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Back to Basics: What is the Reciprocal Rule in Photography?

16 Jan

The post Back to Basics: What is the Reciprocal Rule in Photography? appeared first on Digital Photography School. It was authored by Adam Welch.

There are extremely few true “rules” in photography. This is an odd thing to say, especially in an article explaining the “Reciprocal Rule”. In an effort to do you and I both a favor, I think it’s best to get this out of the way right here at the beginning. Whenever we refer to the Reciprocal Rule in photography as…well…a rule, just know that it’s meant as more of a helpful guide rather than an iron-clad rule. Got it? Good.

Now, onward to the good stuff!

In photography, motion is both our friend and enemy. Intentional or anticipated movement from our subjects or camera can result in magically extraordinary photos. At the same time, unintentional motion, specifically unwanted camera shake, can rob our images of sharpness and depth.

Falling short of the Reciprocal Rule requirements. 1/200th of a second at F/5.6 with a 300mm lens.

We’ve mentioned the Reciprocal Rule quite a few times in other articles, but today we’re going to dig a bit deeper and learn more about how to use this extremely simple technique. It very well could be one of the most useful bits of knowledge you can possess when it comes to helping you prevent unwanted camera shake.

What is the Reciprocal Rule?

Banish all thoughts of grade school math and algebra class from your mind when you read the word “reciprocal.” True, the Reciprocal Rule hints at mathematics but the technique itself is incredibly simple.

Simply put, for full-frame image sensors (more on this in a bit) the Reciprocal Rule states that your slowest shutter speed when shooting handheld should not be longer than “1” over your selected focal length in millimeters.

Reciprocal Rule in photography formula

Not so bad, right?

In order to reduce the appearance of inherent camera shake when hand-holding your camera, just don’t allow your shutter speed to dip below the reciprocal of your focal length.

Author’s Note: In mathematics, the word “reciprocal” is generally considered interchangeable with “multiplicative inverse”…which sounds much cooler.

It’s here where our previous discussions of the Reciprocal Rule in photography have ended but that is not the case today! Let’s drill down a little further and examine how the Reciprocal Rule works.

A caveat on reciprocal vs reciprocity

Talking about the Reciprocal Rule in photography can be tricky at times because it sometimes gets confused with another photographic principle called “reciprocity.”

Reciprocity, or more specifically reciprocity failure, is a phenomenon photographers sometimes had to manage back in the pre-digital photography days of film. Simply put, film emulsions become less light-sensitive as they are exposed which requires adjusted exposure times based on the type of film and the duration of the metered exposure.

Each of these 35mm frames is approximately the size of a modern full-frame digital sensor.

Fortunately for us, digital camera sensors don’t suffer from reciprocity failure. However, there are times when autocorrect or well-meaning individuals sometimes confuse the Reciprocal Rule and reciprocity failure as being one and the same when they absolutely are not.

Why does the Reciprocal Rule work?

While the Reciprocal Rule centers around estimating exposures based on your focal length, it is not actually dependent on that variable. In fact, the reason why the focal length of your lens matters is because longer focal lengths result in more constrained angles of view (field of view). The tighter your angle of view, the more noticeable camera shake becomes.

Long focal length camera lens

So, shorter focal length lenses can achieve relatively long handheld exposures over longer focal lenses due to their wider angle of view – not their optical focal length. The Reciprocal Rule is useful because it takes into consideration the progressively decreasing angle of view produced as focal length increases.

Check out this quick video where I breakdown why the Reciprocal Rule works.

Sensor size and the Reciprocal Rule

First, a bit of backstory on sensor sizes, but I promise it will come back around to the Reciprocal Rule.

If you’ve been involved in making photos with a digital camera for any length of time, then you likely have encountered the phrase “crop factor” when talking about digital camera sensors. Albeit there are exceptions, today almost all consumer photography lenses center around the standard 135 film format, commonly known as 35mm.

This is where the concept of “full-frame” digital sensors originated as they are roughly the same dimensions as those of a frame of 35mm film, give or take. Therefore, mounting a lens of a focal length based on the 35mm full-frame film standard to a cropped sensor camera, the field of view becomes inherently more narrow (cropped) due to the smaller sensor size.

Essentially, a cropped sensor will “zoom” a full-frame lens and cause it to have a longer effective focal length.

Hasselblad medium format digital sensor and full frame Sony A7r sensor

Every camera manufacturer’s cropped sensor has a crop factor you can use to approximate the resulting focal length of a full-frame lens when used on a cropped-sensor camera. For example, Canon’s cropped sensor (APS-C) has a crop factor of 1.6x because a full-frame Canon sensor is approximately 1.6x larger than that of its cropped-sensor counterpart.

Canon 5D MK3 compared to Canon 7D MK1 sensor

So, my 50mm lens is considered a true 50mm lens when mounted to my full-frame sensor 5D MKIII. However, if I were to mount that same 50mm to my cropped sensor 7D, it would instantly become approximately an 80mm lens (1.6 x 50mm) instead of 50mm.

The reason why sensor size and crop factors become important when using the Reciprocal Rule in photography is due to their effect on the effective angle of view.

The Reciprocal Rule states that I should use a shutter speed no slower than 1/50th of a second with a 50mm lens and full-frame camera.

A cropped sensor camera with that same 50mm lens would dictate a faster shutter speed be employed since the crop factor has changed the effective focal length of our lens to 80mm.

This results in a reciprocal of 1/80th of a second minimum shutter speed.

Without going much further down the rabbit hole on sensor sizes, just know that the opposite is also true when using sensor sizes larger than the full-frame standard. The resulting “reverse crop factor” would be less than 1x. It would mean that a full-frame sensor camera lens would now produce a wider angle of view, thus, increasing the duration of your allowable handheld shutter speed.

The effects of image stabilization

Another aspect to consider when talking about the Reciprocal Rule is that of image stabilization. More and more often today, manufacturers are building better and more efficient image stabilization into their cameras and lenses. Many of these image stabilization systems offer upwards of 2-stops of reported stabilization (meaning you can shoot 2-stops or more slower shutter speeds).

Lens image stabilization

This means that we can incorporate the approximate stops of image stabilization (should you have it) when making use of the Reciprocal Rule.

It’s actually quite simple.

If you engage your lens or camera’s image stabilization, you are effectively lengthening your allowable handheld shutter speed by ever how many stops the stabilization states it will compensate. Feel free to adjust the shutter speed of the Reciprocal Rule and see if you can manage even longer shutters due to the stabilization.

Final thoughts on the Reciprocal Rule

There are very few absolutes when it comes to making photographs. Every photographer is different, and what works for one might very well not work for another.

This is especially the case when dealing with techniques such as the Reciprocal Rule in photography. Although it attempts to help us prevent unwanted camera shake by providing a quick and easy baseline shutter speed based on our lens, it should not be considered a true “rule.”

Granted, some of us are simply better at holding our cameras more steady than others, but there is no replacement for practice and optimal body mechanics when it comes to producing less shaky photos.

The next time a tripod is not handy or practical, use the Reciprocal Rule to help you increase your odds of getting a sharper photo each and every time you’re shooting from the hip.

4 Yummy Tips On How To Master Food Photography

14 Jan

Can you recall the last time you saw an advertisement for what looked like the PERFECT burger? Remember that mouth-watering feeling you experienced? Sorry to say this, but that burger was far from being perfect, or real. And, while this may be a disappointing truth as a customer, as a food photographer, you can use it to your advantage. Food Continue Reading

The post 4 Yummy Tips On How To Master Food Photography appeared first on Photodoto.

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Change of Perspective in Photography – Start from the Top

13 Jan

The post Change of Perspective in Photography – Start from the Top appeared first on Digital Photography School. It was authored by Ana Mireles.

You’d be surprised how a simple change of perspective in photography can take your images from amateur to pro. Pay attention to any magazine, advertisement, exhibition, etc., and you’ll notice how almost none of the photographs were taken at eye-level.

1/30 sec. f5.6, ISO 800

Just by changing the point of view, you can completely transform an image. You can play with size, proportion, depth, and many other characteristics. One of the most important aspects, however, is that you are showing the viewer the subject from a point of view that is out of the ordinary.

There are many angles you can choose from, in this article I’m going to focus on positioning yourself above the subject. Now let’s see a couple of choices for you to get started.

Bird’s eye view

As the name suggests, this shot means that you should be highly elevated and therefore watching your subject from a flying bird’s perspective. With small subjects or even a portrait, you can just climb on a chair or a tree. However, for landscapes, you can go up a building or tower. There are lots of touristic places that have high scenic viewpoints for you to practice.

1/400 sec. f5.6, ISO 100

Gear

You don’t need any specific gear for it but there are some things to consider regarding your settings:

If you’re in the open, it might be windy the higher you go, so use fast shutter speed.
Even if you’re behind glass, but you’re not to allowed to use a tripod (like it happens in most touristic places), you’ll still need to keep an eye on your shutter speed to avoid blurry images.
Speaking of being behind glass, be careful with the reflections. For this problem, you might find useful to carry with you a lens hood or a polarizing filter. More tips to minimizing reflections on windows can be found here.

If you are really enjoying a higher photographic perspective, you may want to consider buying yourself a drone or looking into aerial photography.

Creative uses

A change of perspective in photography is not only a good practice to improve your skills, but it can also be used creatively. Here are some ideas for you to try using the bird’s eye perspective:

Incorporate an object in the foreground to make more interesting photographs Having an anchor in your image can guide the viewer through your image.
A bird’s eye perspective is great to do panoramas. This technique will need some post-production to stitch together your images. Here’s all you need to know to do it, give it a try.
Finally, try creating your own miniature world by trying the tilt and shift effect. Bird’s eye is the best perspective to achieve the perfect illusion.

1/400 sec. f13, ISO 400 with a tilt-shift effect done in PS

Top-Down

The top-down name is quite clear. It means that you’re looking down directly onto the subject. Of course, this is also a perspective a bird could have, however, it’s a camera angle in its own right. For this, your focal plane has to be parallel to the subject.

Gear and Setup for a top-down shooting

Gear

You don’t need special gear. You can achieve this with any camera – even with your smartphone – which is probably why it’s so popular for food and still-life photography on Instagram. It’s also very popular for drone photography.

However, there are some accessories that can be useful:

You need to be parallel to the surface you’re photographing, so a tripod and a bubble level can make your life much easier.
If you’re using a tripod, you may need to use an extension arm or similar. This will prevent the legs from coming into the frame.
This is not a piece of equipment, but a recommendation about where you place the tripod. Be careful not to cast the shadow of the tripod, lights, or yourself on the subject.

Creative uses

Flat lay

Flat lay is a very popular term for blogs and social media, especially Instagram. It refers to a composition of objects laid onto a flat surface. There are many contests and challenges online, look for them with the hashtag flat-lay. Join them and practice your top-down skills.

Colors and shapes

Because there’s almost no depth with the top-down perspective, you have to make the most out of the two dimensions you have to work with. Instead of it being a limitation, get creative and use composition, colors, and shapes to improve your designer skills.

2 sec. f22, ISO 800

In conclusion

A change of perspective in photography can give you lots of opportunities to improve and create fun and innovative images. You don’t need to buy any extra equipment or learn any new techniques, all you need to do is move around your subject. I hope you have fun and if you feel up to it keep on exploring with these extra articles:

How to Improve Your Photography by Changing Perspective
The Power of Perspective in Photography

The post Change of Perspective in Photography – Start from the Top appeared first on Digital Photography School. It was authored by Ana Mireles.

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Technique vs Artistic Creativity in Photography – How Important is it to Find a Balance?

12 Jan

The post Technique vs Artistic Creativity in Photography – How Important is it to Find a Balance? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Discussion about technique vs artistic creativity in photographic circles can cause tensions. Much of what’s focused on when learning photography is camera technique. Creative aspects are often left out, even after you’ve picked up some camera skills.

Developing a balanced approach to photography is important. If you’re content to just document what’s in front of you, don’t worry about it. You need to know how to operate your camera competently to be creative with it. Camera technique vs artistic creativity is a matter of engaging both brain hemispheres.

Left brain vs right brain functions

It’s said that the left hemisphere of our brain is more academic and logical. The right hemisphere is more imaginative and artistic. Technique vs artistic creativity seems to separate somewhat in our thinking.

Learning to work with a camera well requires a good understanding of its basic functions. Controlling the amount of light entering your camera is essential to master. Of course, you can leave this left brain function to the camera’s artificial intelligence (AI). This happens when you use any of its auto or semi-auto modes.

Relying on the camera’s AI takes away some of the technical challenges in camera use. It also inhibits the full expression of the right brain hemisphere’s artistic creativity. When your camera chooses the exposure setting, you relinquish much of your creative expression.

Photography means ‘drawing or painting with light’

Camera’s don’t take fabulous photographs, fabulous photographers do. Just as an artist’s brush doesn’t make a beautiful painting on its own, a camera is only as creative as the person using it.

The word ‘photography’ comes from the Greek language. It means ‘drawing or painting with light’.

The amount of light entering your camera affects the way your ‘digital canvas’ will appear. Understanding how the camera captures light requires left brain function. Leaving the camera to determine the ‘right’ amount of light negates much of the function of the right brain in creative photography.

If you can’t manage your exposure well it doesn’t matter how good your composition or timing is, your photos will lack creativity. Painting with light requires a good deal of creative decision making.

Master your camera

When you have mastered your camera, you’re in a stronger position to balance technique vs artistic creativity. Learning how to control the essential functions of your camera frees you up. Then you can concentrate more on the creative aspects of taking photos.

Frequent camera use and study will give you the ability to use your camera fluidly. The more you learn and practice with your camera, the less you will have to concentrate on it.

It can be like learning to touch type or drive a manual-shift car. At first, these are difficult and require a lot of concentration. Plenty of mistakes happen. Spelling mistakes happen. The car will bunny hop and stall. But, with a dedication to learning, the errors become minimized. You can begin to focus your attention on other things. You no longer have to look at where you are placing your fingers on the keyboard. Driving becomes smooth and you can enjoy the scenery.

Camera use is no different.

Once you study and practice enough you will free up your mind to concentrate on the creative aspects of photography. The technical actions required to take photos will consume less of your attention.

Release your creative expression

Once you’re comfortable controlling your camera, you can be more creative with it. When you understand how it captures images, you’ll be able to manage the settings artistically. Knowing how the sensor responds to light will give you the ability to control it with more innovative expression.

Leaving the exposure up to the camera’s AI will most often result in rather bland results. Your photos will look like everyone else’s who uses and auto mode. This is because the AI is not creative. It’s all algorithm-based and calibrated in a technical lab.

Technique vs Artistic Creativity in Photography – How Important is it to Find a Balance?

Your camera does a pretty good job of exposing your photos. It aims to provide an even exposure, not blowing out highlights or diminishing shadow detail. This does not, however, often make the most expressive exposures.

Manually exposing a photograph well adds depth and feeling to the picture. Scene modes on some cameras will include options for portraits, landscapes, action, and the likes. I have never come across a camera that offers automatic modes to create dramatic, happy or somber photographs. Controlling your camera manually allows you to make creative choices.

Being in control of your exposure allows you to make choices based on what your main subject is. Your camera does not know what it is. Some AI systems in cameras will guess what you are photographing and return exposure results on this presumption.

You will know exactly the nature of your composition and, when you have some understanding of light, you’ll expose it the way you want it to look.

Push beyond what’s considered correct

Technique vs artistic creativity teaching is often dominated by those whose aim is to take technically correct photos. Photos that don’t fit in the technically correct ‘box’ are scorned.

For creative photographers, ‘correct’ photos are usually perceived as dull, no matter what the subject. Whether a particular composition rule applies does not matter to them. If the whole image is not evenly exposed the photo is still acceptable.

I’ve met far too many photographers who think their photos must reach certain technical standards to be any good. This is what they focus on, and often, their photos lack creative expression.

Knowing how to manage your camera settings well is vital to creative photograph. The technique is very important, but the rules are not.

Conclusion

Aim to use your camera without consciously thinking about it – much the same way you’ll drive a manual shift car after enough practice.

Instead of thinking about your shutter speed and aperture settings, focus on how you are feeling. What do you want to express in the photographs you are taking? Be present within the moment and relate more to your subject than to your camera. Then you will find the balance between technical vs artistic creativity.

Share your thoughts on this in the comments below.

The post Technique vs Artistic Creativity in Photography – How Important is it to Find a Balance? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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Don’t Be Afraid to Say These Things to Your Photography Clients

11 Jan

The post Don’t Be Afraid to Say These Things to Your Photography Clients appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Shooting photos for clients is an interesting business. People pay you to take great photos, but you also have to balance your photographic goals with the very human side of the job. You can’t just boss people around and expect them to come back or give you positive word-of-mouth. On the other hand, you can’t let your clients walk all over you. There’s a fine line between assertiveness and rudeness. However, as long as you are polite and respectful you should never be afraid to say these things to your photography clients.

Nikon D750, 86mm, f/4, ISO 2800, 1/400 second

“I don’t offer discounts”

If you have been in this business for a while, you have almost certainly had clients ask you about some kind of sale, discount, sweetheart deal, or other tactic to get you to lower your prices.

I used to feel self-conscious about these sorts of requests, thinking I had some kind of obligation to accommodate my clients who didn’t want to pay full price. The thought of not offering a discount made me feel arrogant and cold-hearted.

The truth is, you are worth your price. If people want to hire you to do your best work, then there is no shame in asking them to pay for it. If someone asks for a special deal, politely but firmly decline. Tell them that your prices are competitive and you will take beautiful photos for a reasonable fee.

Nikon D750, 92mm, f/4, ISO 220, 1/180 second

Additionally, don’t use the phrase “I’m sorry” when discussing your prices. You should never have to apologize for charging what you are worth!

You might think you are being polite, but you have nothing to apologize for. So you shouldn’t feel obligated to say it.

I have had several situations where potential clients have asked me about offering discounts. At first, I felt uncomfortable sticking to my guns. However, every single time I declined to go down in price, I have felt good about the decision. Plus, the clients were still happy with my photos.

Recently someone asked me about taking photos of her daughter’s graduation. When I told her my price, she winced and asked if I offered any type of discount. I said no, and she eventually went with another photographer who had a cheaper rate.

While a part of me wishes I could have gotten this woman’s business, I think of the ramifications if I had gone down in price.

Nikon D750, 110mm, f/2.8, ISO 160, 1/125 second

She would have expected a similar discount on future sessions, and she would have almost certainly told her friends about this great photographer she knows who gave them a really good discount.

That would have started things off on the wrong foot with other potential clients who might be expecting me to drop my price.

The implications for lowering your prices can be much worse in the long run. So you should never feel bad for saying these things to your photography clients.

“You have something on your face”

There are many ways to fix blemishes, pimples, dust, dirt, and other imperfections in Photoshop.

I have had clients joke about taking ten pounds or twenty years off in Photoshop. That always makes me a little uncomfortable since I think my clients look great just as they are.

With almost every photo session, there is some type of artificial issue that can easily be fixed right on the spot.

If not addressed right away, these things can add hours to your post-processing time.

Nikon D750, 135mm, f/2.8, ISO 500, 1/350 second

You might feel a little nervous or uncomfortable telling your clients that they have a stray hair on their cheek or a spot of dirt on their shoulder. I know what that’s like, having been in the situation many times!

Kids are fussy, the wind is blowing, rain is starting to fall, and you feel like you’re adding yet another burden to your clients by telling them they’ve got something on their face.

On the contrary, don’t be afraid to say these things to your clients! Every time I have neglected to mention an issue while taking pictures, I have regretted it afterward.

If you fix a blemish on a single photo, you have to fix it on all the photos. If it takes one minute to fix the first time, multiply that by 20, 50, or 100, and the simple task quickly turns to tedium.

Nikon D750, 92mm, f/2.8, ISO 400, 1/250 second

Not once have I had a client get upset, offended, or otherwise bothered when I told them about a problem like this. If anything, they have appreciated my watchful eye and attention to detail!

Kindly and politely tell them that they have a leaf on their dress, a speck on their forehead, or a butterfly resting on their shoulder. (I’m not kidding, it has happened!) You can deal with it in a few seconds and move on, instead of worrying about it and then wasting hours of your time editing it out on your computer.

“Sure, let’s try your idea”

Any time I prepare for a photo shoot, I always make sure I know the location, the types of photos the clients want, and other pertinent information. I even built several custom photo benches that I bring with me in case people need a place to sit. Basically, I try to have all my bases covered so I can make sure the session goes smoothly.

However, sometimes clients have other ideas. When that happens, I used to get defensive – I’m the professional, my clients need to listen to me!

On a sports team, it’s the players’ job to listen to their coach, and if every person on the field did things his or her own way, the game would be lost in short order.

Nikon D750, 112mm, f/4, ISO 1600, 1/250 second.

A photo session isn’t a sporting event, and you are a photographer, not a coach, and certainly not a dictator. You have great ideas for how to carry out the session, but your clients might too. It also behooves you to show them you care and will listen to their suggestions.

Even if you might not particularly like an idea that your clients have for poses, locations, or props, you might be surprised at the results. At the very least, it will send a message to your clients that you are flexible and willing to listen to them.

Even if the photos aren’t your favorite, word of mouth from your clients will help build a good reputation for you!

Nikon D750, 50mm, f/1.8, f/2, ISO 320, 1/250 second.

The image above is one example of how this can work out well for you and your clients. After I shot this family in the middle of a park, one of them told me he wanted to get a picture by a bridge. I was a little hesitant since the lighting and location weren’t my favorite, but I was happy to oblige. These photos turned out to be their favorite from the entire session!

“I have a location I prefer”

This seems a little counter to the last bit of advice since the idea here is to not take your clients suggestions into account. If you shoot outdoors, as I and many others do, you probably have some particular spots you like to use. Your locations have good lighting, pleasant surroundings, few people, and no bothersome elements like trash cans or street signs. You have used these locations many times, and they work great!

Your clients might have other ideas, though, and this is when it’s important to push back a little. I have had clients ask to do photos in spots that might look great for social media selfies, but they just aren’t well suited to a formal photo session.

In these situations, there’s nothing wrong with gently but firmly steering them to a location you prefer.

Nikon D750, 200mm, f/2.8, ISO 280, 1/250 second

It might seem harsh or uncaring to say these things to your photography clients, but it’s all about setting expectations.

When it comes to choosing a location, you know things your clients don’t. You pay attention to aspects of lighting and composition they would never think about.

If a potential client is insistent on using a spot that you would rather not use, show them your portfolio and explain the reason that you want to do it at another location.

Ultimately it’s your call – you can go with a spot they want, and the pictures might turn out great. But there’s a good chance you will encounter unforeseen obstacles, distractions, and other issues that will lead to sub-par photos.

If your client is insistent, you can politely tell them you won’t be able to meet their needs and recommend another photographer instead. Or you can do the session anyway, but make sure to scout the location first so you can prepare for what awaits.

Nikon D750, 150mm, f/4, ISO 1100, 1/250 second

“Photos will be ready in two weeks, but not sooner.”

Your own timeframe for this might differ, but you must be honest with clients about these types of expectations.

They might have other ideas in mind based on experiences their friends have had with other photographers. If you need a specific amount of time to deliver the photos, then make sure to stand by what you say.

Be sure to explain this early when you establish a relationship with your clients, so they know right away what to expect. You don’t want them complaining on social media because they thought you would deliver their photos the very next day!

Let them know that you need time to carefully cull, edit, and even print their photos. A few extra days of work can mean the difference between good photos and frame-worthy portraits to hang on a living room wall.

Fuji X100F, 23mm, f/5.6, ISO 320, 1/125 second

Expectations

One trick is to under-promise and over-deliver. I let my clients know that they will receive their final images within three weeks. I almost always send their photos in two weeks. So in their eyes, I have not only met their expectations but vastly exceeded them.

Your clients might want photos quickly, but if you need time to do your post-processing, be firm and stick to your guns. Quality takes time, and you’re not just slapping on a filter like you would see on some social media apps.

And if you need a few weeks to work your magic, then make sure your clients know what to expect.

Nikon D750, 50mm, f/1.8, f/5.6, ISO 6400, 1/90 second. (Using a +4 close-up filter)

Conclusion

At the end of the day, this is all about establishing a positive, healthy, and productive relationship with your clients.

Always be respectful, and always treat them how you would prefer to be treated yourself. If you say these things to your photography clients it will help send the message that you are a serious professional. Moreover, they will likely want to keep working with you well into the future.

We hope Don’t Be Afraid to Say These Things to Your Photography Clients will help you on your photographic journey. Do you have other things that you feel can be said to clients that can help the session run smoother? If so, share it with us in the comments!

The post Don’t Be Afraid to Say These Things to Your Photography Clients appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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Weekly Photography Challenge – Snow

11 Jan

The post Weekly Photography Challenge – Snow appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is SNOW!

Image: The Cathedral at Mt Buffalo National Park, Victoria in Winter by Caz Nowaczyk, Focal length:...

The Cathedral at Mt Buffalo National Park, Victoria in Winter by Caz Nowaczyk, Focal length: 130mm, ISO 100, f/6.3, 1/500th

For people in the Northern Hemisphere, it is Winter and, for many, that means snow.

So, this week’s challenge is to go out and shoot any pictures that include snow.

They can be dark and moody or light and bright, color or black and white. They can be stark or busy, close ups or distant landscapes. You get the idea!

So, check out these inspiring pics, have fun, and I look forward to seeing what you come up with!

Image: Bridge over Bullock’s Head Creek from Link Road, Kosciusko National Park by Caz Nowaczy...

Bridge over Bullock’s Head Creek from Link Road, Kosciusko National Park by Caz Nowaczyk. Focal length: 17mm, ISO 125, f/8, 1/1000th

Image: Near Yarrangobilly Caves in Kosciuszko National Park by Caz Nowaczyk. © Focal length: 200mm,...

Near Yarrangobilly Caves in Kosciuszko National Park by Caz Nowaczyk. © Focal length: 200mm, ISO 125, f/5, 1/250th

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting SNOW

How to Capture a Winter Wonderland – Essential Tips for Photographing Snow

13 Snow Photography Tips: A Beginner’s Guide

Tips for Photographing Snow

Snowed In? Here’s One Way to Pass the Time

5 Uncommon Snow Photography Tips That Can Transform Your Winter Scenes.

How to Stay Motivated to Photograph Nature after Months in the Snow and Cold

Why Is The Snow In My Pictures So Blue?

Important Things to Consider When Photographing Winter Scenes

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 #DPSsnow 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 – Snow appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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Apple’s 2020 iPhone photography contest seeks best Night mode shots

09 Jan

Shot on iPhone 11 Pro Max in Night mode by Eric Zhang.

Apple has announced another iPhone photography contest, this one soliciting photos shot using the company’s Night mode feature found on the iPhone 11, iPhone 11 Pro and iPhone 11 Pro Max. This new contest follows the first ‘Shot on iPhone’ competition announced by the company in January 2019. The new contest is open to submissions through January 29.

The 2020 iPhone Night mode photography contest opened to submissions on Wednesday, January 8; the five winning images will be announced by Apple on March 4.

Interested iPhone 11 owners can submit their favorite shots on Twitter and Instagram using the hashtags #NightmodeChallenge and #ShotoniPhone, as well as on China’s Weibo service using the tags #NightmodeChallenge# and #ShotoniPhone#.

Shot on iPhone 11 Pro in Night mode by Austin Mann.

Apple is also giving competitors the option of emailing a high-resolution version of their images to its shotoniphone@apple.com; in this case, photographers must use the following file naming convention: ‘firstname_lastname_nightmode_iPhonemodel.’

Social media submissions should include a note about which iPhone model was used to capture the image in the caption. Apple says contestants can use third-party and Photos app editing tools to edit the images. Submissions must be submitted by 11:59 PM PST on January 29 to be eligible. As well, contestants must be at least 18 years old.

The company has offered multiple tips on using the Night mode feature, including paying attention to the capture time displayed in the Night mode icon and using a tripod to keep the shots steady. Winning images will be showcased in a gallery on the Apple website, Apple Newsroom and Apple Instagram account; they may also appear in Apple’s digital campaigns, among other promotions.

The full list of judges and other details can be found in Apple’s announcement.

Articles: Digital Photography Review (dpreview.com)

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How to Plan Your Year in Photography so You Can be More Productive

08 Jan

The post How to Plan Your Year in Photography so You Can be More Productive appeared first on Digital Photography School. It was authored by Simon Bond.

It’s always good to have a plan. Having a structure to what you do in life leads to success, and this is also the case in photography. In this article, you’ll learn how to focus your attention on the things that will progress your photography. Read on and discover how best to plan your year in photography. It’s a simple process, and you’ll find when you have a plan those unexpected moments that make a great photo occur for you more often as well.

Knowing seasonal flowers bloom can help a lot.

Look back to plan your year in photography

The very first thing you need to be doing ahead of planning your year in photography is to take a look at the past. This will help you in several ways, and these you’ll learn about now.

Avoid mistakes – Reviewing your work to see the things you did wrong means you can plan better for the future.
Return visit – It’s always good to plan a return visit, perhaps somewhere would look much better in the snow?
Improvements – Related to eliminating mistakes, but slightly different. In this case, when you learn a new photographic skill, this can be brought into your work.
Knowledge – Looking through all your work from the previous year will give you a lot of knowledge that you can then use in the planning phase for the upcoming year.

It’s always worth a return visit, and the sun sets in a different position in the sky later in the year.

When is the best season?

One of the most important aspects of planning your year ahead is thinking about photographs that are seasonal. That doesn’t just relate to the changes in the season either. There can be other factors that can either make or break a photo when it’s taken at a specific time.

When you plan your year in photography, you’ll need to consider the following factors. Then make a plan to be at the correct location at the right time to take advantage of your planning.

Seasons – Spring and Autumn are perhaps the most popular seasons to photograph in, with fall leaves, and flower blossoms popular among photographers. Even in the tropics, the change from dry to wet season can have a dramatic impact on the type of photo you can take. Make sure you know when the monsoon season is!
The sun – Where the sun sets and rises changes throughout the year. This change is most dramatic the further away from the equator you are. Plan your photo so the sun is in exactly the right place within your frame. You can use a program like suncalc to do this. One of the most dramatic examples of this is when the sun shines down the blocks in New York during Manhattanhenge.
Milky way – As with the sun, the position of the milky way changes through the year. In the northern hemisphere, it begins the year as a pre-dawn photo and ends the year as an early evening photo. More than this, though, you need to think about the moon. The optimum time to photograph the milky way is during the new moon. So, you need to plan month-to-month to photograph the milky way.

Knowing when festivals will be is important.

Which trip will you take?

Unless you’re very lucky, you’ll only be able to plan a few big trips away per year. You may not even be able to do that, but hopefully, you still have time to visit somewhere amazing that’s more local. The big question, however, is where to go, and when?

Where should you go?

The location you choose will very much depend on the type of photographer you are. Other factors, like the needs of your family, if this trip is a family vacation, also need to be thought of.

If you’re a landscape photographer, then visiting places with incredible landscapes will make a dream trip. That means countries like Iceland, New Zealand, or Vietnam might be top of your list.

On the other hand, if you enjoy street photography, then going to India, and the back streets of somewhere like Calcutta could be for you.

Think about how you want to add to your portfolio, and then plan your trip accordingly.

Festivals offer unique moments that don’t present themselves at other times.

When to go?

Now the next step is planning when to go. Making a trip somewhere is exciting. For some, it’s often once a year, so you’ll want to get this right. What factors will elevate your photography of a particular location above other peoples?

Seasons – Already mentioned, but worth mentioning again. A location can be transformed by fall tree colors. Your time in a location could equally be ruined by a constant monsoon deluge, and perhaps even flooding.
Festivals – When you choose a place to visit, do an additional search to see if there are any famous festivals. Festivals offer the chance to take photos that only happen during that festival, offering you the chance for more unique photos.
Tourists – Can you go at a time that avoids crowds of tourists? Admittedly if you’re photographing a festival, you’ll be surrounded by lots of tourists. However, at other times, it’s best to avoid peak times. It’s cheaper to travel, and you’ll have an easier time taking photos without crowds in them.

Image: This photo needed to be taken when high tide coincided with sunrise. Planning is needed for t...

This photo needed to be taken when high tide coincided with sunrise. Planning is needed for this.

Try something new

Every year it’s worth thinking about learning something new. What new photography technique or post-processing workflow will take your photography to the next level? Do you need to buy a course, or attend a workshop to realize this improvement? Here are just a few ideas you could try, if you haven’t done so already.

Light painting – The world of light painting is huge. Get a tripod, and try out some of the night time fun yourself!
Infra-red – The easiest way to get started with this is through using an IR filter. If you really love it then convert your camera for specific IR use.
Lensball – Lensballs have become much more prevalent in recent years. Have you tried this interesting form of photography yet?
Digital blending – The best post-processing technique to take your landscape photography to the next level.
Cloning – Get creative and try cloning multiple objects into the same photo.

Cloning yourself into photographs multiple times can be fun.

Make a monthly calendar

Now you know what you want to achieve in your photography, it’s time to lay it all out in an organized way. That means using a calendar, so you can clearly see where things fit in your plan for the year.

If you plan to have a project such as the 52-week project, then this would be a great time to lay everything down in terms of what you’re photographing from week to week.

The spring and autumn seasons can be short in terms of peak conditions, so also plan for that when you’ll be out photographing in the best locations.

It’s time to plan your year ahead, and make sure you don’t miss those fall photos!

How will you plan your year in photography?

Whether you’re a generally organized person or not, a plan is always a good idea.

How do you go about planning your year in photography? Are there any tips you would share that will help other members of this community?

Perhaps it involves committing to a photography project of some description. Here at digital photography school, we’d love to get your feedback, together with any photos you have taken in the last year or plan to take this year.

The post How to Plan Your Year in Photography so You Can be More Productive appeared first on Digital Photography School. It was authored by Simon Bond.

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10 Top Creative Photography Instagram Profiles you Should Follow

08 Jan

The post 10 Top Creative Photography Instagram Profiles you Should Follow appeared first on Digital Photography School. It was authored by Jackie Lamas.

Want to add a little more inspiration to your Instagram feed? We’ve compiled the 10 top creative photography Instagram profiles you should follow that will make scrolling much more inspiring!

Listed in no particular order, these profiles can inspire creativity and imagination as they photograph the world around them, either real or created. Check it out!

1. Paul Nicklen

First, in the top creative photography Instagram profiles you should follow is Paul Nicklen. Paul is a wildlife photographer whose work has been featured in National Geographic as well as many other exhibitions throughout the world. Most known for his exploration and documentation of polar bears and arctic wildlife, Paul is a suburb fine art photographer and one to follow on Instagram!

View this post on Instagram

A post shared by Paul Nicklen (@paulnicklen) on Dec 16, 2019 at 4:07am PST

View this post on Instagram

A post shared by Paul Nicklen (@paulnicklen) on Nov 27, 2019 at 10:26am PST

2. Laura Zalenga

A creative photographer that combines reality with imagination and great storytelling, Laura Zalenga is one to follow along through her creative journey. She is also an Adobe Creative Resident giving followers an insight into what it means to have a residency at Adobe.

View this post on Instagram

A post shared by laura zalenga (@laurazalenga) on Apr 12, 2019 at 8:42am PDT

View this post on Instagram

A post shared by laura zalenga (@laurazalenga) on Dec 9, 2019 at 9:02am PST

3. Humans of NY

Part documentary, part humanitarian, Humans of NY is an account that inspires us to tell stories about the most unlikely of people. The photographer also travels and tells stories of people from all over the world. Sharing lots of different perspectives of ordinary people who sometimes don’t show their faces and whose stories connect with many followers.

View this post on Instagram

“My husband hasn’t been home in 153 days. There’s a legal case right now, so I can’t say exactly what happened. But he suffered a catastrophic brain injury in July. And so many of his memories are gone. Some days I’ll go visit him and it just won’t stick. He still remembers my name, but his memories about me are all wrong. Or the details are mixed up. But he’s one hundred percent convinced they’re true. He can’t be corrected. He’s steadfast in his memories. Right now I feel like we’re on two different tracks. I’m just trying to find the places where they merge. He recognized our wedding ring yesterday, even though it was around my neck—that was big for me. It was a moment when our realities came together. Our 45th anniversary is this Saturday. I’m just hoping it will be as normal as possible. I’m going to cook him dinner. Hopefully he’ll eat. And maybe we can share some of the same memories. I’m not sure if that’s enough for me, but it has to be. It has to be enough. Because he’s not going anywhere. And neither am I. We’re in this together.”

A post shared by Humans of New York (@humansofny) on Dec 19, 2019 at 11:15am PST

View this post on Instagram

“I vividly remember watching cartoons as a kid and seeing Bugs Bunny standing on a lily pad, playing ‘Hello My Darling,’ with a banjo in his hand and a drum on his back. I’ve always wanted to play music myself. But it’s so hard to make a living at it. For awhile I was playing the banjo in restaurants. But I couldn’t make it work. So I thought I’d try the Bugs Bunny thing.”

A post shared by Humans of New York (@humansofny) on Dec 4, 2019 at 4:16pm PST

4. Minh T (thismintymoment)

Minh T is a superb photographer combining geometric architecture with a clean portrait creating a style all of his own. Minimalistic in nature but drawing the eye to the focal point using negative space and clean lines. This is a profile on Instagram worth following.

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Lost in an Escher dream ?

A post shared by Minh T (@thismintymoment) on Oct 22, 2019 at 4:31pm PDT

View this post on Instagram

A new set of images inspired by the bold diagonal lines of the most provocative letters of the alphabet, the letter X, which happens to be the namesake of this seductive scent from the house of @clivechristianperfume. Spicy and woody, it leaves a strong impression — full of strength and sensuality . #CliveChristianPerfume #DiscoverClive #CliveChristianX #sponsored #architecture #icons

A post shared by Minh T (@thismintymoment) on Nov 15, 2019 at 7:01am PST

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A post shared by Minh T (@thismintymoment) on Jul 20, 2018 at 6:31am PDT

5. Tropicophoto

This duo brings color, creative imagination, and narratives that tell stories to a whole different level. Their entire feed is an explosion of color.

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A post shared by Forrest & Michelle (@tropicophoto) on Nov 17, 2019 at 7:11am PST

View this post on Instagram

A post shared by Forrest & Michelle (@tropicophoto) on May 7, 2019 at 4:59am PDT

View this post on Instagram

A post shared by Forrest & Michelle (@tropicophoto) on Dec 7, 2019 at 6:59am PST

6. Eva Kosmas Flores

Eva is a food stylist, cook, and photographer that brings moodiness and a bit of warmth to her photography. She also gives workshops on how to better your food photography even if you’re not a photographer. Her presets also set her photos apart giving them that dark and inviting feel.

View this post on Instagram

A post shared by Eva Kosmas Flores ? Photo Food (@evakosmasflores) on Dec 5, 2019 at 8:16am PST

View this post on Instagram

A post shared by Eva Kosmas Flores ? Photo Food (@evakosmasflores) on Oct 22, 2019 at 8:57am PDT

View this post on Instagram

A post shared by Eva Kosmas Flores ? Photo Food (@evakosmasflores) on Nov 17, 2019 at 8:41am PST

7. Peter Hurley

Peter Hurley is a renown headshot photographer giving workshops all over the world to photographers helping them master headshot portraiture. He is down to earth and fun to follow along in Insta Stories for behind the scenes of his shoots, travels, and life.

View this post on Instagram

A post shared by Peter Hurley (@peter_hurley) on May 9, 2019 at 10:23am PDT

View this post on Instagram

A post shared by Peter Hurley (@peter_hurley) on May 15, 2019 at 12:43pm PDT

8. Stormy Solis

Stormy is a portrait photographer who has carved her own style creating beautiful images of connection, love, and intimacy among families and couples. Truly captivating her imagery inspires her followers to take a more intimate approach to portrait photography.

View this post on Instagram

A post shared by Stormy Solis (@stormysolis) on Dec 12, 2019 at 8:13am PST

View this post on Instagram

A post shared by Stormy Solis (@stormysolis) on Oct 4, 2019 at 8:31am PDT

View this post on Instagram

A post shared by Stormy Solis (@stormysolis) on Dec 2, 2019 at 12:36pm PST

9. Reuben Wu (itsreuben)

Reuben Wu is the creator of the Aerogliph. Using the light from drones and slow shutter speed, he light-paints in mid-air creating the most interesting and thought-provoking images.

View this post on Instagram

A post shared by Reuben Wu (@itsreuben) on Nov 15, 2019 at 11:19am PST

View this post on Instagram

A post shared by Reuben Wu (@itsreuben) on Mar 18, 2019 at 5:55am PDT

10. Donatella Nicolini (donatellanicolinistudio)

And finally, in the top creative photography Instagram profiles you should follow is Donatella Nicolini. Donatella is an Italian portrait photographer focused mainly on fine art maternity. Her images are paint-like and breathtakingly timeless!

View this post on Instagram

A post shared by DONATELLA NICOLINI (@donatellanicolinistudio) on Jul 2, 2018 at 7:09am PDT

View this post on Instagram

A post shared by DONATELLA NICOLINI (@donatellanicolinistudio) on Mar 24, 2019 at 11:25am PDT

View this post on Instagram

A post shared by DONATELLA NICOLINI (@donatellanicolinistudio) on Jan 11, 2018 at 8:41am PST

In conclusion

Instagram is a great source of inspiration and there are some great photographers making incredible photographs! Add these Instagram profiles you should follow to your list of inspiring photographers on Instagram!

Do you have others to add to ‘Instagram Profiles You Should follow’? If so, please share in the comments!

The post 10 Top Creative Photography Instagram Profiles you Should Follow appeared first on Digital Photography School. It was authored by Jackie Lamas.

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5 Exercises to Improve Your Street Photography

07 Jan

The post 5 Exercises to Improve Your Street Photography appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Do you want to capture amazing street photography, but you just feel like you’re not good enough? Don’t worry, because this article is going to give you five fantastic street photography exercises that are guaranteed to improve your street photography. It’ll provide you with the tools you need to take amazing street photos.

Let’s get started.

5 Exercises to Improve Your Street Photography

1. Find a scene and stand in place for an hour

It might not seem like it…

…but a lot of street photography is about being patient.

In fact, plenty of the best street photos were taken after a significant amount of standing in place and waiting.

You see, great street photography often involves a powerful background with a focal point. And that focal point is often a person.

But to get the right person in the right place is one of the toughest parts of this genre of photography.

So this exercise is designed to make sure you recognize the rewards of being patient.

street-photography-exercises

Here’s what you do:

Start by finding a scene that you like. A building, an alley, an interesting background of some sort. Make sure there’s a decent amount of foot traffic.

Then previsualize. Where would you like your main subject to walk into the frame? Imagine the precise place you’d like them to be when you take the photo.

Then wait.

Now, plenty of people will walk through your scene who don’t fit with your previsualized photo. Maybe they don’t stand in the perfect place. Maybe they don’t have the silhouette you’re looking for.

And that’s okay. After all, this is an exercise in patience!

However, I recommend you take photos of these people anyway. You might end up with something unexpectedly powerful.

Even if you do get the shot you like, keep standing in place. Stay there until an hour has passed.

Because it’s important you understand, not just the rewards of patience, but how to be patient. So even once you’ve achieved your goal, stand in place, and keep taking photos. See what you can get.

Make sense?

2. Shoot an entire outing from an unusual angle

When you’re just starting out in street photography, it’s very easy to take every shot at eye-level.

Putting your camera up to your face is natural. And it can sometimes help you get over the stress of taking photos in public; you can feel like you’re hiding.

But shooting at eye-level is a recipe for consistently boring photos.

Instead, you want to take photos from many different angles. Different angles are the key to creating a dynamic, powerful portfolio.

So the street photography exercise is simple:

Go out with your camera. And only take photos from an uncommon angle.

5 Exercises to Improve Your Street Photography

Which angles count as “uncommon”?

The low angle is a great start. The lower you take your photo, the more awe your photos will generate because it’ll feel like the viewer is looking up at the scene. For the photo above, I shot up toward the clock tower in an attempt to make the image more dramatic.

Plus, a low angle can often clear the background, making it less distracting. It causes people in the background to fall away, leaving only buildings and sky behind your main subject.

To shoot at a low angle, you have a few options. You can sit down or crouch low. Or you can hold your camera down at your hip.

Of course, you don’t have to shoot from a low angle! If you like, you can try finding a vantage point (such as a parking garage), and shoot from high above.

The choice is yours. Just make sure you get used to trying new angles.

It’ll seriously improve your street photos!

3. Ask five strangers if you can take their picture

One of the biggest barriers to great street photography is your own nervousness.

After all, it’s hard to capture photos of people from a distance, let alone up close. You probably worry about people getting angry or even threatening you.

First of all, you should know that, in most countries, it’s legal to photograph people in public places. So you’re not breaking laws.

But the anxiety doesn’t always go away once you know your rights.

This is where this street photography exercise comes in handy.

street-photography-exercises

All you have to do is go out shooting. And ask at least five people if you can take their photo.

It’s okay if they refuse. It’s okay if they agree but the picture is bad.

The only thing that matters is that you’re pushing yourself out of your comfort zone. You’re forcing yourself to see that plenty of people don’t mind having their photo taken in public. And when people do mind, it’s not the end of the world.

This is an exercise that I recommend you try once a week (or until you no longer struggle to photograph people in public).

Because even if you prefer to photograph people without approaching them, knowing that everything will turn out okay will significantly improve your levels of comfort (and, consequently, your street photos!).

4. Only photograph strangely-lit people for a day

If you want to capture amazing street photos, you’ve got to start paying attention to the light.

This is easy to forget about because street photography involves so many variables: people moving fast, cars causing distracting backgrounds, etc.

But you can’t fail to consider the light. Otherwise, your photos will be very inconsistent.

Which brings me to the exercise:

Only photograph people who are strangely lit for the day.

5 Exercises to Improve Your Street Photography

By “strangely lit,” I’m referring to non-standard lighting. The people shouldn’t be lit with standard front-lighting, cloudy lighting, or standard overhead lighting.

Instead, there should be strong backlighting, side lighting, or shadows running through the scene.

By forcing yourself to pay attention to this, you’ll get a better eye for lighting. And it’s the first step toward taking more creative, unique street photos.

Personally, I’m a fan of backlit street photography. So I recommend going out when the sun is low in the sky to see if you can find some backlit subjects.

But you can also shoot people who are walking through shadow. This works especially well if the area around the person is bathed in sunlight, in order to create a high-contrast shot.

Just find some unique lighting, and you’ll do just fine.

5. Spend a week only taking photos of small details

Most street photographers only ever take photos of people.

But here’s the thing:

The streets have plenty of compelling details, too. And a street photographer who can find these details is a street photographer worth watching.

Tiny details lend character to your street photos, even if the main subject is a person. And tiny details can be the sole subject of a photo, as well. You just have to know how to capture them.

This is why your final street photography exercise is dedicated to photographing those beautiful small details.

street-photography-exercises

All you have to do is deliberately photograph little details for a week. Forget about photographing people. Forget about photographing architecture.

Instead, focus on capturing the most compelling details possible.

This might involve creating some abstract photos. Photograph contrasting colors up close. Or photograph spray-painted graffiti.

You can also capture some wider photos: the signs of restaurants, or the front door of buildings. All of these are excellent potential subjects.

Just remember: When you photograph small details, don’t just try to faithfully render the details themselves. Instead, create a compelling composition out of the details. Try to include multiple interesting features.

You’ll take a few boring photos, sure. But you’ll develop an appreciation for the smaller aspects of the city.

And you’ll take some stunning photos in the process.

5 exercises to immediately improve your street photography: Conclusion

Capturing beautiful street photos can be difficult. And for beginning photographers, it can seem impossible.

But if you do these street photography exercises, you’ll notice your outlook starting to change. Street photography won’t seem so difficult.

And you’ll start capturing some amazing street photos.

So get out and start practicing these street photography exercises!

street-photography-exercises

Do you have any other street photography exercises you’d like to share? Please do so in the comments!

The post 5 Exercises to Improve Your Street Photography appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Posts Tagged ‘Photography’

What is the Reciprocal Rule?

A caveat on reciprocal vs reciprocity

Why does the Reciprocal Rule work?

Sensor size and the Reciprocal Rule

The effects of image stabilization

Final thoughts on the Reciprocal Rule

You may also like:

Bird’s eye view

Gear

Creative uses

Top-Down

Gear

Creative uses

Flat lay

Colors and shapes

In conclusion

Left brain vs right brain functions

Photography means ‘drawing or painting with light’

Master your camera

Release your creative expression

Push beyond what’s considered correct

Conclusion

“I don’t offer discounts”

“You have something on your face”

“Sure, let’s try your idea”

“I have a location I prefer”

“Photos will be ready in two weeks, but not sooner.”

Expectations

Conclusion

Tips for Shooting SNOW

Share in the dPS Facebook Group

Look back to plan your year in photography

When is the best season?

Which trip will you take?

Where should you go?

When to go?

Try something new

Make a monthly calendar

How will you plan your year in photography?

1. Paul Nicklen

2. Laura Zalenga

3. Humans of NY

4. Minh T (thismintymoment)

5. Tropicophoto

6. Eva Kosmas Flores

7. Peter Hurley

8. Stormy Solis

9. Reuben Wu (itsreuben)

10. Donatella Nicolini (donatellanicolinistudio)

In conclusion

1. Find a scene and stand in place for an hour

2. Shoot an entire outing from an unusual angle

3. Ask five strangers if you can take their picture

4. Only photograph strangely-lit people for a day

5. Spend a week only taking photos of small details

5 exercises to immediately improve your street photography: Conclusion