogram to the left (toward the side of the histogram representing the darker tones in the image).
When I was photographing the scene below, there was mist and drizzle over the forest valley. Here’s the image prior to applying the Dehaze effect:
Before applying Dehaze.
And here’s the same image, but with the Dehaze effect applied:
After applying Dehaze.
As I increased the value of the Dehaze slider, the haze was reduced. The difference between the original and edited images is quite significant.
You can also use the Dehaze slider for early-morning images, wildlife during the winter season, photos captured in the rain, and wildlife captured from a distance.
The elephants pictured below were moving along the riverbank. I was photographing them from a boat at a far distance, it was evening, and there was a slight fog in the atmosphere, hence the image appears a bit hazy:
Before applying Dehaze.
But, thanks to the Dehaze slider, the haze in the picture is reduced:
After applying Dehaze.
The Lightroom tools for local adjustments
There you go!
Those are the three Lightroom tools for nature photography that will instantly enhance your photos.
But here’s one more thing you should know:
Texture, Clarity, and Dehaze aren’t only available as global adjustments. They’re available as local adjustments, too.
You can apply local adjustments using a Graduated Filter, a Radial Filter, or an Adjustment Brush.
As you apply your local adjustments, you can shift the Texture, Clarity, and Dehaze sliders.
Let me give you an example. Here’s an unedited image:
After making global adjustments in Adobe Lightroom, I used a local (targeted) adjustment on the sky:
On the stormy clouds:
And on the road passing through the grassland:
Note that these local adjustments include the Texture, Clarity, and Dehaze sliders.
Here is the final image:
The final, post-processed image.
So you can use these three tools when adding local adjustments, too!
Lightroom tools for nature photography: Conclusion
I hope these three Lightroom tools will help you enhance your nature and wildlife images.
Now I would like to hear from you:
Which of these Lightroom tools for nature photography are you going to try first?
Let me know by leaving a comment below.
The post 3 Lightroom Tools to Enhance Your Nature and Wildlife Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.
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