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The Weekly Photography Challenge – Rule of Thirds

05 Jun

The post The Weekly Photography Challenge – Rule of Thirds appeared first on Digital Photography School. It was authored by Sime.

Join in our weekly photography challenge! This week your challenge theme is ‘Rule of Thirds’ – read on, have fun!

We haven’t explored the rule of thirds in over a year, and sometimes its good to get back to your roots. If you don’t know what the rule of thirds is, you can read all about it over here on THIS article on our blog.

When you post your photo, make sure you include a hashtag #dPSThirds

The Weekly Photography Challenge – Rule of Thirds

“The rule of thirds is a compositional guideline that breaks an image down into thirds (both horizontally and vertically) so you have nine pieces and four gridlines. According to the rule, by positioning key elements along the gridlines, you’ll end up with better compositions.” – Read the full article

Here’s my personal exploration o the rule of thirds! I got a gig as the staff photographer for one of the Red Bull Air Race series in London (Sure, my name tag had someone else’s name on, but it’s all good!) Peter Besenyei’s Edge 540 slicing the third.

The Weekly Photography Challenge – Rule of Thirds

Here’s a great article with a shed-load of examples for you, well worth a read and afterwards, explore what’s around you and share your own photograph that explores the ‘rule of thirds’ – that article (click!)

The Weekly Photography Challenge – Rule of Thirds

But how do I upload my photos?

Upload your photo into the comments field below this post (look for the little camera icon in the Disqus comments section below this post) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.

Weekly Photography Challenge – Looking Up

The post The Weekly Photography Challenge – Rule of Thirds appeared first on Digital Photography School. It was authored by Sime.


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13 Abstract Landscape Photography Tips for Mesmerizing Images

03 Jun

The post 13 Abstract Landscape Photography Tips for Mesmerizing Images appeared first on Digital Photography School. It was authored by Rick Ohnsman.

abstract landscape photography tips

Abstract landscape photography is all about expanding your vision as a landscape photographer. Anyone can go to a pretty place, aim their camera, and click the shutter. To be great, you need to be able to see differently, to look deeper, see what others might miss, and come up with your own interpretation.

Anytime I write about abstract photography, I like to include the quote from the famous photographer Minor White:

“One should not only photograph things for what they are but for what else they are.”

– Minor White

Abstract Landscape Photography - Look for the details
The shot at left is a pleasant landscape image. Zooming tighter, it becomes more abstract. Getting in really tight, it starts to become an abstract landscape photograph. See things for “what else they are.”

Often as landscape photographers, we want to make an image of a scene, perhaps a lake surrounded by trees with mountains in the background. But when doing abstract landscape photography, the idea is to go beyond the obvious, looking for components within the scene, details that catch your eye.

Maybe it’s the texture of the bark on a tree, the colors in water ripples on the lake, or the curving lines of the hazy mountains in the background.

abstract landscape photography tips
What is it? That’s not really the question when making abstract landscape photos. These are the bacterial mats that live in the geothermal waters of the Grand Prismatic Hot Spring in Yellowstone National Park. They make great abstract landscape photo subjects.

It’s not unusual for people observing an abstract photo to ask, “What is it?” They are seeking to identify the subject of your shot. But you must get past that.

You are not trying to make a photograph of the scene or a “thing” here. Abstract landscape photography is more about the look, the feel, the emotion an image conveys and less about what the subject might be. So how do you do it? How do you get great results? Let’s look at thirteen tips, a baker’s dozen, to get you started:

1. Look for details

Look within your scene for things that catch your eye. Pay attention to details, colors, textures, and patterns.

Plan on taking a little more time to study your scene, dissecting it. Abstract landscape photography is not a one-and-done snapshot style of shooting. Slow down, relax, study, and contemplate before you put your eye to the camera. Have a zen moment and feel the scene.

Then make your shot and study the LCD preview. What might you do to improve it? Make another shot. Be purposeful and deliberate. You will find this deeper approach to photography can greatly improve your work.

Abstract Landscape Photography - Look for the details
Look for the details within your landscape scene. Here, the colorful lichens on the rocks make nice abstract landscape images.

2. Use the right lens

Often, landscape photography is done with a wide-angle lens to take in as much of the scene as possible.

But with abstract landscape photography, you’ll be picking out little pieces of the scene. Yes, you can crop into interesting sections of a larger image to create abstract images from the master shot. I do that when I see something later in editing.

But anytime you crop an image, you lose quality, reducing the pixel dimensions of the image. Better to crop in-camera by composing your shot while shooting. It’s also better to learn to see the abstract image from the beginning rather than later as an afterthought.

beach pattern
Watch and nature may present you with an interesting abstract photo op, like this pattern formed by the waves on the sand of an Oregon beach.

So what lens should you use for abstract landscape photos?

You might try a longer focal length lens to capture the rock pattern on a distant mountain, or perhaps a macro lens to study the colorful lichen on a rock within your scene. A zoom lens can help you hone in on a portion of your scene when you’re looking to create an abstract shot, but don’t forget the “sneaker zoom” – zoom with your feet by simply walking closer to your subject.

Abstract Landscape Photography - Get close
A mobile phone camera also works fine for making abstract landscape images; it allows you to get very close to your subjects while retaining great depth of field.

3. Look for the play of light

Good photographers are students of light, observing how light and shadow play across objects to reveal texture and create interesting looks. Sometimes, just the light and shadow on a subject can be the subject of a photo all on its own!

Abstract Landscape Photography - The play of light
Look for how the light plays across your subject. These fantastic natural abstract sculptures are carved in the basalt rock of the Black Magic Canyon in Idaho, a paradise for abstract landscape photography.

So take the time to look at your scene and see if there are sections you can isolate to create a photo that is uniquely yours.

abstract compositions of rock sculptures
Color or black and white? Either can be effective with abstract landscape photography. These are more detail shots from Black Magic Canyon.

4. Consider line, shape, form, tone, and texture

In previous articles, I’ve referred to these five characteristics as the “bones” of a good photograph. Here’s just a brief definition of each:

  • Line: The one-dimensional path between two points. It can be straight or curved. Lines lead the eye through an image.
  • Shape: A two-dimensional outline of an object in a photo. Photography creates a two-dimensional representation of a three-dimensional world and so all objects in a photograph are shapes. We must create the illusion of depth through other means.
  • Form: The simulated three dimensions in a photograph created by other factors. A cube photographed from just one side will have the shape of a square, but when photographed at an angle, then line, tone, and texture will create the illusion of three dimensions (i.e., form).
  • Tone: The range of brightness levels from white to black in a photograph.
  • Texture: The simulated look of the smoothness, roughness, reflectivity, depth, and feel of an object created by light playing over the object.
sand dune abstract
Line, shape, form, tone, and texture – the “bones” of a good abstract landscape photograph.

Understanding the “bones” of a good photo can help you make interesting photos in general and better abstract landscape photos in particular.

Abstract Landscape Photography - Texture
Can you “feel” the texture of the wood in these shots?

5. Photograph water

Abstract Landscape Photography - Watercolors
After making the image of the lake scene, I zoomed in to catch the beautiful “watercolors.”

The unique properties of water – its reflectivity, motion, transparency, translucence, and fluidity – make it a great subject for abstract landscape photographs. Water can even take on a texture of sorts, thanks to the dynamic motion of rushing water and the smooth-as-glass look of static water.

In fact, you could do nothing but water photographs and have more subject matter than you could photograph in a lifetime! I’ve written an article on doing abstract watercolor photography; take a look for more good ideas.

water is spectacular for abstract images
The sand, the surf, and the reflections of the colors in the sky can make for wonderful abstract landscape photographs.
abstract ice
When things turn cold, switch from abstract water images to snow and ice.

6. Focus on textures

We’ve already touched on using texture as a subject in abstract landscape photography. For instance, you can capture abstracts of rocks, wood, and patterns in the landscape – and just like the “watercolors” described above, the images that can be made from texture are infinite.

When capturing images with texture as the main subject, pay attention to the quality of light and its direction. Light coming from behind the photographer to hit the front of the subject tends to minimize texture, whereas cross light (i.e., light coming from the side) helps to maximize it.

Abstract Landscape Photography - At your feet
Sometimes, abstract landscape photographs will be right at your feet. Don’t forget to look down!

7. Try some shoot-throughs

I use the term “shoot-through” to describe photos with materials or objects between the camera and the subject.

These objects could be transparent or translucent materials, such as a rain-streaked window or ice. Shoot-throughs can also use out-of-focus objects in the foreground that frame or change the look of the subject beyond.

For instance, you can shoot through an out-of-focus clump of grass while focusing on a subject in the distance. However you do it, shooting through something can add an interesting abstract feel to your photos!

snowy abstracts
Natural or human-made, keep your eyes open for abstract image opportunities!

8. Use slower shutter speeds and intentional camera movement

A photograph captures a sliver of time, freezing a moment. Shoot with a fast shutter speed and that sliver is small, freezing the motion of objects.

But use a slower shutter speed, and moving objects start to blur and streak, as you capture a lengthier slice of time:

long shutter speeds
Slow down your shutter speed and water becomes a great subject for abstract landscape photography.

Slow shutter speeds combined with moving objects can create abstract images that are unlike anything the eye can see. Moving water can be blurred to create silky waterfalls, and with even longer shutter speeds, ocean waves can be rendered as a blurry fog.

Another fun technique: You can move the camera during a long exposure to blur the image. This is known as intentional camera movement, and it’s definitely a technique worth exploring.

Intentional Camera Movement
Combine a slower shutter speed with intentional camera movement, and you get a special kind of abstract landscape photo. The top shot is a top-to-bottom tilt, and the lower shot is a left-to-right pan.

9. Use focus stacking to improve sharpness

The optics of lenses limit what can be rendered sharply in a single image. We call the extent of the in-focus area in an image its depth of field. How to control the depth of field in a photograph with lens selection, focal length, proximity to the subject, and aperture is something that all photographers should learn.

Depth of field in an abstract landscape photograph can also vary depending on the photographer’s intent. Do you purposely want some things rendered out of focus in your image? Perhaps you want to creatively use bokeh artifacts. However, if you want everything tack-sharp from front to back in a photo, you may need to capture more than one shot in a process known as focus stacking.

Focus Stacking
Focus stacking using multiple shots focused from near to far was necessary to get this kind of depth of field.

Learning the techniques of focus-stacking can be useful in many genres of photography, abstract landscape photography included. Take a look at the abstract photo above of the trees in a tree farm where everything is sharp. Such depth of field in a single image would be practically impossible, but – thanks to focus stacking – it became relatively simple.

Focus stacking trees
It’s not about the forest or the trees, but more about the repeating patterns of the vertical trunks, the texture of the bark, and the shadows in the snow. Abstract landscape photos don’t have to be unidentifiable.

10. Find fresh perspectives

Good photographers seek to show things in a way we don’t usually see them, and abstract photography should take this a step further. Consider it a compliment when an observer of your abstract image says, “I don’t know what it is, but I like it!”

One way to approach abstract landscape photography is to get a new and unusual angle on your subject. Get high, get low, shoot from a bird’s-eye or maybe a worm’s-eye level. Look up, look down, mix it up.

Shooting from eye-level or tripod height is boring. Dare to be different, especially if you’re walking on the abstract side of photography.

Abstract Landscape Photography - Higher perspective
Shooting down off a pier gave the aerial perspective here, and the colors and textures of the ocean waves made for pleasant abstract landscape (or seascape?) photos.

A great way to get abstract landscape photos is from the air. Drones have brought us a whole new view of the world, one previously available only to those who could get up in an aircraft themselves.

Even if you don’t own a drone, you can still get aerial-like perspectives from mountaintops and high structures.

View from above, Palouse
An aerial shot can give you a great perspective for abstract landscape photos – except this isn’t a drone or an aircraft image. Steptoe Butte in Eastern Washington rises high above the Palouse farm country, giving great views of the surrounding area.

11. Make it monochrome

Though the roots of photography are black and white, all monochrome images are abstract in that they are not the way we see the world. So consider how you can use black and white to make abstract landscape images!

A dark black sky over an almost white landscape is an abstraction, yet completely possible with a few editing tweaks. You could easily invert the colors and tones for a negative image or shoot with an infrared-converted camera. There are no rules when you walk on the abstract path, so experiment.

A black and white composition can remove distractions, focus attention, and give an abstract quality to your image.

colorful abstract landscape shot
Color?
black and white abstract landscape shot
Or black and white? Both are nice abstract landscape images, each with its own strengths. These are from the Palouse country, a paradise for abstract landscape photography.

12. Avoid scale

In most photos, particularly landscape scenes, there will be visual clues as to the size of objects. We know the relationships of smaller plants to trees and to mountains. But here’s something fun to try in abstract landscape photography: take away visual clues that would tip off the viewer as to the size of things.

A tight shot of the texture on some rocks could be taken from six inches or six miles, and the viewer might not have any point of reference. Sometimes in standard landscape photography, we might purposely include a person to lend scale to the image; in abstract landscape photography, taking away reference to scale can be the key to a great shot.

abstract landscape photography
Without reference, it’s tough to judge the scale here, and that can make for an interesting abstract landscape photo. In reality, the tree growing out of the crack in this mountainside is easily 20 feet tall!

13. Use minimalism

Unlike still life, portraiture, and most studio photography, landscape photographers don’t usually get to choose what objects are in their shot. You can remove a tree digitally if you don’t like where it stands in your photo, but you certainly shouldn’t get a chainsaw and cut it down.

Instead, you must choose scenes that include what you want in the frame and leave out what you don’t.

minimalist beach composition
The beach is a great place for minimalistic photography. This is minimalist, but is it also abstract? The definition can vary and perhaps it doesn’t matter.

Minimalistic photography is a whole subject unto itself, and one I believe landscape photographers should investigate. How abstract and minimalist photography intersect and differ is a topic worth exploring, as well.

Landscape photographs can be minimalistic but not abstract. Abstract landscape photos can be abstract but perhaps not minimalistic. Do the distinctions matter? Perhaps not, but both are styles that you, as a landscape photographer, would do well to try as you seek to grow your skills.

Yellowstone snowstorm
Minimalistic? Absolutely. Abstract? Maybe. Surreal? For sure. These stark trees against the featureless snow and sky of a Yellowstone snowstorm make for a dramatic shot.

Abstract landscape photography: final words

Let’s come back full circle to the Minor White quote. Abstract landscape photography is not likely to be the first thing you do as a new landscape photographer. Most people see the forest, they might see the trees, but they’re much less likely to pay attention to – or photograph – the way the light reveals the texture of the bark.

To paraphrase White, you should learn to photograph things “for what else they are.” Practicing abstract landscape photography will take you to that place and teach you a whole different way of seeing.

That, for a photographer, is an invaluable lesson.

abstract rock compositions
You’ll find an endless source of abstract landscape photography subjects in rocks.

FAQs

What is abstract landscape photography?

Abstract landscape photography is where the subject of the photograph may not be readily identifiable and the focus is more on the line, shape, form, tone, texture, pattern, and/or colors in the image. It differs from what is called representational photography in that the image is less about a literal depiction of a scene and more about an artistic interpretation.

Why should landscape photographers explore abstract landscape photography?

Rather than simply see a scene for what it is, abstract landscape photography teaches the photographer to look deeper, to study the elements that make a good image, and to be creative. Doing so will expand one’s ability to see the beauty in all things and to create images that are unique.

Name some ways to get started with abstract landscape photography.

1. Look for details.
2. Experiment with focal lengths.
3. Study the light.
4. Pay attention to line, shape, form, tone, and texture.
5. Explore water, ice, and snow as photo subjects.
6. Look for and find ways to depict texture in a photo.
7. Shoot through other objects.
8. Try slow shutter effects and intentional camera movement (ICM).
9. Try focus stacking multiple images for extreme depth of field.
10. Explore various perspectives.
11. Consider monochrome, infrared, or alternative color.
12. Make images where scale is difficult to determine.
13. Consider minimalistic compositions.

What are some challenges in abstract landscape photography?

One of the biggest challenges is getting past the need to accurately portray reality. Often the first question someone may ask when seeing an abstract photograph is, “What is it?” That doesn’t matter. What does matter is how the photograph makes you feel and what it communicates. An abstract photograph is like an instrumental piece of music: it is a way to create emotion without the need for words.

The post 13 Abstract Landscape Photography Tips for Mesmerizing Images appeared first on Digital Photography School. It was authored by Rick Ohnsman.


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Rule of Thirds in Photography: The Essential Guide

02 Jun

The post Rule of Thirds in Photography: The Essential Guide appeared first on Digital Photography School. It was authored by Darren Rowse.

rule of thirds the essential guide

The rule of thirds is perhaps the most well-known “rule” of photographic composition. Use it carefully, and you’ll take some truly stunning images.

But what actually is the rule of thirds? Is it really that helpful? And when can you break the rule for a great result?

In this article, you’ll discover everything you need to know about the rule of thirds. And by the time you leave, you’ll know how to use it like a pro.

Let’s dive right in.

What is the rule of thirds?

The rule of thirds is a compositional guideline that breaks an image down into thirds (both horizontally and vertically) so you have nine pieces and four gridlines. According to the rule, by positioning key elements along the gridlines, you’ll end up with better compositions.

Here is a visualization of the rule of thirds:

The rule of thirds gridlines

And to follow the rule, simply use the gridlines to position essential compositional elements.

So when shooting a flower, you would place its stem along the right or left vertical gridline:

flower rule of thirds example

And when shooting a sunset, you would place the horizon line along the top or bottom horizontal gridline.

(Note that your camera may actually offer a grid overlay, which you can activate in the menu; that way, you don’t have to imagine the rule of thirds. Instead, you can see it as you look through the viewfinder!)

The rule of thirds also identifies four power points at the center of each gridline intersection:

rule of thirds power points

Here, you can position points of interest, such as a head (when shooting a portrait), a flower (when shooting a still life), or the eye of a pet, as shown in the image below:

dog with rule of thirds gridline

As you can see, using the rule of thirds isn’t actually complicated. That’s what makes it so powerful – it’s a simple way to improve your compositions, and it requires literally zero art training or photographic experience.

I will say right up front, though:

Rules are meant to be broken, and just because you ignore the rule of thirds doesn’t mean that your composition is uninteresting or bland or otherwise bad. Despite its name, the rule of thirds is a guideline, not a hard-and-fast rule. You can absolutely create beautiful compositions without using the rule of thirds.

Also keep in mind that it’s just one composition technique among many. There are plenty other “rules” and guidelines worth considering, such as symmetry, the rule of odds, triangular compositions, and more.

At the same time, the rule of thirds is an excellent way to get started with composition. It consistently produces great results, and even professional photographers use it all the time in their work. Plus, as a wise person once told me: if you intend to break a rule, you should always learn it first. That way, you can make sure you break it as effectively as possible.

Why is the rule of thirds useful?

Now that you know how to follow the rule of thirds, it’s important to understand why it matters and what exactly it can do for your photos.

Really, the rule of thirds is about two things:

  1. Balance
  2. Dynamism (movement)

First, by positioning key elements at rule of thirds intersections or gridlines, your photo becomes more balanced. Your key elements create visual interest in a third of the composition, while also balancing out the empty space in the remaining two-thirds. This looks great and feels right to the viewer.

leaf on the ground

Second, compositions that include key elements smack-dab in the center of the frame often feel very static and boring. There’s nowhere for the viewer’s eye to wander; instead, the viewer looks at the shot, sees the subject at its center, then leaves.

But the rule of thirds encourages dynamism, where the viewer sees a key element off to the side, then takes a visual journey throughout the rest of the image.

In other words:

A rule of thirds composition provides a more engaging photographic experience.

Also, the rule of thirds draws on the way humans naturally view images. Studies show that people’s eyes usually go to one of the intersection points rather than the center of the shot – so the rule of thirds works with this natural way of viewing an image.

When to use the rule (with examples)

By now, you should know that the rule of thirds is useful pretty much all of the time. As long as you have distinct compositional elements to work with, you should consider applying the rule.

For instance, in landscape photography, you can position the horizon along the top horizontal gridline:

The rule of thirds structure on stilts

Also note how another key compositional element – the structure on stilts – is positioned at the upper-right power point of the frame. Thanks to this, the whole shot feels balanced and dynamic.

In portrait photography, you generally want to position the subject’s body along a rule of thirds gridline:

The rule of thirds portrait of a woman

And it’s also a good idea to place the head of your subject at one of the intersection points (and the eyes, which are a natural point of focus for a portrait). In the photo below, the tie and flower also offer a secondary area of interest, and they’re aligned with a second intersection point:

man with microphone following the rule of thirds

In wildlife photography, you can align the subject’s head (and eye) with a power point:

heron with fish

And in flower photography, subjects look great when the stem follows a rule of thirds gridline and the petals sit atop a power point:

flower close-up

Quick tips for working with the rule of thirds

While it’s easy to use the rule of thirds in your compositions, it may take a little time and practice for the rule to become second nature.

Try to get in the habit of asking two questions for every photo you take:

  • What are your points of interest (i.e., the areas of the photo that stand out and that you want to emphasize)?
  • Where are you intentionally placing those points?

That way, you can determine your points of interest, then you can immediately place them along a rule of thirds gridline or power point.

And your composition ends up beautifully balanced.

Make sense?

Also, if you fail to use the rule of thirds in a shot, it’s not the end of the world. After all, you can always crop your photos later on! (Just make sure to keep the gridlines in mind when editing.)

By the way, if you want to start practicing the rule of thirds immediately, you can always pull up old photos and do some test cropping. See what impact it has on your photos; you might be impressed by the results.

Breaking the rules: should you do it?

As I explained above, it is possible to break the rule of thirds and end up with beautiful photos.

In fact, sometimes you can end up with an even stronger composition by ignoring the rule. So while I encourage you to learn the rule of thirds, once it’s ingrained, experiment with breaking it.

One of my favorite times to break the rule of thirds is when photographing symmetrical subjects. If you’re photographing a succulent or flower from above, the symmetry looks even more striking when perfectly centered in the frame:

symmetrical succulent

This shot of a corridor is also roughly symmetrical, which increases the composition’s intensity:

man in corridor with cello breaking the rule of thirds

And note that an image can both break and follow the rule of thirds at the same time. For instance, while the image above is mostly symmetrical, a key element (the man playing his cello) is positioned at an intersection point.

Bottom line:

Learn the rule of thirds. Then break it. And above all, have fun!

Final words

Now that you’ve finished this article, you know all about the rule of thirds, when to use it, and when to think about breaking it.

So start practicing! And watch as your compositions improve.

The post Rule of Thirds in Photography: The Essential Guide appeared first on Digital Photography School. It was authored by Darren Rowse.


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The Best Camera for Travel Photography in 2021

01 Jun

The post The Best Camera for Travel Photography in 2021 appeared first on Digital Photography School. It was authored by Matt Murray.

the best camera for travel photography

I love photography and I love to travel, so I often get the question, “What is the best camera for travel photography?”

When I bought my first camera in 1994, I really wasn’t thinking too hard about the decision. Growing up in Australia, I always longed to travel the world. When I was 20 years old, I got my chance – I bought my first camera and my first overseas airline ticket on the same day.

At the time, I wanted a camera that was compact, light, affordable, and weather resistant. I didn’t know much about photography, but I ended up walking out of the duty-free camera store with a Pentax Zoom 90WR. This compact point and shoot traveled with me all over Europe for the next two years and made a ton of memories. It was also my doorway into photography.

Since buying that first Pentax, I have traveled with dozens of cameras – film, instant, and digital. Although technology has changed, what I look for today is the same as what I looked for 25 years ago.

What should you look for in a travel camera?

Here is my list of ideal travel camera characteristics:

  • Compact and lightweight
  • An excellent fixed lens (or a good range of lenses available)
  • A good range of features
  • Good battery life
  • Weather resistant
  • A competitive price

Note that I used the word “ideal,” as there are very few cameras that offer everything on the list. In fact, one of my favorite travel camera and lens combinations is the Fujifilm X-T3 and the Fujifilm 50-140mm lens, and it’s not exactly a pocketable option.

But for this list of best cameras for travel photography, I focused on compact and lightweight models, starting with my number one pick:

1. Canon PowerShot G1 X Mark III

G1X Mark III travel camera

The Canon PowerShot G1 X Mark III is the third iteration of a popular point and shoot series from Canon. It’s sleek, it’s stylish, and it almost looks like a mini DSLR.

Many compact cameras have a tiny sensor – one inch or smaller – but not this one. The PowerShot boasts an impressive APS-C sensor, which is one of the biggest sensors offered in a camera so compact. It also features a handy zoom range of 24-72mm and an optical stabilizer for shooting in low light.

The PowerShot is easy to use and produces images with high clarity and outstanding colors. The only downside is the price tag; at around $ 1000 USD, it may be on the high end for some enthusiast photographers.

Pros

  • Large APS-C sensor
  • Compact size
  • Articulating screen

Cons

  • Premium price

2. Sony RX100 VII

Sony RX100 VII
The Sony RX100 VII is a small camera with an impressive zoom range.

Sony keeps improving the RX100 line, and the VII is their best model yet. It may have a smaller sensor than the Canon PowerShot featured above, but the RX100 VII is still a powerful performer. It boasts impressive autofocus, a flip-screen for vlogging and selfies, a mic socket, and a huge zoom range equivalent to 24-200mm in full-frame terms.

The RX100 VII also borrows tech from Sony’s flagship models, which is why it can shoot up to 20 frames per second with no viewfinder blackout.

If you’re a watersports fan, there’s an added bonus: the RX100 has underwater housing available for surfing, diving, and snorkeling photos. At around $ 1300 USD, the RX100 VII is on the pricier side, but for serious travel photographers, it’s an excellent choice.

Pros

  • Impressive autofocus
  • Handy zoom range
  • Up to 20 frames-per-second shooting
  • Mic jack

Cons

  • Expensive for a compact camera
  • Smaller 1-inch sensor
  • Battery life could be better

3. Fujifilm X-T30

The Fujifilm X-T30
The X-T30 has many features of the flagship X-T3, yet it’s lighter and more affordable.

In 2016, I bought a Fujifilm X-T10 as a backup camera for trips to Indonesia and the Faroe Islands. It was so good I couldn’t tell the difference between images shot on the X-T10 and my X-T1.

The X-T30 is the latest Fujifilm model to take the best features from the flagship camera but in a smaller, lighter body. The X-T30 features the same 26-megapixel APS-C sensor as the X-T3 and can shoot up to a whopping 30 frames per second. And like other Fujifilm cameras, the X-T30 has face- and eye-detection autofocus, which is a big help for travel portraits and street shots. It also includes Fujifilm’s renowned film simulations for JPEG files.

You’ll get around 30 lenses to choose from (the hard part is deciding which is the best for you!). My personal go-to lens for travel photography is the XF 18-55mm f/2.8-4 lens. While there is no stabilization in the X-T30 body, there is optical image stabilization in the 18-55mm lens, and it delivers the quality you’d expect from much more expensive glass but at a fraction of the cost.

Unfortunately for photographers who like to shoot in tough conditions, the X-T30 isn’t weather resistant – it seems there are some trade-offs for a lighter, less-expensive body.

Pros

  • Excellent lens lineup from the affordable XC lenses to enthusiast and professional XF lenses
  • Stunning image quality with a range of JPEG film simulations
  • Many of the features of the flagship X-T3 model

Cons

  • No weather sealing
  • The price point isn’t especially competitive

4. Nikon D5600

The Nikon D5600

This next brand needs no introduction; Nikon SLRs were favored by many famous travel photographers in the 1980s and beyond. The D5600 is the latest camera in Nikon’s midrange APS-C series, and it’s a perfect choice for beginners and enthusiast photographers alike.

The D5600 boasts Nikon’s excellent ergonomics, and the camera feels reassuringly comfortable in your hand, although it’s not as compact as other models on this list. Image quality is superb and low-light shooting is very impressive. Plus, you get a fully articulating screen (for selfies, vlogging, and tough compositions), along with excellent battery life.

Pros

  • Excellent image quality
  • Good ergonomics and handling
  • Good battery life

Cons

  • No 4K video
  • Not as compact as other cameras on this list

5. Ricoh GR III

The Ricoh GR III travel camera
Stylish minimalism: the Ricoh GR III.

Ricoh has been producing super-compact GR cameras since the film heydays of the late 1990s. Those classic point-and-shoot GR models were known for their sharp wide-angle lenses and minimalist controls, and the digital line of GR cameras is no different.

The Ricoh GR III is a perfect mix of portability, optical quality, and impressive features. You get a fixed 28mm full-frame equivalent f/2.8 lens capable of producing good images, and four-stop shake reduction that ensures sharp files even in challenging light.

The GR III is often compared to another camera in this list, the Fujifilm X100V. Consider the Ricoh if you prefer a smaller camera with a wider angle of view.

Pros

  • Truly pocketable
  • Four-stop shake reduction
  • Fantastic wide-angle lens

Cons

  • The straight-out-of-camera JPEGs are not as good as Fujifilm’s
  • Battery life could be better

6. Sony a6600

The Sony a6600 for travel photography
The Sony a6600 has an impressive spec sheet that includes Real-Time Eye AF.

It’s easy to see why Sony has grabbed a big share of the mirrorless camera market in recent years: the company produces an impressive range of cameras that appeal to professionals and enthusiasts alike.

The Sony a6600 may not have a full-frame sensor like some of its stablemates, but its compact body and impressive specs make it a strong candidate for the best camera for travel photography. The a6600 features a 24-megapixel APS-C sensor, along with Real-Time Eye AF for photography and video, plus five-axis optical image stabilization. The 180-degree flip screen also makes the a6600 handy for vlogging and selfies. I do think that the layout and controls could be improved, but it’s one of the only drawbacks to an otherwise excellent camera.

Quick note: if you like the look of the a6600 but you’re on a tighter budget, also consider the a6400. It may not be as up to date as the a6600, but it offers excellent value for money.

Pros

  • Small and light
  • Great lens lineup
  • Real-Time Eye AF

Cons

  • Handling and ergonomics could be improved

7. Olympus Tough TG-6

Best camera for travel photography: the Olympus Tough TG-6
Shockproof, dustproof, crushproof, and fogproof: the Olympus Tough TG-6 can handle pretty much anything.

Going on an extreme adventure? The Olympus Tough TG-6 could be the best travel camera for you. This compact point and shoot can withstand a lot of punishment, thanks to its shockproof, dustproof, and crushproof body.

The TG-6 can also work in temperatures as low as 14 degrees Fahrenheit (-10 degrees Celsius), and it’s fogproof, even during sudden changes in temperature. As I found out on a recent trip to Indonesia – where I was frequently moving from an air-conditioned hotel room to the outside heat and humidity – a foggy camera can be a real inconvenience.

For snorkeling and diving fans, the Tough TG-6 loves being underwater as much as you do. It’s waterproof up to 49 ft (15 m), and it boasts several underwater modes, including a microscope mode that can focus on objects 0.39 in (1 cm) away.

Pros

  • Super tough
  • Compact
  • Affordable

Cons

  • Only 12 megapixels
  • More suited to adventurers than enthusiast photographers

8. Fujifilm X100V

I’m a huge fan of the Fujifilm X100 series cameras (I’ve owned three of the five models released over the last decade). Even photographers loyal to other brands buy an X100-series camera as their “take everywhere” body.

The X100V is small and light, yet it features an incredible 35mm f/2 fixed lens. Other useful features include its leaf shutter and built-in neutral density filter. And of course, Fujifilm’s range of stunning JPEG film simulations are ready to use as soon as you turn on the X100V.

The Fujifilm X100V
The best compact camera ever? The Fujifilm X100V.

While the entire X100 series is great, note that the latest model, the X100V, does have an important improvement over its predecessors: it’s weather resistant. This makes it an excellent choice for photographers who shoot in sand, rain, snow, and more.

Pros

  • Excellent lens
  • Built-in ND filter
  • Fujifilm JPEGs
  • Weather resistant

Cons

  • Fixed lens
  • No in-body image stabilization
  • More expensive than its predecessors

9. Panasonic Lumix LX100 II

Panasonic Lumix LX100 II

For travel photographers, there’s a lot to like about the Panasonic Lumix LX100 II. The camera has a stylish design, with an aperture ring on the lens and a shutter speed dial on top of the camera for full manual control.

The Lumix LX100 II sports a fast lens with a handy 24-75mm zoom range. It also features optical image stabilization and can shoot 4K video up to 30 fps.

Although it has a smaller 17-megapixel Four Thirds sensor, the Lumix makes up for this in other ways. It can focus as close as 1.2 in (3 cm), it offers a focus stacking feature, and it even includes the ability to change focus in an image afterward.

Pros

  • Excellent image quality
  • Fast lens
  • Small and compact

Cons

  • Fixed rear screen
  • Only 17 megapixels

10. Olympus OM-D E-M5 Mark III

Olympus has a reputation for making some of the most innovative compact cameras in photographic history. Their mirrorless cameras are no exception, and it’s easy to see why Olympus models have been popular with the travel influencer crowd. I’ve spoken to many people who’ve downsized to Olympus from full-frame systems, and they couldn’t be happier.

The OM-D E-M5 Mark III is one of Olympus’s latest weather-sealed Four Thirds cameras. It’s lightweight, yet it boasts impressive autofocus and excellent image quality. Other features include a fully articulating 3-inch screen, in-body image stabilization, and built-in focus stacking.

Olympus also boasts a wide range of lenses. A perfect choice for a lightweight setup is the 14-42mm EZ lens, though if you want more range, take a look at the 14-150mm.

Best camera for travel photography: the Olympus OM-D E-M5 Mark III
The Olympus OM-D E-M5 Mark III is a favorite among travel influencers.

Pros

  • Compact and light
  • Excellent image quality
  • Good range of lenses
  • Weather sealed

Cons

  • Smaller Four Thirds sensor
  • Battery life could be better

What is the best camera for travel photography?

Choosing the perfect travel photography camera is a difficult task, and one that depends on many factors. I recommend looking at the list of ideal features offered earlier in this article. Determine what you value most, then evaluate the different cameras I’ve discussed based on those criteria.

So what is the best camera for travel photography? Only you can answer that question! Research different models. And if you need to, go to a camera shop, where you can talk to the staff and hold each camera in your hands. Also try talking to people who own your top picks and ask for their honest opinions. Then, when you’re ready, buy a camera – and hit the road!

Now over to you:

What camera do you currently use for travel photography? Which of the cameras on this list is your favorite? Share your thoughts in the comments below!

The post The Best Camera for Travel Photography in 2021 appeared first on Digital Photography School. It was authored by Matt Murray.


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10 Flower Photography Tips for Gorgeous Results

30 May

The post 10 Flower Photography Tips for Gorgeous Results appeared first on Digital Photography School. It was authored by Anne McKinnell.

10 tips for improving your flower photography

Are you looking to capture stunning flower photography? You’ve come to the right place!

In this article, I’m going to take you through plenty of tips and tricks for gorgeous flower shots. Specifically, I’ll explain:

  • The best light for flower photography
  • A simple way to create a beautiful soft-focus effect
  • My secret for amazing foregrounds
  • Much more!

So if you’re ready to improve your photos, then let’s get started.

1. Photograph flowers on an overcast day

Did you know that overcast skies are perfect for photographing flowers?

It’s true. The soft light of an overcast day complements the delicate petals – plus, there are no shadows and no harsh bright spots, so you can get a nice, even exposure.

You need to be careful, however. Toward the beginning and end of a cloudy day, the light gets pretty limited, which leads to unwanted blur (especially when shooting at high magnifications). So aim to photograph at midday, then pack up before the sky gets too dark.

Flowers in soft light

2. Backlight will make your flowers glow

As you learned in the previous section, clouds are great for flower photography. But what about clear days? Can you shoot when the sky is bright and cloudless?

Absolutely!

You see, another type of light that is excellent for flower photography is backlight. You get nice backlight when the sun is directly in front of you, lighting your flower from behind.

Because petals are translucent, backlight makes flowers glow, like this:

backlit flower photography

Try to photograph late in the day when the sun is close to the horizon; that way, the backlight will hit your flower petals directly, plus it’ll cast a nice, warm light over the rest of your image.

(You might even be able to catch some rays of light filtering through the trees!)

3. Watch out for wind

When photographing flowers, wind is your enemy. It’ll blow your subjects in every direction, which makes it annoyingly difficult to focus (and if you’re shooting with a slow shutter speed, it’ll introduce plenty of blur).

The easiest way to avoid wind? Do your photography early in the morning when the weather is still calm. And a little wind is manageable; just bring a piece of cardboard or a reflector, then hold it up next to your flower.

If you prefer not to get up early, or if you need to take photos on a windy day, you do have a second option:

Bring your flowers inside. You don’t need a complex studio setup to get beautiful shots indoors – just put the flowers near a window and find a solid backdrop to set behind them. I photographed the flower below by taking it inside and placing it in front of a white sheet:

close-up of gerbera

4. Get closer

Here’s one of the easiest ways to create stunning, unique flower photos:

Get as close as you can.

You can do this a number of ways:

First, you can use a telephoto lens and zoom in on the flower. You’ll want to pay attention to the minimum focusing distance (MFD) of the lens because some lenses just can’t focus especially close. (The MFD is usually marked on the outside of the lens, though you can also look it up online.)

If you’re lucky, your telephoto lens will focus close, and you can use it for beautiful flower shots. But what if you can’t get as close as you’d like?

You have a couple of choices. You can use extension tubes, which mount on your camera and let the lens focus closer. Or you can use a close-up filter, which attaches to the end of your lens and works like a magnifying glass.

Honestly, both of these options come with pretty significant drawbacks; extension tubes are inconvenient, while close-up filters reduce image quality. Sure, they work, and if you’re just getting started with flower photography, either method will help you take interesting close-up shots. But if you want to really improve your images, I’d recommend a dedicated macro lens, which will let you capture intimate images without the need for accessories.

tulips with beautiful background

5. Use a reflector

Here’s a quick tip:

Shaded flowers can make for some stunning photos (especially when you combine a shaded subject and a well-lit background!).

But you’ll need to keep your flower relatively bright. So if your subject is in the shade, use a reflector to bounce some light (this will also make your flower more vibrant!).

6. Avoid a cluttered background

Here’s another quick piece of advice:

In flower photography, the background can make or break the image. A uniform background can look great – whereas a cluttered, distracting background will draw the eye and prevent the viewer from appreciating your main subject.

Before you hit the shutter button, ask yourself:

Does my background complement the flower? Or does it distract?

And if it does distract, try to change your position until the distractions are gone, and you’re left with nothing but a beautiful wash of color.

7. Use a shallow depth of field

Shallow depth of field flower photos can look great – but what is a shallow depth of field, and how do you achieve it?

A shallow depth of field features only a sliver of sharpness. So the flower stays sharp, but the background is blurred, like this:

flower photography tips blue flowers with water droplets

To get a shallow depth of field, make sure to use a wide aperture (i.e., a low f-number) such as f/2.8 or f/4. And get as close as you can to your subject while also increasing the distance between the subject and the background.

8. Keep a part of your flower sharp

A shallow depth of field effect is great – but you’ll still need to keep at least part of the flower sharp so that your viewer’s eye has an anchor point.

So do what’s necessary to get a crisp image. If you’re shooting in good light, raise your shutter speed and focus carefully. If you’re shooting in poor light, use a tripod and a remote release to avoid camera shake.

Remember: Even if there doesn’t seem to be wind, flowers always move a little. So if your flower isn’t sharp, try raising the shutter speed a stop or two.

Finally, check your focus. If necessary, focus manually. Make sure you’ve nailed the most important parts of the flower, such as the petals and the flower center.

9. Change your point of view

If you’re after unique flower photos, don’t just take a standard shot. Instead, move around and try some different angles and focal lengths.

For instance, shoot the flower from behind or from below to capture an interesting point of view. You might also try shooting down from above, getting unusually up close and personal, or zooming out for a wider environmental image.

Morning Glory flower

10. Focus through another flower

“Focusing through” is a popular technique among professional flower photographers, and for good reason:

It looks really, really cool, especially when you get a lot of colorful foreground blur.

Like this:

flowers photographed with the shoot-through technique

But how can you create such a compelling image? How do you get a nice foreground blur?

You simply find a flower you want to photograph, then adjust your position until another flower sits between the lens and the flower. (The closer the foreground flower is to the lens, the better the look.)

Ultimately, the secondary flower will become a blur of color, and your final image will have a more professional feel.

Tips to improve your flower photography: conclusion

Well, there you have it:

10 easy tips to take your flower photos to the next level.

Hopefully, at least one or two of the tips speaks to you – and you feel inspired to get out and start shooting!

Now over to you:

Do you have any flower photos you’re proud of? Which of these tips do you like the most? Share your thoughts (and images!) in the comments below.

The post 10 Flower Photography Tips for Gorgeous Results appeared first on Digital Photography School. It was authored by Anne McKinnell.


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The Weekly Photography Challenge – High Noon

29 May

The post The Weekly Photography Challenge – High Noon appeared first on Digital Photography School. It was authored by Sime.

High Noon, when the sun is its most harsh, when things tend to get very bright, can be a tough time to make a photograph – that’s why, this week, we’re challenging you to share your best ‘high noon’ photograph in this week’s weekly challenge.

Remember to tag your photographs #dPSHighNoon

Generally most photographers will try to avoid high-noon, or the middle of the day, so that they don’t need to struggle with the harsh light (and in some cases, the heat, though from a cold Melbourne afternoon I say ‘bring the heat!’) but when you have a small window in which to shoot and you have to go and make photos, all you can do is the best you can do!

Here are a couple of little helpers on the blog to help you out;

“Bright ideas for shooting in the midday sun”
“3 Quick tips for photographing in harsh midday sun”

The Weekly Photography Challenge – High Noon
Photo by Michael Kroul on Unsplash

Your photograph can be of anything, a portrait, a wildlife scene, a landscape, but it must be taken in the middle of the day – we’re not checkin’ exif because we trust you! Ha.

Remember to tag your photographs #dPSHighNoon

But how do I upload my photos?

Upload your photo into the comments field below this post (look for the little camera icon in the Disqus comments section below this post) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.

Weekly Photography Challenge – Looking Up

The post The Weekly Photography Challenge – High Noon appeared first on Digital Photography School. It was authored by Sime.


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The Best Lens for Street Photography: Top 11 Picks (in 2021)

24 May

The post The Best Lens for Street Photography: Top 11 Picks (in 2021) appeared first on Digital Photography School. It was authored by Simon Bond.

the best lens for street photography

What’s the best lens for street photography on the market today?

In this article, I’ll share my favorite street photography lenses, including options for all budgets and camera brands. I’ll also explain how you can pick the perfect street lens for your needs – by taking into account important factors such as focal length, sharpness, and low-light performance.

So if you like street photography and you’re looking to buy a new lens to improve your photos, then read on.

people walking on the street
Which direction will you go with your street photography?
Canon 5D Mark II | Canon 50mm f/1.2L | f/8 | 1/800s | ISO 320

1. Canon EF 50mm f/1.2L USM

best street photography lens Canon 50mm f/1.2

If you’re prepared to pay the price, then the Canon 50mm f/1.2L is one of the best lenses for street photography available today. The large aperture lets you photograph in low-light conditions without needing to boost the ISO, and the optics and build quality are outstanding. The 50mm f/1.2 works well for both street photography and street portraits (i.e., posed portraits with people on the streets), and the standard focal length offers enough reach for intimate compositions.

  • Low-light performance: Stellar; not many lenses have an aperture as large as f/1.2
  • Quality: Excellent build, just what you’d expect from a flagship Canon lens
  • Price: On the expensive side ($ 1399 USD)
  • Weight: Pretty heavy, thanks to the solid build quality and wide maximum aperture

2. Canon EF 50mm f/1.8 STM

Canon 50mm f/1.8

Like the 50mm f/1.2, above, the Canon 50mm f/1.8 STM is a great lens to have in your street photography bag – in fact, there are plenty of reasons to buy it over the f/1.2 version. For one, the cheaper price is going to be much more appealing, especially if you’re new to photography and not yet ready to commit to more expensive gear. And the 50mm f/1.8 is also much smaller and lighter than its bulky f/1.2 sibling. While low-light performance isn’t on par with other lenses on this list, you can still count on the 50mm f/1.8 in the shade and at night.

  • Low-light performance: Pretty good, thanks to a relatively large maximum aperture
  • Quality: Good, but not as solid as the f/1.2 version (above)
  • Price: You can pick up this lens for just over $ 100 USD – it’s just about the cheapest lens you can buy
  • Weight: The size and weight of this lens make it easy to carry around

3. Canon EF 135mm f/2L USM

Canon 135mm f/2

Those looking for a longer street photography lens could do a lot worse than the Canon 135mm f/2L. At 135mm, you’ll be able to photograph your street scenes from a distance, though the size of the 135mm f/2 makes discreet shooting difficult. It’s a great lens for separating your main subject from a busy background – you can use that extra focal length to compress the scene, and the f/2 aperture helps achieve outstanding background bokeh. And while the 135mm f/2 isn’t as forgiving as a 50mm lens, you can use it in low light, especially at f/2.

  • Low-light performance: Good for the longer 135mm focal length
  • Quality: A great build that’s usable in all weather conditions
  • Price: Reasonable ($ 999 USD) for a high-level lens
  • Weight: Relatively heavy, but much lighter than a 70-200mm f/2.8

4. Nikon AF-S 50mm f/1.8G

Nikon 50mm f/1.8

Nikon users looking for an affordable street photography lens should consider the 50mm f/1.8G. It offers good quality with an aperture that’s large enough for most situations, plus the 50mm focal length is a street photography classic. Nice build, weight, and size make it a great option for any Nikon street photographer.

  • Low-light performance: Good for most situations
  • Quality: Well built
  • Price: The most affordable lens for Nikon street photographers (that offers a decent maximum aperture)
  • Weight: The slightly smaller aperture means less lens glass, which means it’s easy to carry

5. Nikon 24-85mm f/2.8-4D

Nikon 24-85mm

Thanks to its zoom range, the Nikon 24-85mm offers a little more flexibility than other options on this list – and it can double as a general-purpose lens, too. It’s a step up from a kit lens and offers you an aperture of f/2.8 on the wide end. This lens covers the 50mm focal distance that many consider optimal for street photography, and you’ll be able to zoom in and out, a major advantage if you want to frame a photo quickly without needing to move. The major downside is the 24-85mm’s low-light capabilities; the f/2.8 to f/4 maximum aperture just won’t be enough for some situations.

  • Low-light performance: Decent, but not what you get with a prime lens
  • Quality: Good overall quality for street photography
  • Price: In the midrange price bracket (around $ 750 USD). You’re paying for a zoom lens with a large maximum aperture.
  • Weight: The lens is heavier than a prime lens (a compromise for more focal length flexibility)

6. Sony 35mm f/2.8 Sonnar T FE ZA

Sony 35mm

While 35mm is on the wider side for street photography, the Sony 35mm f/2.8 is great for those with an APS-C sensor who want to photograph with a 50mm field of view. Build quality is good, so you can shoot in most conditions. And while the f/2.8 aperture isn’t ideal for nighttime outings, it’s more than enough for daytime and twilight street photography.

  • Low-light performance: It’s going to be more of a challenge to use this lens in dim light, though the wide focal length means you can handhold at a slightly slower shutter speed.
  • Quality: It’s a nice lens, and its compact size is a definite plus for street photography
  • Price: In the midrange price bracket ($ 799 USD)
  • Weight: Coming in at just 4.2 oz (119g), this lens isn’t heavy

7. Sony E 50mm f/1.8 OSS

Sony 50mm f/1.8 OSS

If you’re just getting into street photography, you’re a Sony APS-C user, and you want an affordable option, then the Sony 50mm f/1.8 could be the lens for you. The sleek, compact design makes it ideal for the street photographer, and its fast focusing is important for nailing the perfect shot. You get a 75mm effective focal length, which is a bit tight for some photographers – but if you like the narrower field of view, then the 50mm f/1.8 is a perfect choice.

  • Low-light performance: The larger maximum aperture is good for most low-light situations
  • Quality: Well built; ideal for both beginners and more experienced photographers
  • Price: Offers great value (around $ 350 USD)
  • Weight: Standard primes aren’t usually heavy, and this lens weighs just over 7 oz (200 g)

8. Fujinon XF 35mm f/1.4 R

Fujinon 35mm f/1.4

The Fujinon 35mm f/1.4 is a great lens for any Fujifilm camera user, whether you’re interested in street photography, portraits, or simply creating abstract bokeh. The lens is sharp, has decent focus speeds, and offers an f/1.4 for nice blurred-out backgrounds and nighttime photography. The bokeh effect is especially good (and can produce very nice street photography backgrounds).

  • Low-light performance: With a 35mm focal length and a maximum aperture of f/1.4, this lens is ideal for low-light shooting.
  • Quality: A solid, dependable lens; will keep up with the fast pace of street photography
  • Price: Midrange ($ 599 USD), thanks to the wide maximum aperture
  • Weight: Decent to carry around for a day on the street

9. Fujinon XF 56mm f/1.2 R

Fujinon 56mm f/1.2

The Fujinon 56mm f/1.2 offers a wide maximum aperture, one that’s perfect for low-light street photography, plus it can generate beautiful backgrounds. The focal length is on the long side – on Fujifilm APS-C cameras, it’s an effective 84mm – but you can use it for close-ups, tighter scenics, and intimate street portraits. And for an f/1.2 lens, the price is pretty reasonable!

  • Low-light performance: You’re not going to get a better lens than this for low-light scenes
  • Quality: This is a great piece of glass that produces excellent images
  • Price: Quality lenses cost a lot; this lens will set you back around $ 1000 USD
  • Weight: It’s heavier than most of the primes on this list, but that’s one of the tradeoffs for such a wide maximum aperture

10. Sigma 35mm f/1.4 ART DG HSM

Sigma 35mm f/1.4

Sigma has been making excellent lenses with its ART series, and the 35mm f/1.4 is no exception. The lens comes in mounts for all the major camera manufacturers, including Nikon, Canon, and Sony, and while it’s a third-party lens, it does well against the other glass on this list. The large aperture and medium-wide focal length make this an ideal lens for any street photographer, whether shooting in the day or at night. It really is one of the best lenses for street photography available today, and it’s cheaper than the high-end lenses offered by other major manufacturers.

  • Low-light performance: Strong. This is a fast lens that allows for great images in tricky lighting
  • Quality: Very nice; Sigma is one of the best third-party manufacturers, and the ART series is top-notch
  • Price: For around $ 700 USD, you’re picking up excellent glass at a midrange price.
  • Weight: The Sigma 35mm f/1.4 is on the heavier end of the scale

11. Tamron 24-70mm f/2.8 Di VC USD G2

Tamron 24-70mm f/2.8

Looking for a versatile street photography lens? The Tamron 24-70mm offers a similar focal range to a kit lens but with a fast f/2.8 aperture. You get significant flexibility thanks to the wide-to-telephoto zoom capabilities, so you can easily capture street photos that require rapid changes in composition. The downside is this lens’s size and weight (f/2.8 zoom lenses are always on the heavier side). For a zoom lens, the f/2.8 aperture is impressive and will let you blur out backgrounds, though you might prefer a larger-apertured prime lens in low light. Bottom line: The 24-70mm is a good daytime street photography lens, and it’s also perfect for other types of photography, such as travel.

  • Low-light performance: Not the best; you’ll primarily use this lens in the daytime
  • Quality: Good quality, with image stabilization compensating for the smaller aperture
  • Price: On the pricier side ($ 1200 USD), though it is multifunctional thanks to its range of focal lengths
  • Weight: Pretty heavy, but the zoom range lets you carry one lens rather than several

Factors to consider before buying a street photography lens

All the lenses on this list are great, but the final decision is up to you – and should depend on your shooting style and preferred type of street photography.

So here are the key items to consider when looking for the perfect street photography lens:

Focal length

Many photographers say the best focal length for street photography is 50mm, and 50mm lenses do offer a great perspective (plus, this field of view has been popularized by many famous street photographers). Those who like the 50mm focal length but use crop sensors should go for a 35mm lens.

That said, you don’t need to feel constrained by what has come before, and wider focal lengths are becoming more popular among street photographers.

best street photography lens nighttime
Nighttime street photography needs a larger aperture or a high ISO.
Canon 5D Mark II | Canon 50mm f/1.2L | f/2 | 1/400s | ISO 500

Low-light performance

For moody and dramatic street photos, you’ll often need to shoot in low light. You might find yourself doing street photography in a dingy indoor market, at twilight, or at night – and in all of those situations, a lens with a large aperture provides a major advantage. Yes, modern cameras perform well at high ISOs, which negates the need for a high aperture to some extent. However, a large aperture is still required if you want beautiful bokeh lights in the background of your low-light photos.

Size and weight

To get great street photos, you’ll need to be out walking for much of the day. This means a smaller, lighter setup is a big help. Try to pick just one lens and keep it as light as possible.

Autofocus speed

Street photography is often done in fast-paced and dynamic environments, so if your lens is too slow to focus, you’ll miss a lot of shots. You need a lens that focuses almost instantly, especially if you hope to capture action-oriented street images.

Sharpness

Pretty much all forms of photography require sharpness, and street photography is no exception. Look for a lens that gives you crisp, clear, detailed photos. Some street photographers do like a softer, grainier look, but you can add this in post-processing. Generally speaking, the sharper the lens, the better.

street at night
Canon 5D Mark II | Canon 50mm f/1.2L | f/2 | 1/60s | ISO 1000

Time to choose the best lens for street photography

Now that you’ve finished this article, you should be ready to choose the right street photography lens for your needs.

Remember: the best street photography lens is the one that matches the aesthetic you want to create. So don’t think too much about the popularity of different lenses; instead, ask yourself how they’ll work with your interests and style.

Now over to you:

Which of these lenses is your favorite? Is there one in particular that appeals to you for street shooting? Share your thoughts in the comments below!

the best street photography lens
The best lens for street photography will allow you to get close to the action!
Canon 5D Mark II | Canon 17-40mm f/4L | 24mm | f/4 | 1/60s | ISO 2500

The post The Best Lens for Street Photography: Top 11 Picks (in 2021) appeared first on Digital Photography School. It was authored by Simon Bond.


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11 Sunset Photography Tips for Beautiful Results

23 May

The post 11 Sunset Photography Tips for Beautiful Results appeared first on Digital Photography School. It was authored by Darren Rowse.

sunset photography tips for beautiful results

If you’re looking to do gorgeous sunset photography, then you’ve come to the right place.

Because in this article, I’m going to share 11 simple tips that will instantly improve your sunset photos.

Specifically, I’m going to explain:

  • How to capture beautiful sunset tones consistently
  • How to create balanced, pro-level sunset compositions
  • The best type of weather for sunset photos
  • Much more!In fact, sunsets (and sunrises) aren’t even difficult to photograph!

Ready to become a sunset photography master?

Let’s dive right in.

1. For the best shots, plan ahead

While you can sometimes capture beautiful sunset shots without any forethought…

…the best shots usually come from real planning.

So scope out places that might be good for sunsets the day or two before your shoot. Look for interesting locations – locations where you can photograph the sun all the way down to the horizon, and where there will be opportunities for shots that include foreground elements and silhouettes.

Sunsets only take a few minutes, which is why you want to think about these elements before the sunset begins. Otherwise, you might miss the best shots.

Find out when the sun will set, then arrive at least half an hour beforehand. It’s often in the lead up to a sunset that the real magic happens.

And keep an eye on the weather. There are a variety of different types of sunsets that produce a range of different types of lights and patterns in the sky. Don’t just head out on clear days, because while these can produce some wonderful colors, it’s usually the days with (partial) clouds when the real action happens.

(Also, dust and smoke in the air can produce amazing results, too.)

Consider the equipment you might need. Take a tripod, lenses with a range of focal lengths, and extra batteries.

That way, when the sky turns beautiful, you’ll be ready!

sunset photography tips dock with boat

2. Shoot at a variety of focal lengths

Most sunsets are photographed with wide-angle lenses, and these focal lengths can make for beautiful images. A lens in the 10-30mm range will give you sweeping shots of your sunset scene.

However, if you want the sun itself to be a main feature of the shot, you’ll need to zoom right in. The sun is just half a degree across, so when you shoot with a wide-angle lens, the sun will be tiny in the frame. If you want to highlight the sun, you’ll need to zoom in with a 200mm lens or longer.

(This, in turn, will increase your need for a tripod!)

Also, be hyper-aware of eye-safety concerns: looking at the sun is always dangerous. And it’s even more dangerous when you look at it through a telephoto lens. So if you do include the sun in your composition, never look through your camera’s optical viewfinder. Instead, use Live View to check your composition and exposure on the rear LCD.

(If you use a mirrorless camera, this won’t be an issue. You can safely look at the sun through the electronic viewfinder.)

sunset over a misty valley

3. Use the rule of thirds to improve your sunset photography compositions

The rule of thirds states that you should position key elements of your scene a third of the way into the frame.

So instead of putting the horizon in the center of the composition, put it toward the top or the bottom, like this:

tree at sunset

Do you see how the horizon is a third of the way up from the bottom? That’s what the rule of thirds suggests.

And it’s not just about horizons. You can also use the rule of thirds to position the sun, foreground elements, background elements, you name it.

Of course, the rule of thirds isn’t a requirement. And you can break the rule of thirds for stunning results in certain situations.

But in general, the rule of thirds is a great starting point – so unless you have a good reason to do otherwise, I highly recommend you follow it!

4. Experiment with different exposures (to achieve a magical result)

First things first:

When doing sunset photography, you should always shoot with a semi-automatic or Manual mode. Don’t let your camera dictate your settings for you (in other words: get off Auto mode immediately!).

So before starting a sunset shoot, switch your camera over to Aperture Priority mode, Shutter Priority mode, or Manual mode.

And don’t just take one shot at one exposure. Instead, take a variety of shots at different exposures.

So while you can try a “standard” exposure based on your camera’s recommendation…

…don’t be afraid to underexpose by raising your shutter speed or narrowing your aperture. And don’t be afraid to overexpose by doing the opposite.

silhouetted skyline

The great thing about sunsets is that there is no one “right” exposure. You can get stunning results with underexposure and overexposure; the key is to experiment.

(Personally, I tend to start with a relatively quick shutter speed, then slowly work down to slower shutter speeds for brighter, more luminous shots.)

5. Bracket often

In the previous tip, I talked about experimenting with different exposures.

But did you know that there’s a technique, called bracketing, that guides you in your exposure experimentation?

Here’s how it works:

First, take a photo using your camera’s suggested settings.

Then adjust the settings (either manually or via exposure compensation) to slightly underexpose the photo and then to slightly overexpose the photo.

So if your camera says to shoot at f/8, you would take your first shot at f/8, as recommended. But your second shot would be at f/5.6, and your third shot would be at f/11.

That way, you’d end up with a “standard” shot, a darker shot, and a brighter shot, all of which will give you different colors and effects.

It’s a good way to guide your experimentation, and it’s also a good way to create “insurance” photos – so that, if you overexpose the standard shot on accident, you still have a darker file on your memory card.

Make sense?

sunset photography tips sunbeams

6. Auto Exposure Lock is your friend

Bracketing can be a lot of fun, but it also takes time – and it’s not the most precise way to create a well-exposed image.

That’s where Auto Exposure Lock (AEL) comes in handy.

Using AEL is simple. First, you point your camera at the area of the scene you want perfectly exposed, such as a beautiful foreground feature.

Then lock the exposure.

Finally, reframe the picture (while maintaining the exposure lock).

Basically, it lets you determine the exposure without interference from the ultra-bright sunset, which can wreak havoc on a camera’s meter.

Also note that you can use Auto Exposure Lock to create beautiful silhouettes; just point your camera at the brightest part of the sky, lock the exposure, and then reframe with a foreground subject. The result will look like this:

horse silhouette

Cool, right?

7. For the best colors, get off Auto White Balance

Your white balance setting adjusts the temperature of the colors in your scene.

So depending on the white balance, you’ll end up with a cooler (bluer) photo or a warmer (redder) photo.

When the white balance is set to Auto, your camera will automatically deal with the color temperature. And while this can sometimes work, it often gives subpar results – where you lose the warm golden tones of your sunset.

So instead of using Auto White Balance, switch your camera to the Cloudy or Shade presets, which will warm things up a little.

Alternatively, if you’re shooting a sunset and you do want a cooler, moody shot, you can experiment with other white balance settings, such as Incandescent.

One more thing:

If you shoot in RAW, it’s true that you can always tweak the white balance during post-processing. However, this is often pretty inconvenient; after all, how much time do you want to spend adjusting the white balance in front of your computer?

Which is why it’s worth getting the white balance right in-camera.

8. Always bring a tripod for the sharpest results

If you’re shooting at longer shutter speeds, such as 1/60s and beyond, then a tripod makes a huge difference.

It’ll keep your camera stable – so that your files remain tack sharp.

When you’re out doing sunset photography, you don’t need to start the shoot with a tripod, because the minutes leading up to a sunset bring plenty of light.

But as the sun sinks on the horizon, a tripod will become more and more necessary. (And by the time the sun is gone, a tripod will be absolutely essential.)

Note that you might want to use a tripod for your whole photoshoot, especially if you plan to capture long exposures that feature moving water, like this one:

long exposure sunset photography

What if you don’t have a tripod? Or you forget to bring one?

In such cases, I recommend you stabilize your camera against an object. You can put it on the hood of a car, or you can just set it on the ground; whatever allows you to minimize movement as much as possible.

9. Don’t be afraid to focus manually

We all love autofocus – but sometimes, when shooting in extreme lighting conditions, autofocus just won’t get the job done. Your lens will hunt all around, and the shot will end up out of focus.

That’s where manual focus comes in handy.

Now, not all lenses support manual focus. Some only allow for autofocusing, in which case you’re out of luck.

But many lenses do let you focus manually (and you can generally activate manual focus by pushing the AF/MF switch on the lens barrel to MF).

So when your lens starts to hunt, don’t fret; just swap over to manual focus and keep shooting!

10. Shoot more than just the sunset

Here’s one of the many wonderful things about sunsets:

They don’t just create wonderful colors in the sky; they also cast a beautiful golden light that is great for other types of photography!

So as the sunset progresses, keep an eye on other photographic opportunities around you. For instance, you can capture portrait, landscape, or macro shots. In the light of the setting sun, it’ll all turn out amazing!

portrait silhouette with sunstar

11. Keep shooting (even after the sun is gone)

A sunset constantly changes over time – which means that every additional minute is an opportunity for a different shot.

So don’t take a few shots and call it an evening. Instead, stick around and photograph the sun as it goes down. You can continue to capture the same composition, or you can test out different compositions; the key is to keep your camera out and your finger on the shutter button.

Also make sure to capture different exposures (bracket!) and consider working with different focal lengths, as I’ve discussed above.

And finally:

Don’t pack up once the sun is gone. The period after the sun has disappeared – called the blue hour – can be great for photography, too, thanks to its beautiful colors and ethereal light. So if you still have the energy, keep finding compositions until the colors have vanished completely from the horizon.

sunset photography tips

Sunset photography tips: conclusion

Now that you know these tips, you’re well on your way to capturing some stunning sunset photography of your own.

So the next time the sun starts to get low in the sky…

…grab your camera and head outside!

Amazing images await.

Now over to you:

Which of these sunset photography tips is your favorite? Are you going to use any of them the next time you photograph a sunset? Share your thoughts (and sunset photos) in the comments below!

The post 11 Sunset Photography Tips for Beautiful Results appeared first on Digital Photography School. It was authored by Darren Rowse.


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How to Achieve Blurred Backgrounds in Portrait Photography

22 May

The post How to Achieve Blurred Backgrounds in Portrait Photography appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

how to achieve blurred backgrounds

How can you create a beautiful, soft blurred background, like the one you see below?

background blur camera

It’s a question I hear over and over from my students. But there’s a major misconception among new portrait photographers: that to achieve such a stunning background blur, you need to go out and buy an expensive lens.

And this is just plain wrong.

Because while it’s true that certain (often expensive) lenses are better for creating blurred backgrounds, it’s also true that several other key factors go into achieving the soft background look – and most photographers fail to consider these factors and how they can be used for gorgeous results.

In other words:

You are capable of creating a lovely blurred background, and you can probably do it with the lenses you already own.

So if you want to learn how to create that gorgeous background, then read on!

Four factors affect background blur

Whenever you see a beautifully blurred background, know that four factors together produced the effect:

  • the aperture setting
  • the focal length of the lens
  • the distance between the subject and the background
  • the distance between your camera and the subject

If you use a wide aperture, you’ll get a blurry background, sure – and this is what most photographers think of when they see beautiful background bokeh.

But you can use a relatively narrow aperture and achieve the same look with a longer focal length, or by increasing the subject-background distance, or by getting closer to your subject.

So even if you have a lens with a relatively narrow maximum aperture, such as f/5.6, you can get the look you’re after. You just have to carefully control the other background blur factors.

Make sense?

The background blur factors: a quick demonstration

To demonstrate the factors affecting background blur, I’ve created some example photos of a friend’s daughter (she was a more willing subject than my husband!).

This first set of images was taken with my subject about two feet away from the front door of the house. The focal lengths used for all the example shots are (on a full-frame body) 16mm, 35mm, 70mm, and 150mm; note that I backed up with each shot to keep the framing constant. Also, I am deliberately not divulging my aperture, though it is the same for every image.

subject with different focal lengths

Now, the second set of images below was taken with my subject about 20 feet away from the house. Again, each time I changed focal lengths, I moved farther away to keep my subject the same size in the frame.

example portraits with subject farther from background

Now take a careful look at each set of images. What do you see?

Did you notice how much softer the background is in the second set of images? Especially at the 150mm focal length?

Remember: All eight images were taken with the same aperture. The only adjustment made for the first set is the lens focal length. And the only difference between the first set and the second set is the distance between the subject and the background; I had my subject move several feet forward.

But what about the aperture?

As you know, I deliberately withheld the aperture – but would you be surprised if I said that all the images were taken at f/5.6?

It’s true! I used an f/5.6 aperture for each shot. Not the first aperture you think of when someone says “blurred background,” right?

Which means that, as long as you have a lens that can shoot at f/5.6, you can get the same exact look.

One more comparison using f/2.8

Just to further prove the point, here are two more sets of images. All the shots are taken at f/2.8, though the first set shows my subject positioned close to the house, whereas the second set shows my subject positioned away from the house.

Can you see how much more the focal length and the distance between the subject and the background affect the background compared to the wide aperture? There’s not a big difference between these shots and the shots at f/5.6 – but there is a huge difference between the images shot at different focal lengths, as well as the images shot with the subject close versus far from the background.

background blur at f/2.8 examples
background blur at f/2.8 (taken farther away from the background)

Capturing blurred backgrounds: key takeaways

While using a wide aperture is a factor in creating a blurred background, it is not the only factor. And in my opinion, it’s not the most important.

Instead, if you want to create beautiful backgrounds, make sure you:

  • Use a longer lens (I generally shoot at 85mm or longer for portraits)
  • Ask your subject to move away from the background (note that this also depends on the environment, so make sure you do a bit of location-scouting before taking out your camera!)

You can also consider getting closer to your subject; this will increase the blur, though it’ll also tighten up your framing – just something to keep in mind.

Now, go look at the image at the top of the article again.

It, too, was taken at f/5.6! Bet you didn’t guess that the first time you looked at it, am I right?

And here’s one last set of examples to show you the power of a long focal length plus a distant background:

portrait of girl at f/2.8 background blur camera
Taken with a 200mm lens at f/2.8
portrait of girl at f/2.8 with blurry background
200mm lens at f/2.8
portrait of girl at f/5.6 blurry background in-camera
200mm lens at f/5.6

Background blur: final words

Now that you’ve finished this article, you know how to create stunning background blur – and you know that you don’t need an expensive f/1.2 lens to make it happen.

In fact, I challenge you to test this out yourself. Find a willing subject, start them close to the background, then slowly move them forward. Test out different focal lengths, different apertures, and different distances to your subject.

In the end, you’ll have some stunning shots – even if you only shoot at f/5.6 and beyond.

Now over to you:

Do you struggle to get perfect blurred backgrounds? Which of the tips from this article are you going to use first? Share your thoughts in the comments below!

The post How to Achieve Blurred Backgrounds in Portrait Photography appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.


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The Weekly Photography Challenge – Architecture

22 May

The post The Weekly Photography Challenge – Architecture appeared first on Digital Photography School. It was authored by Sime.

“Architectural photography is about capturing the design and accurately representing a building, but to also have your photographs be aesthetically pleasing to your viewer’s eye”

Now I’m no architecture photography, but I know a really good one (Hi Mike!) and love his work, it’s quite amazing, so that, combined with one of your suggestions that we try ‘architecture’ is the reason for this week’s photo challenge theme! #dPSArchitecture

Don’t have access to some stunning, amazing architecturally designed skyscraper? Photograph your own house/apartment/caravan! Push that creativity and do your best! After this photo I’ve put a glut (is that a collective noun for url’s) of links to articles on dPS that might help!

The Weekly Photography Challenge – Architecture
Photo by Anders Jildén on Unsplash

We have tried this theme before now, but it was a long time ago! Check out what people submitted back then, and here’s a great article on creative architecture photography techniques, could be handy! Perhaps you’re more of a storyteller and you’d prefer a different approach! Go for it! Lastly, here are 6 more ways to try your hand at making architecture photography stand out. That oughta do it!

The Weekly Photography Challenge – Architecture
Photo by Maarten Deckers on Unsplash

Amazing photos above, huh! DO NOT let those put you off, they’re polished and stunning, but they’re there to inspire you to make yours the best it can be!

Now how to get yours online…

Great! How do I upload my photos?

Upload your photo into the comments field (look for the little camera icon in the Disqus comments section below this post) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.

Weekly Photography Challenge – Looking Up

The post The Weekly Photography Challenge – Architecture appeared first on Digital Photography School. It was authored by Sime.


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