Go out and take some photos of historic buildings. Do exterior shots, interior shots, and close-ups of details. Get down low and shoot high for extreme angles.
So, if you are lucky enough to be somewhere you can photograph some historic buildings, capture them in any way you like. Alternatively, go through your catalog and find your best historic building photos!
Play with post-processing too – try split-toning, black and white or sepia.
Slot photos together, like I do to see how images work together as a series too.
Take them with your camera or smartphone.
The choice is yours! I look forward to seeing what you share
Check out some of the articles below that give you tips on this week’s challenge.
Tips for photographing HISTORIC BUILDINGS
Simply upload your shot into the comment 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 favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.
How to Tell Stories with Architecture Photography
6 Helpful Tips for Doing Interior Architecture Photography
Tips for Different Approaches to Architecture Photography
6 Tips to Take Your Architecture Photography to the Next Level
Architecture: Photographing Exterior Details
How to Achieve Great Black and White Photos in Editing
How to Use Color Temperature in Black and White Conversions
How to Create Silky Split Toned Black and White Photos Using Luminosity Masks
Get Low and Aim High – How to Use Low-Angle Photography to Great Effect
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 #DPShistoricBuildings 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.
The post Weekly Photography Challenge – Historic Buildings appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
The post 5 Different Approaches to Learning Photography appeared first on Digital Photography School. It was authored by Charlie Moss.
There are many different approaches to learning photography. Some people would have you believe that one way is far superior to others. But the reality is, everyone learns differently. People have different lifestyles and learning methods, various time constraints, and different budgets.
You’re already on a site that offers one way of learning photography, but have you considered the other paths that you could take? Here’s a rundown of different ways that you can structure your practice and improve your photos.
1. Blogs
It doesn’t take much to find a myriad of blogs looking to help you learn photography. Anyone from the most experienced professional photographer to someone who just bought their camera can start a blog. I guarantee that you can learn something from all of these photographers.
For some people, like myself, blogs are an excellent format for learning photography. I’m the kind of person who learns well from text and pictures, so I read a lot of different blogs by many different photographers.
There are two significant advantages of blogs over other kinds of learning. The first is that anyone can create them, which leads to all sorts of ideas being shared. The second is that they’re quick to respond to new technologies and techniques. You’ll probably see articles about near gear or styles on a blog way before you see the same information in a book.
2. Books
Having just said that blogs are more likely to have new information than books, books still have some advantages. They often go into much more detail than blogs, especially where the content is unlikely to change even with new technology.
I have several books that cover scientific aspects of cameras and photography, and they’re still useful almost fifteen years after I bought them.
This solid foundation of knowledge can be where it’s helpful to use a few different approaches to learning photography, topping up your foundations with videos or blogs.
You can often pick up second-hand photography books cheap in thrift stores and on online auction sites. I have some real gems from decades back. They are fascinating to use to learn techniques that were in fashion at the time.
My particular favorites are the 70s and 80s glamour photography books I own; when I started shooting male glamour models and wanted an 80s vibe, they were the first place I looked for inspiration!
3. Videos
YouTube is a great place to find both photographic inspiration and tutorials of all kinds. And just like blogs, everyone can start a channel and upload videos to help other photographers learn.
An advantage of video is that if you’re the kind of person who learns best visually, you can get to grips with a technique much more effectively as you watch a photographer demonstrate it. Different approaches to learning photography will suit different people – everyone learns in different ways.
Some websites offer whole libraries of classes to watch, with some of the courses lasting several days! You can generally either buy the class to keep forever or take out annual or monthly subscriptions that allow you to view all the classes on the site for as long as you keep subscribing.
Many people find watching video tutorials a great way to learn. I’ve got several friends who have taught themselves photography almost entirely from YouTube. If you love watching videos, then you’re spoilt for choice. There is a video tutorial on just about every aspect of photography that you can imagine (and a few you’ve never thought of).
4. Workshops
If there’s one good thing that will come out of our global extended time at home, it’s that there are now many more workshops happening online. Participating in a photography workshop can now be as simple as firing up some video conferencing software and tuning in to listen to an instructor talk!
The advantage of live workshops over pre-recorded videos is that you can usually ask the instructor questions during the workshop. Many online video conferencing platforms have the ability for you to type our a question or virtually raise your hand. Do take advantage of this feature and ask all the questions you can think of.
Of course, workshops that happen in person are great too because you can often get hands-on with equipment that you might not have at home. Lighting workshops should give you the time to try out the gear that you’re being taught to use, and ideally, there’s scope to play around a be a bit creative while you have a go.
One type of workshop that it’s particularly helpful to keep an eye out for is when camera manufacturers release new equipment. Often they hold cheap (or even free) seminars that allow you to get hands-on with new lenses and cameras. Even if you don’t intend to buy a new camera or lens, this can be a great way to have access to a professional photography teacher who you can ask questions!
5. University
Perhaps the ultimate long-term commitment to learning about photography is going to university and doing a degree. It’s not an option for everybody, of course. But for those that can afford both the time and the money, it’s incredible to be able to immerse yourself in a single subject for three years and one of the most intense approaches to learning photography.
If this is an option that you’re considering, then do think outside of the standard photography degree. Some universities let you combine photography with subjects like marketing. This combination would be an incredible option for those wanting to go into advertising photography.
If you wanted to go into photojournalism, then you might choose to find a way to combine photography with international politics.
And don’t forget fine art as a subject either! There’s often lots of scope for photography practice on a fine art degree.
I chose to go to university to study art history as a mature student. It is genuinely the best decision that I ever made as a photographer. It has matured my work, given me a greater understanding of issues when it comes to artistic practice, and it has opened my eyes to a whole incredible history of creativity and art. I liked it so much that I’m now doing a PhD. You never know where studying photography might lead you!
Pick the right option for you
The advice that I always give when photographers ask about how best they should learn is that they should pick the route that makes the most sense for them and their photographic aspirations.
There are so many different approaches to learning photography that everyone should be able to find an option that suits their life, budget, and their dreams. And remember that if you’re not enjoying what you’re doing, then try something new! You can always ask photographers that you know and see what worked for them.
Do you have anything you’d add to this? Feel free to share any other tips, or your experiences of learning photography with us in the comments section.
The post 5 Different Approaches to Learning Photography appeared first on Digital Photography School. It was authored by Charlie Moss.
The post The Five Key Features on any Street Photography Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Are you struggling to choose the perfect street photography camera?
You’ve come to the right place.
Because while picking the perfect camera for street photography can be tough, it doesn’t have to be.
In fact, there are five basic features you’re going to want with any street photography body. While finding them all in a single camera can be tough, depending on your current lens lineup and preferred system, I’d recommend getting a camera that offers as many as possible.
And if you can find a camera that includes all of these features, you know it’s going to be a great street shooting option.
Let’s dive right in:
50mm | f/1.8 | 1/320s | ISO 200
1. A compact body
When you look for a street photography camera, the very first aspect you’ll want to consider is size.
Because here’s the thing about street photography:
The less that people notice your camera, the better.
50mm | f/2.8 | 1/320s | ISO 200
As soon as people start to see your camera, they get nervous, you get nervous, and photography becomes uncomfortable.
And while it’s inevitable that your camera will be seen, the smaller it is, the less this will happen.
That’s why I recommend you get the most compact camera you can find. Or, at least, a camera that offers a small form factor.
One option is a higher-end point-and-shoot camera, such as the Fujifilm X100V. That camera is tiny but still manages to offer excellent image quality.
But if you’re a fan of interchangeable lens cameras, you have other options. Some APS-C mirrorless cameras are designed to be near pocket-sized, including models such as Sony’s a6000 series, or the Fujifilm X-T200. Same with quite a few Micro-Four-Thirds cameras, such as the Olympus OM-D E-M10 Mark III.
These bodies are light, they’re compact, and they’re some of the most inconspicuous cameras I’ve ever come across.
(Another advantage of a compact body is that they’re easy to carry around. You can take a Fujifilm X-T100 with you wherever you go, so that you never miss a shot!)
So start your search by looking for a small body, and only then should you consider the rest of the features on this list.
If you want to capture close-up candid shots of people, I recommend a compact street photography camera. 50mm | f/3.5 | 1/200s | ISO 200
By the way:
It’s not just the camera that should be small; you’ll want small lenses, as well. One of the best ways to ensure you have plenty of small lenses to choose from is by working with a Micro-Four-Thirds camera (offered by both Panasonic and Olympus).
These systems have unusually compact lenses, thanks to their smaller sensor size.
2. A high continuous shooting speed
If you’re planning on doing lots of street photography, then you’re going to need a camera that shoots fast.
Why?
Because the best street photos tend to involve a convergence of elements. Three people are perfectly aligned with a building, a person makes a sudden strange expression, or a biker passes in front of an interesting facade.
The ability to shoot frame after frame is key when shooting images like this. 50mm | f/2.8 | 1/200s | ISO 250
And you’re going to miss out on these moments…
…unless your camera can fire off a burst of shots in quick succession.
I’d recommend a continuous shooting speed of at least five frames per second, and more is better. For me, the 8-10 range is ideal, which you can find on quite a few cameras these days.
And honestly, anything more than 10 fps is overkill for most street photography purposes. You’ll run through your memory cards ridiculously fast, and end up with a huge amount of unnecessary shots.
You’ll also want to get a camera with a decent buffer. There’s no use in being able to shoot at 10 fps if you can only capture 15 frames. So I recommend you look for a camera with a buffer of at least 25 RAW files (and more is better!).
50mm | f/3.5 | 1/160s | ISO 320
3. Excellent autofocus with strong eye detection
As I said above, street photography happens fast.
And you’re often reacting to moments that come and go instantly.
24mm | f/8 | 1/200s | ISO 320
That’s why the best street photography cameras have lightning-fast autofocus and, ideally, face/eye detection.
I’m talking about systems that can nail focus instantly, as well as track a subject through a complex array of objects without losing focus.
For this latter requirement, a great option is any of the more recent Sony a6000 models (including the a6100, the a6400, and the a6600). These cameras offer fantastic tracking, great AF speeds, and amazing Eye AF.
A camera with fast autofocus will allow you to seize the moment and grab shots like this! f/3.5 | 1/640s| ISO 320
Now, it is possible to do street photography with a less AF-adept camera. But you’ll frequently struggle, especially when trying to lock focus for spur-of-the-moment shots.
You’ll also want good AF for situations when you’re shooting from your LCD or from the hip. If your camera can grab focus with ease, you’ll end up with quite a few keepers, even if you’re firing the shutter without looking!
4. A silent shooting mode
Getting a camera that can shoot in silence was a real game-changer for my street photography.
Finally, I could shoot without people realizing, and it made me feel so much less anxious.
f/2.8 | 1/640s | ISO 200
And the truth is that most street photographers feel anxious at one time or another, and a loud shutter sound just made that anxiety worse.
(If you’re a street photographer that never feels uncomfortable, please share your secret in the comments!)
In fact, I almost quit street photography. It was only once I had a camera that could do true silent shooting that I was able to resume and feel better about what I was doing.
That’s why I recommend you get a street photography camera that has some sort of silent shooting mode. Ideally, it has an electronic shutter, one that allows you to shoot in total silence (though any silent shooting mode is better than nothing at all).
You’ll want to be careful, though:
Some cameras can be restricted when using a silent shutter. For instance, my Sony a6300 can only shoot bursts at about 3 frames per second when silent, and this can be extremely frustrating. So, I’d suggest looking for a camera that can maintain both silence and fast continuous shooting speeds.
That way, you can capture bursts of action without dealing with the chatter of a camera shutter!
5. A tilting screen
This feature is a bit more optional, but it’s still useful in quite a few situations.
You see, there will be times when you want to shoot from the hip (i.e., keep your camera held down low and fire off some shots).
50mm | f/4 | 1/800s | ISO 200
I do this while walking past people on busy streets because I don’t want to bother them with the sight of my camera. And I also like the low-angle look that it creates!
Of course, you can do this blindly, and you’ll end up with some keepers.
But if you have a tilting screen…
…you can look down at the camera while you walk, in order to ensure perfect focus and composition!
Note that you don’t need a fully articulating screen, as you won’t need to shoot from ultra-strange angles. A screen that tilts up 90 degrees will do just fine.
And since we’re talking about screens, I’ll mention that a touchscreen can be pretty useful in these situations, too. If you can tap to set focus, you can quickly choose a subject while looking down at your LCD, then fire off shots as they come closer.
Make sense?
The five key features on any street photography camera: Conclusion
Choosing a camera for street shooting doesn’t have to be hard.
Just make sure it has as many of these characteristics as possible, and you’ll be capturing stunning shots in no time!
That’s the power of a great street photography camera.
50mm | f/2.8 | 1/160s | ISO 400
The post The Five Key Features on any Street Photography Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post How Using Instant Cameras Can Improve Your Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.
There is something magical about instant cameras. Depress the shutter button and a little image is ejected, slowly developing before your eyes. More than just a novelty, instant cameras have practical and artistic applications. Here’s how using instant cameras can help improve your photography overall.
What are instant cameras?
First things first. What exactly is an instant camera? Generally, the term instant camera describes a camera that uses self-developing film to deliver a photographic image within minutes of pressing the shutter button.
The Instax Mini and Barbie Polaroid instant cameras. f/4, 1/50, ISO 500
The first commercially viable instant camera system was introduced in 1947 by the founder of Polaroid, Edwin Land.
A year later, Land’s Model 95 Land Camera and the corresponding film went on sale in a department store in Boston. The cameras, which dramatically altered the accessibility and creative possibilities of photography, sold out in mere minutes.
Land and Polaroid continued to develop instant camera systems. Originally delivering a sepia-toned image, instant film graduated to black and white and then to color in 1963.
However, up until 1972, using instant cameras was much less straight forward than the process we know today. Exposed Polaroid film required a photographer to peel back a negative sheet after 60 seconds to reveal the instant image. This often left chemical residue on the user’s hands.
Some earlier processes also required users to coat the developed film with a mixture of stabilizing chemicals.
f/4, 1/40, ISO 300
The arrival of the Polaroid SX-70 in 1972 marked a turning point in instant camera technology. The SX-70 ejected film with no negative sheet or chemical residue, shaping the trajectory of instant camera models thereafter and realizing Land’s dream of a fully instant camera system.
Instant cameras may have been largely superseded by digital technology today. Still, the distinctive aesthetic and physicality of the instant camera process have seen a resurgence in recent years. Companies like Polaroid, Fujifilm, and Leica all offering up modern incarnations of the instant camera and corresponding film.
A new approach
There are many ways using instant cameras can improve on a photographer’s process. Perhaps the most obvious impact of modern instant photography is the practical knowledge that a less-than-mainstream photographic medium affords.
Since their invention, instant cameras have presented an intriguing alternative to standard photographic practice.
Andy Warhol made famous use of the instant camera, as did Luigi Ghirri – a pioneer of color photography. By using both a familiar yet unique photographic technique, these photographers (and many more) pushed the boundaries of what was understood to be the accepted approach to photographic image-making.
Most modern photography is created and distributed digitally. But stepping away from the norm to negotiate the ins and outs of an instant camera presents new perspectives and challenges – broadening artistic experience and opening up creative opportunities.
The benefits of new photographic experiences are not exclusive to instant cameras. However, the process, inherent associations, and distinctive aesthetics of instant camera photography can contribute greatly to the many layers of visual language a photographer draws upon in the field.
Getting it right in-camera
They’re nifty, but keeping an instant camera stocked with film can be pricey. This means that getting the most out of each frame is a priority. Even though price can be a downside to using instant cameras, maximizing the success of each shot encourages a more effective photographic practice overall.
Getting an image right in-camera makes the most of the technology at hand, refining photographic skill sets and saving time. By measuring an exposure against a limited amount of instant film frames, instant cameras slow the photographic process, inviting the photographer to carefully and deliberately consider creative and technical aspects before depressing the shutter button.
While instant camera photography often departs from the technical standards of digital and film photography, this ‘slow’ approach to photography inevitably translates to other facets of a photographer’s practice, honing visual awareness and sharpening technical skill.
Pre-Visualisation
An early proponent of instant camera technology, Ansel Adams maintained that pre-visualization was a critical component of strong image-making. As we’ve touched on, instant camera film isn’t cheap, but pre-visualization is a valuable way to minimize dud shots.
Pre-visualization involves mentally untangling the many components that go into executing an effective photograph before the photograph is made. By pre-visualizing, a photographer can take executable steps towards achieving an appealing image in-camera, often with greater efficiency and success.
Instant camera photography is a great way to capture and preserve memories.
The risk of wasting expensive film makes the need for pre-visualization particularly pronounced in instant camera photography. The more consideration that is put into an image pre-exposure, the greater the chances of a successful instant photograph.
Also, the immediate effectiveness of combining pre-visualization techniques with instant camera photography generates positive momentum. This then feeds better habits across all forms of photographic practice.
The reset button
Instant photography was designed with fun in mind, so it’s no surprise that the simple, idiosyncratic cameras provide a well-deserved distraction from the effects of creative fatigue.
Paired back in design, instant cameras tend to have less in-built settings than their digital counterparts. This simplicity can encourage creativity in composition and subject selection over technical perfection.
f/7.1, 1/25, ISO 500
In addition, the unique aesthetic of instant photography is viewed as the marker of a distinct and quirky artistic process. This means that some mistakes that would ruin a digital image are embraced in an instant camera photograph.
This loosening of technical constraints means that instant cameras can serve as an effective refresher for photographers looking to recharge creative batteries.
Conclusion
Using instant cameras isn’t just fun, it can inform and improve your image-making overall. With a unique aesthetic, limited film and paired-down design, instant cameras are an engaging alternative to the photographic mainstream.
Do you shoot with instant cameras? Share your thoughts and images with us in the comments below.
The post How Using Instant Cameras Can Improve Your Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.
I just returned from a trip to the Victorian High Country in Australia. It was, cold, snowy and misty, et incredibly beautiful. There is such a wonderment to the mist and the way it transforms a landscape.
So, if you are lucky enough to be somewhere you will find mist at this time of year (like here in Australia, go out and take some fresh mist photos. Alternatively, go through your catalog and show us your best mist photos!
Play with post-processing too – try split-toning, black and white or sepia. See if you can make your dramatic mist photos even more dramatic!
Slot photos together, like I do to see how images work together as a series too.
Take them with your camera or phone too (mine are just taken with my phone, as I am yet to find the time to edit my camera shots!)
The choice is yours! I look forward to seeing what you share
Check out some of the articles below that give you tips on this week’s challenge.
Tips for photographing MIST
4 Tips for Photographing Fog to Create Mystical Images
Tips for How to Enhance the Mood in Your Foggy Photos
How to Make Use of Foggy Surfaces for Abstract Photography
Tips for How to Think and Use Lightroom More Artistically
How to Use a Black and White Filter to Improve Your Photos
How to Create Silky Split Toned Black and White Photos Using Luminosity Masks
Discover Seven Ways to Create Sepia Images in Photoshop
How to Dramatically Shape the Light and Mood Using Adjustment Brushes in Lightroom (video)
2 Methods for Creating Duotones in Photoshop
Simply upload your shot into the comment 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 favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.
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 #DPSmist2020 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.
The post Weekly Photography Challenge – Mist appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
There are many ways to learn the basics of photography, such as classes, tutorials and simply capturing more images. However, there’s a neat new method using playing cards, Photography Deck.
Launched on Kickstarter, the campaign far exceeded its funding goal during its first day. At the time of writing, over 600 backers had contributed more than $ 20,000 USD, compared to the goal of just $ 1,122.
The unique and attractive deck of cards are designed to appeal to shutterbugs and photography newcomers alike. Each suit covers a different topic: Clubs cover technical details, diamonds showcase shooting styles, hearts offer composition tips and finally, spades teach camera basics.
The 3 of spades card features the exposure triangle. Image credit: Photography Deck on Kickstarter
The technical details on the clubs cards include manual shooting, white balance, color theory and more. For example, the 6 of clubs teaches the viewer about the histogram. The shooting style-themed diamonds cards illustrate styles of photography including flash photography, macro, portrait photography among others. The hearts cards feature composition topics such as negative space, symmetry, patterns, leading lines, the rule of thirds and more. Adorned with basic camera information, the spades cards illustrate camera topics such as aperture, shutter speed, focal length, depth of field and more. The 3 of spades illustrates the exposure triangle of shutter speed, ISO and aperture.
Via the Kickstarter page, creator Eric Bohring states that each card ‘illustrates the most important rules and techniques about photography’ while featuring unique camera artwork. ‘Think of them as pocket-sized cheat sheets that you can bring wherever you travel,’ the campaign continues. The product is designed as a unique gift for photography enthusiasts and as a useful and artistic addition to your own camera bag.
The deck of cards is a standard playing deck with 52 cards and a pair of jokers. Each card features a micro-linen texture and is a standard playing card size: 3.5 x 2.5 inches (89 x 64mm).
If you’d like to make a pledge to the Photography Deck project, it’s about $ 14 USD to receive a standard Photography Deck, with shipping expected in August. For about $ 17, you can receive a limited edition green deck. If you’d like both decks you can receive a standard and limited edition deck for $ 29.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
The post 7 Shots to Incorporate for Better Drone Photography appeared first on Digital Photography School. It was authored by Matt Murray.
Flying drones has become an extremely popular pastime in recent years. It can be both incredibly exciting (and also a little nerve-wracking) to see your drone take to the skies for the first time. As your flying skills grow and improve, it’s time to think of the range and variety of aerial images you shoot. Whether you’re coming to drones from a model aircraft background, a photography background, or with no previous experience, here are seven types of aerial shots you can incorporate in your repertoire for better drone photography.
A portrait orientation horizon shot of Main Beach at Yamba, New South Wales
Seven shots for better drone photography
So why seven different shots? The truth is, there’s no magic number of image taking techniques in any photographic situation, but I have highlighted seven different shots that I use on a regular basis that you can try out the next time you’re out flying.
One thing is for certain: buying a drone (like buying a camera) is not a sure-fire way to produce stunning images. It takes hard work and experimentation to get it right.
1. The horizon shot
This is one of the most common images beginner drone photographers take, where the drone is high above the ground and points straight ahead for a spectacular horizon shot. As with all photography, lighting is important for these shots – I’ve seen many horizon shots taken at the wrong time of the day, which does not flatter the landscape.
It’s also good to keep in mind the rule of thirds (and other compositional rules) for your shots – try to remember them when you position your drone camera angle.
I often see images with both the sky and land taking up half of the frame each. However, all rules are meant to be broken – I didn’t stick rigidly to the rule of thirds when I took this image of a remote beach in New South Wales.
Horizon shot of the stunning coastline in northern New South Wales.
When you’re taking your horizon shots, also make sure you take them in both portrait and landscape orientation for maximum versatility. You can even consider doing a large panorama of the horizon made up of multiple images while your drone is at that height.
2. The long overhead shot
Another common photo many beginners take is the long overhead shot. Ascending up to the maximum allowable height limit, pan your camera down towards the ground and take an overhead shot straight down towards the ground. Objects such as cars and boats appear tiny and you will barely be able to make out people in the image.
Long overhead shot at low tide on Brisbane’s Bayside.
Although these first two shots are an important part of your repertoire, there are many other possibilities for better drone photography, so remember to take a range of images when you’re flying.
3. The short overhead shot
Many drone photographers, especially beginners, think the higher up the better. This is not necessarily the case, as stunning, unique perspectives can be had from quite low altitudes.
Having your drone at even just 5-10 meters above the ground provides an opportunity to take an image with lots of interesting detail from a completely different perspective than you would usually see.
The image below is a close up of boats on Brisbane’s Bayside. I had just finished taking the long overhead shot and decided to bring the drone down to capture a close-up of boats from a much lower height. With a short overhead shot, you can capture a lot more detail of objects in the scene.
Short overhead shot of boats on Brisbane’s Bayside.
People in the landscape
People in the landscape can often make captivating images. By placing one or more people in your scene, it adds interest and variety to your landscape images. With the added impact of having the unique aerial view from a drone, this is one way for you to create stunning drone images.
In the first image below, I watched as my daughter took her surfboard out into the sea off Iluka in New South Wales. Her presence adds interest to what would otherwise just be a shot of the beach.
Figure in the landscapes add an extra dimension to landscape photos.
In this next image taken in neighbouring Yamba, I took an overhead shot of the historic Ocean Baths. The image shows someone enjoying a morning swim, and a surfer heading across the beach.
Figures in the landscape at Yamba’s Ocean Pool.
Leading lines
Leading lines are a common compositional technique. It’s where a line or lines lead your eye through the various elements of the photograph. I took this image of Urangan Pier in Hervey Bay, Australia an hour after sunrise. The lines of the pier lead your eye through the image to the mainland in the distance. The rule of thirds is also in play here.
There are lots of leading lines that you can use in your compositions for better drone photography – both natural and human-made. Look for them next time and make them work for you.
Leading lines in action – Urangan Pier at Hervey Bay in Queensland.
Textures
Sometimes when you fly your drone over repetitive landscapes, you may feel like there’s nothing worth photographing, but that isn’t always the case. Keep your eyes open for scenes that show textures in the landscape, such as the pine forest in the image below.
When I flew my DJI Mavic Pro over this area in rural Queensland, I was amazed by the textures of the pine needles on the trees below me, punctuated by the brown soil and the tree trunks.
Look for areas with repeating patterns of trees, sand, crops, anything!
Textures of a Queensland pine forest.
Abstract shot
One of the fantastic things about flying a drone is that it opens up new ways of seeing our beautiful world. I am constantly amazed by how landscapes look from an aerial perspective. With this in mind, look for better drone photography opportunities via abstract shots where there is a mix of colors, lines, and shapes on the ground below.
I took the image below at the beach in New South Wales. I love the yellow, whites and greens of the sand and sea.
Beautiful abstract colors, shapes and textures of the beach in New South Wales.
Conclusion
Better drone photography is a combination of many things. Not only do you need to build your skills and confidence by improving your flying, but you also need to add variety to the types of images you take with your drone.
In this article I’ve featured some of the different types of shots I like to take when I’m flying my drone. Horizon shots are a staple among many drone photographers, as are long overhead shots. If you haven’t already, look for opportunities to take short overhead shots, textures, abstract images, and use leading lines. If it’s safe to do so, also look to incorporate people in your landscape images to add more interest and variety.
What other types of shots do you like to take for better drone photography? Tell us in the comments below. And if you haven’t bought a drone yet, be sure to check out my photographer’s guide to buying a drone.
The post 7 Shots to Incorporate for Better Drone Photography appeared first on Digital Photography School. It was authored by Matt Murray.
The post Starting with Off-Camera Flash in Photography: Techniques appeared first on Digital Photography School. It was authored by Carl Spring.
In my last post, I showed you what equipment you needed when starting with off-camera flash. This time, I am going to be looking at the technical side and what you actually need to learn in order to take great photos using off-camera flash.
It’s hard
This is the part where you need to really get to grips with how this all works. When starting with off-camera flash, this will be something that frustrates you. I’m not going to lie, it involves hard work and practice to get right.
In order to start, you really should have a good idea of how to shoot in manual mode, or at least a good awareness of aperture, shutter speed and ISO.
For someone new to off-camera flash, the technical aspects are the part that is the most daunting. Not only are you working with the camera in manual mode, but you are also adding things such as flash power and flash-to-subject distance. Then there is a model for an extra layer of pressure. That said, a good model is vital.
It’s time to move to manual mode. It’s not that scary. Promise
Working with a model
Finding people to pose for you while you learn is always hard. For this article, I managed to get an awesome model. She is incredibly patient and did exactly what I asked her to do every time. Here she is:
Always hits her mark perfectly and never complains. A great investment.
Honestly, a mannequin head is a great investment when starting with off-camera flash. I only paid £4 for this hairdressers mannequin on an Amazon flash sale. Using a mannequin really allows you to build confidence and test lighting setups without worrying about annoying friends, family or models.
You can always use other inanimate objects, especially if you are not interested in portraits, but a hairdresser mannequin is one of the best investments you can make to help you master off-camera flash for portraits.
Learn the technical rather than letting the camera do it
With modern cameras, flashes and triggers, you can easily stick with letting the camera do all the hard work. Call me old school, but I think it is hugely important to learn off-camera flash manually. By doing this, it is easier to understand how everything works. It also means you are in total control of what is happening.
Just like learning to photograph in manual mode, using off-camera flash manually allows you to get the exact results you want every time. Even if you then go on to shoot in auto mode, you will have the knowledge to still get the shot when the camera plays up (which they tend to do when you need them to do it least).
As you shoot more, you will become more confident, so I would always suggest using an inanimate object whilst you practice. There is nothing worse for knocking your confidence than having your subject in front of your camera and having a total mental meltdown, because you changed the position of the flash but you can’t remember how to adjust the exposure in your camera to make it look right.
Modern Cameras are incredibly smart. But getting started in off-camera flash requires you to do the hard work.
The five variables
Unlike shooting in ambient light, where you only have three variables that can control the image, shooting flash ramps this up to five.
However, it is simply a case of working through them methodically. With practice, it becomes easier. However, your first few times, it may be trial and error (and possibly frustration).
The five variables are:
Shutter speed
Aperture
Flash power
ISO
Flash-to-subject distance
Let’s start with the two elements that are present in every photograph: shutter speed and aperture.
1. Shutter speed
The ambient light for this shot was awful, so I removed it. I left my shutter at 1/200th and found an aperture to kill the ambient light. I then set the flash power accordingly to create this.
The main use of shutter speed when using off-camera flash is that you can darken or lighten the ambient light. This includes your background and any other light sources, such as room lights and candles, etc. By using your shutter speed, you can alter the amount of ambient light in the shot without altering any other variable.
The reason for this is that a flash will put out all of its power in the smallest fraction of a second (as quick as to 1/20000th second on some flashes). Your shutter speed will be less than this and, therefore, will not affect the power of the flash itself.
There is also one other thing that affects the use of shutter speed, the flash sync of your camera.
The flash sync is the maximum speed that you can shoot the flash at. This is usually around 1/200th of a second. There is a technical explanation for this and ways to shoot faster, but I won’t get into it within this article as I don’t want to overload you with information. Just remember, you cannot put your shutter speed faster than your flash sync.
Shutter speed in practice
When thinking about using the shutter in off-camera flash photography, the thing you need to decide is how much of the surroundings you want to include. If shooting portraits outdoors against a beautiful sky or backdrop, you may want to balance the exposure with the flash to make the most of the location.
However, if you are doing an indoor shoot with ugly or unflattering lighting, you may want to totally remove all ambient light. Shutter speed is your key to doing this.
Let’s look at this with a series of images.
In all of the images, the only thing I will alter is the shutter speed. Everything else will remain identical. The Aperture is f/16, ISO 100. My flash power is 1/4.
For the first shot, I set the shutter speed to the maximum sync speed (1/200th). As you can see in this image, the background is underexposed for effect and the model is lit by the flash.
The model is lit by flash. Areas where the flash does not hit are much darker (left side of her face)
As I slow the shutter, this time to 1/100th second, you can see the sky is lighter and the darker areas of the model that are not hit by the flash are less harsh. I have allowed one more stop of light into the camera, but only for the ambient exposure due to the speed of the light coming from the flash.
See how the sky is brighter and the darker areas are not quite as harsh. This is due to the shutter allowing more natural light into the camera.
Finally, I slowed the shutter down to 1/60th to give the correct ambient exposure for the sky and using the flash as a fill for any shadows on the model.
With a balanced ambient and flash, the flash fills in any shadows on the model’s face.
Notice how the lighting from the flash has not changed. That is because aperture controls flash exposure.
You can also use your aperture or ISO to increase or decrease the natural light coming into the camera, but remember when you alter them, you will also need to alter your flash power too.
2. Aperture
When starting out. The easiest way to think about things is that shutter speed controls the ambient exposure and your aperture controls your flash exposure. I know it is a little more nuanced than that in reality, but when learning, you want things to be as simple as possible.
We know that your shutter speed controls how long your camera shutter is open. Your aperture, however, controls how much light enters your camera, not for how long.
As flash power is too quick to be affected by shutter speed, you control it by changing the aperture. If the image is overexposed, you need to close the aperture down, and if it is too dark, you need to open your aperture up.
Setting aperture in practice
To show this in action, look at the images below. In all images, I will keep the shutter at 1/200th of a second and my ISO at 100.
Firstly, I set the flash at f/4. As you can see, the image is overexposed. This means I need to close the aperture a little.
f/4 is overexposed. I need to change the aperture.
Next at f/8, you can see I have closed the aperture down too far. The image is too dark, so I need to open the aperture a little more.
At f/8, the image is too dark. I need to change the aperture.
Finally, here is the shot at f/5.6. As you can see, this is the correct exposure.
Finally, at f/5.6 I have the correct exposure.
As you can see, I have not changed any other exposure variable, just the aperture. Changing the shutter speed would have no impact because the flash discharges its power so quickly. Now I have locked in my exposure, my lighting will be identical every time.
Bonus round
Here is the same image shot with the same aperture and a shutter of 1/100th of a second. A you can see, the change of shutter speed has made no difference to the exposure.
Changing the shutter to 1/100th has made no difference to the final exposure.
3. Flash Power
Flash power is simply how much power the flash can put out. This varies from flash to flash.
In terms of getting started, a Speedlite is more than fine. It will mean not shooting in the brightest part of the day (unless you are in shade), but it is super affordable, and the best way to start with off-camera flash.
As with shooting in manual mode, you want to learn with your flash in Manual mode. This helps with consistency.
If you set your flash to 1/2 power, every single pop of that flash will be half power. This consistency is key to mastering flash.
In terms of power, you start with full power, which is sometimes also known as 1/1. This is the largest amount of light that your flash can produce. Most modern flashes work in small 1/3 stops, but to simplify things whilst you learn, you really need to concern yourself with the following outputs:
1:1
1/2
1/4
1/8
1/16
1/32
1/64
1/128
Each of these settings equates to 1 full stop of light the flash produces. So changing the flash from full power (1/1) to half power (1/2) reduces the amount of light coming out by one full stop. Changing it from 1/1 to 1/4 reduces it by two full stops, etc.
Remember, the stops it refers to are your aperture, as this is what controls flash exposure. If you look at the table below it will explain it more clearly.
FLASH POWER
1/1
1/2
1/4
1/8
1/16
1/32
1/64
APERTURE
f/16
f/11
f/8
f/5.6
f/4
f/2.8
f/2
As you can see, if the flash at full power gives you a correctly-exposed image at f/16, half power will bring you down to f/11 and so on. This relationship is the key to mastering flash. Half the power = 1 stop of light.
4. Where does ISO fit into all this?
Shooting a flash at full power is less than ideal. There may be some circumstances where you cannot avoid it, but it will kill your batteries quicker, take longer to recharge between shots, and, in some cases, it may overheat the flash, causing it to not work at all. Ideally, you want to be working at 1/2 power or less.
ISO is where you can make that happen.
By doubling your ISO, you allow one more stop of light into the camera. Therefore, you can reduce the flash power and still get the look you wanted. For example, an image at ISO 100 and a flash power or 1/1 will be the same as an image at ISO 400 and 1/4 flash power.
ISO in practice
I have decided I want to shoot at f/8 and ISO 100. To do this, the flash has to be at 1/1. To get to 1/4, it means I will lose two stops of flash power.
Here is the image at ISO100 and flash power 1/1.
To keep the same aperture, I turn my ISO from 100 to 400, therefore, giving me two more stops of light into the camera. The image is virtually identical
At ISO 400, the exposure and the flash at 1/4 power, the image is almost identical.
It is all a juggling act, and ISO is there to help you fine-tune. However, upping your ISO comes with more noise. But, most DSLR and mirrorless cameras can easily go up to ISO 800 and still be of great quality.
ISO can also help with getting the correct ambient exposure whilst keeping a required shutter speed – especially as light drops. A simple tip is – if you need to double your ISO to get more ambient light, drop your flash power by one stop to compensate.
5. Flash-to-subject distance
I have saved this for last. This is the most technical when it comes to understanding flash (and involves the laws of physics).
The distance of your flash to your subject is governed by The Inverse Square Law. This law states:
The intensity of an effect such as illumination or gravitational force changes in inverse proportion to the square of the distance from the source.
Now, I am sure you are reading this thinking, what the heck does that mean? Well it means the amount of light is reduced by distance. See the diagram below courtesy of Wikimedia:
Every time the distance doubles, the power drops by 3/4. Image: Borb / CC BY-SA (https://creativecommons.org/licenses/by-sa/3.0)
The easiest way to look at this in a photography sense is every time you double the distance between your light and the subject, the amount of light will be reduced to 1/4 of what it was.
What also happens is that every time you double that distance, you get more space to work in. This is really useful if you are doing a group shot. Again, whilst this is hard to explain with words, look at the diagram below.
If you are doing a group shot, you want to get the flash further away from the subjects to avoid issues with exposure across the image
Flash-to-subject distance in practice
Now we understand the inverse square law, we can use it to our advantage. All of the images will be shot on the same blue background.
For both images, I will set the exposure at 1/200th, f/16 at ISO 100. I will keep the exposure the same by changing the flash power. The model is 1.5m from the background.
I start with the flash close to the subject (30cm). You can see the background is black. This is due to the light being close to the subject. Therefore, the difference in exposure between the subject to the background is huge due to the inverse square law.
With the flash 30cm away from the model, the background gets virtually no light due to the inverse square law and light fall-off.
Now, as I move the light back, the difference in the power of light between the subject and the background is much less due to the inverse square law.
The distance between the model and the light is now around 2m.
To keep the exposure the same, I have had to increase the power of my flash a whopping 6 stops. In this example, it has gone from 1/128 power to 1/2 power to keep the same exposure.
As you can see in the image below, the final model and background are both well-exposed due to moving the light further back.
With the flash further from the background, the exposure covers the model and the background.
Let’s recap
So hopefully, you now have a good understanding of the basics for getting started with off-camera flash. But let’s recap the basic points to remember:
Aperture controls the flash exposure
Shutter speed controls the ambient light
Doubling or halving the power of your flash moves the power of the flash by one stop of light.
When the flash is close, the light falls off incredibly quickly
As you move further away, the fall-off is much slower.
Get yourself a model that isn’t human to practice on. Try the model head or bottle of whiskey.
Practice, practice, practice.
It isn’t easy to get your head around, but I promise that one day it will just click. The only way for this to happen is if you practice. So, what are you waiting for?
There are more variables you can throw in, such as modifiers, high-speed sync, etc. but right now, that isn’t what you need to learn.
Master these basics and then push things further. The only thing I would suggest to add is an umbrella to diffuse the light and give more flattering results.
Now it’s time to practice
An article about starting with off-camera flash that tells you to shoot fully manual. You might be thinking “I can’t do this.” You can – you just need to practice.
It may sound daunting to some of you, but I promise it is easier than you think. I always compare starting with off-camera flash to learning your time tables. When you are learning them, they feel really difficult. Then it clicks, you suddenly understand it and you wondered why it took so long.
All together class, sing along. Two times two is four…
Do you have any other tips or questions you’d like to share? Please do so in the comments.
The post Starting with Off-Camera Flash in Photography: Techniques appeared first on Digital Photography School. It was authored by Carl Spring.
Powerlines are everywhere (well at least here in Australia they are!). Capture them close up or as part of a wider scene. Capture them against a fabulous sunrise or sunset, as a silhouette, or whatever you like. You get the idea!
Play with post-processing too, if you like.
The choice is yours! I look forward to seeing what you share
Check out some of the articles below that give you tips on this week’s challenge.
Tips for photographing POWERLINES
How to Take Better Sunset Photos
How to Create Powerful Silhouettes by Telling a Story
How to Edit Silhouette Photos in Lightroom
5 Exercises to Improve Your Street Photography
Make the Most of High Contrast Lighting for Dramatic Street Photos
How to Tell a Story With Your Street Photography
How to share your photo with us here
Simply upload your shot into the comment 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 favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.
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 #DPSpowerlines 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.
The post Weekly Photography Challenge – Powerlines appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
The post How to Make a DIY Lightbox for Product Photography appeared first on Digital Photography School. It was authored by Simon Bond.
There is a lot of photography that you can do indoors, and product photography is one such example of this. If you’re keen to try this out yourself in order to get the best results, making a DIY lightbox will elevate the quality of your photography. Creating a lightbox is simple, and you only need some basic supplies to do it. In this article, you’ll find out about two possible methods.
A lightbox is ideal for still life photography
What is a lightbox?
A lightbox is a box you place your product in, and fill it with light to photograph that product. A lightbox aims to avoid shadows when you photograph your main subject. If you light the scene from all directions, you’ll not see shadows.
How do you achieve this?
You’ll need light coming into your DIY lightbox to your subject from all directions. You can achieve this by bouncing light around the box, and also from light sources shining through and into the box. In the majority of cases, light sources shine into the box from the outside. However, you’ll also see a box that uses reflected light to achieve the same result.
The light source
The light source you use will depend on what you have available. It’s possible to use strong spotlights to create the light for your DIY lightbox.
Using strobes triggered remotely is a better option, however, these emit a strong burst of light that will light up everything in your lightbox. When using a strobe, it’s even more important to soften the light by bouncing it.
A light source like an off-camera flash will be needed.
The shoot-thru DIY lightbox
This is the classic form for a lightbox. In this method, you’ll be creating windows in a cardboard box and then covering those with paper. In effect, you’re creating softbox-like panels around the outside of your box.
Equipment you’ll need
Cardboard box – A decent size cardboard box. One that has sides larger than an A4 piece of paper is ideal.
Three pieces of white paper – These need to be large enough to cover one side of the cardboard box.
One larger piece of paper – This is needed once the box is complete. It’s attached within the box to create an infinity curve.
Scissors – Needed to cut holes in the side of your box.
Tape – You’ll need some tape to stick everything together!
This box shows the holes cut in the side, and two panels of white paper have been added.
How to make the box
Turn the box on it’s side, and cut off the top flaps.
Cut out “windows” on the left, right and top of the box. Leave the back of the box alone.
Use the paper to cover over the holes you have created, and tape the paper to the box.
Now tape the larger piece of paper to the back of the box, and allow it to curve down to the floor of the box.
Your lightbox is now ready to use, just use your light sources to shine through the paper panels on the side of the box.
An image produced using a DIY lightbox.
Making a reflector DIY lightbox
This is an alternative and is arguably even easier to make. The results are similar, but you’ll need to make a larger box. The increased size can be an advantage as it will allow you to photograph those larger objects.
Equipment needed
Foamboard – You’ll need four of these. Three for the sides, and one for the roof. The size used in this example is 90cm by 60cm.
Tape – Use the tape to stick the boards together. This should be the wider variety of tape, used to tape boxes together.
Scissors – to cut the tape as needed
A sheet of paper – A long sheet of paper to form the backdrop behind the object you’ll photograph. This paper will usually be white. The paper should be comparable in size to the foamboards.
Foam board stuck together with tape. They fold up like a concertina for storage.
How to make the box
Line up three of the foamboards. They should be placed together with the shortest side facing each other.
Leave a gap between each board, this should be between half and one centimeter.
Use the tape to stick the boxes together. The gap will now allow you to fold the boards in on each other.
Flip the boards over, and put the tape on the other side. This will reinforce the whole structure.
Now, take the three boards and stand them up in a horseshoe-like shape.
Tape the sheet of white paper to the backboard, and run it down to the ground. Ensure there is a curve where it meets the ground.
Place the final foamboard over this structure, it will act as the roof.
Your lightbox is now ready. Place your light sources within the structure, so light bounces around the box.
This lightbox is now ready for use, with the foam roof attached.
How to use your new DIY Lightbox
Now that your lightbox is ready, you’ll want to put it to good use. When photographing with it, ensure that your main subject is not too large. There should be a few centimeters clearance around your object, so when you focus on it, the background is your backdrop.
Good objects to photograph are still-life objects like ceramics, or perhaps a homemade quilting product! Lightboxes can also be ideal for food, though you’ll likely need to replace the backdrop paper afterward.
This shows two ceramics vases lit using the reflector DIY lightbox.
The backdrop paper
The default color for your backdrop paper is going to be white. White looks clean, and you’ll also be able to post-process your image more easily, potentially cutting it out and putting it in a new image.
The next best backdrop to use is black. The neutrality of black can work well for a minimalist feel. Then beyond that, you can experiment with any color you feel compliments the product you happen to be photographing.
A black background is another option for this type of photography.
Get started with your still-life photography!
A still-life project is a perfect thing to do when you’re stuck indoors; however, getting the materials may require a trip to the shops for most.
Have you tried your hand at making photography equipment before? If so, what have you made, and how did it benefit your photography? Did you ever try making a DIY lightbox of your own? If you’ve got examples of photographs taken with a lightbox, we’d love to see them! As always, leave your thoughts and photos in the comments section below.
The post How to Make a DIY Lightbox for Product Photography appeared first on Digital Photography School. It was authored by Simon Bond.
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