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How To Read Your Camera Manual (and why you really, really should!)

18 Dec

The post How To Read Your Camera Manual (and why you really, really should!) appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Camera manuals are notoriously difficult to read and understand. Often they are not read as much, or as well, as they should be. You need to read your camera manual because it contains vital information that will help you to become a better photographer.

How To Read Your Camera Manual Night Camera

Just as we need to learn the alphabet before we can learn to read and write, we must learn the basics of operating our cameras in order to take the best photos we can.

Reading it from cover to cover is not necessary. There will not be a test on how much you can remember.

The best way to use your camera manual

Begin to skim with your camera in your hands. Look through the contents and take note of what’s covered. Mark which items you think may be of particular interest to you. Some you will be able to just glance over. Others may be just painfully obvious, like this from the Nikon D800 manual;

“When operating the viewfinder diopter adjustment control with your eye to the viewfinder, care should be taken not to put your finger in your eye accidentally.”

I would add that it’s always a good idea not to put your finger in your eye, even when you are not adjusting your diopter.

If you’ve just bought a new camera and it’s a model you’re not familiar with, you’ll need to pay more attention to the manual. For camera users who are upgrading you will be best to scan the book for what’s been upgraded since your previous model. Sometimes these may be highlighted.

How To Read Your Camera Manual Camera In Hand

Break your reading down into bite-size chunks. Don’t attempt to read and understand everything you need to know about your camera in one sitting. It’s a complex piece of equipment. Spread your reading out over a few days or a week.

Give yourself time to practice what you are reading about. Getting hands-on experience will help you retain what you’re learning about and make it much more relatable.

Do not read it all

Choose to learn the essentials first. Find out how to focus it and set the exposure well. There will be various options available to you. Start reading about the ones most applicable to the way you like to photograph.

If you are completely new to photography and not yet sure which exposure mode you prefer, take some time to read through all the options.

How To Read Your Camera Manual Happy Photographer

Getting a good start by understanding the basics of your camera leaves you freer to concentrate on photography. Don’t be filling your mind with more than you need to know. At the start you are not likely to need information about producing video, making multiple exposures or how to adjust the customs settings on your camera. These things can wait until you can find your way around your camera comfortably.

Carry your manual with you

Download a PDF of your camera manual to your phone. Take it with you everywhere so you can refer to it when you get stuck with a camera setting.

How To Read Your Camera Manual Chinese Woman Photographer

Practical application of the information contained in this little book will help you get to know your camera better. But only if you use it well. Hands on is best.

Once it’s on your phone you can take a few minutes to read a little more on the bus or train or whenever you have a few minutes to spare.

Consider buying a book specifically about your camera (that’s not the manual)

I have purchased books and resources about cameras I own by Thom Hogan. Thom is well known for his incredibly detailed writing about Nikon cameras. I find he’s much easier to read than the camera manuals.

How To Read Your Camera Manual Learning Photography

©Pansa Landwer-Johan

His books are well laid out and the information is broken down so it’s readily consumed.

This may be beyond the needs or wants of many photographers, but for those who have the time and want the resources, picking up a book, other than your camera manual will help advance you towards better picture taking.

Aim to be able to forget it all

As you become more confident and competent with your camera, you will have little need for your camera manual. Well, I would hope that before long you have put what you’ve read to good use and can remember it effortlessly.

How To Read Your Camera Manual Camera In Hand 2

©Pansa Landwer-Johan

Having the ability to pick up your camera and have it ready to take photos in any situation is well worth aiming for. The more you can concentrate on what’s happening in front of you the better photos you’ll obtain.

Gazing down at the camera in your hands as you try and figure out which settings you want to use leads to you missing out. You may be able to take your best photos when you are focused more on what you are making photographs about than what you are making them with.

The post How To Read Your Camera Manual (and why you really, really should!) appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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Why You Should Have Photography Heroes

11 Dec

The post Why You Should Have Photography Heroes appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Why You Should Have Photography Heroes Kayan Girls

Daily bombardment by images can leave us desensitized to truly inspiring art and cause creative catharsis. Pictures crowd our lives more than ever before. They are on the internet, social media, tv, billboards, pavements and walls. Images are on pretty much every product we purchase. Filling the whole sides of buildings or as miniature graphic icons on our phones.

Anyone interested in growing their photography skills may find this saturation somewhat nauseating.

Narrow your sphere of influence. Purposefully. Feast your eyes on the best and your creative muse will be full and satisfied. Indulging in visual junk food will only make you bloated and unhealthy. Uninspired.

Those Who Have Gone Before Us

Masters of the camera are plentiful. True photography heroes have produced impressive bodies of work in every genre imaginable.

Learn from the best. Find those who have distinguished themselves and whose work stands out and moves you. These days it’s very easy to research and locate portfolios of photographs which inspire you.

How to Find Your Photography Heroes

Why You Should Have Photography Heroes Karen Men

Make a list of the styles of photography you are most interested in. Maybe there’s just one. Google your results and include the word ‘photographer’. You might search ‘street photographer’, ‘landscape photographer’ etc. The results will provide you with a starting point you can work with and refine. Also, try searching photography specific sites like 500px. Pinterest is another good option. Searching hashtags on Instagram also produce fruitful results. But on these uncurated websites be careful to find the best, most renowned photographers.

Don’t just read camera manuals and ‘How To’ books. Read blogs and books by photographers whose work you admire. Reading what they write can provide valuable insight into how a photographer thinks. How did they achieve a certain look and feel to a particular photograph? What was the process they worked through in the development of their distinctive style? Which equipment did they use?

There are lots of amazing online documentaries you can watch about famous photographers. Sitting down for an hour or so to see and hear how photographers work is a terrific way to learn.

Go to exhibitions. Viewing curated bodies of work, printed and framed beautifully is a far different experience than looking at photos on a computer monitor or on your phone.

Talk to your photographer friends and find out who they draw inspiration from.

Follow any of these suggestions and your inspiration will increase.

New to Photography? Seek a Wider Sphere of Influence

Why You Should Have Photography Heroes Lahu Smoker

If you’re new to photography and not sure where to start, take a broader approach. Look at books on photography where more than one artist and style is discussed. Draw from the ones who move you the most.

I think the very first photography book I owned was called The Camera. It’s part of the classic Time/Life series ‘Life Library of Photography’. The last chapter of the book profiles ten photographers and introduced me to the work of Ansel Adams, W. Eugene Smith, Diane Arbus, amongst others.

Two photographers who caught my attention in this book are Irving Penn and Henri Cartier-Bresson. I have continued to study their styles and methods over the years. Looking back I think it is the connection with the people they were photographing that touched me the most.

Natural Light Portraiture

Why You Should Have Photography Heroes Karen Woman Smoking

Some years later I picked up Penn’s book ‘Worlds in a Small Room’. His use of natural light in his portraits had always captivated me. In this book, he writes about developing his outdoor studio and using it in countries like Papua New Guinea and Morocco. He motivated me to emulate this innovation. I designed and built my own version of a natural light studio and use it in the mountain areas of northern Thailand.

From time to time, as the opportunity arises, I enjoy photographing the various ethnic minority peoples who live in this part of the world, (where I also live.) During the past ten years or so, I have had many enjoyable experiences photographing these people in their villages. The studio allows me to photograph them in their space, within their comfort zone. Using the studio, I have more control over lighting and background than I would otherwise have.

Photomontages

Why You Should Have Photography Heroes Saamlor Photo Montage

Shortly after purchasing my first camera I was introduced to the photo joiners David Hockney was dabbling with at the time. I saw this video. The idea of making images beyond the conventional photographic boundaries of time and space constraints appealed to me, so I experimented.

Back then we had no internet and information, and examples of Hockney’s photographic montages were hard to come by. I started messing around and chewing through lots and lots of film.

Once I went digital a whole new world opened up. I began to produce video and photos to incorporate into my montages. I am still experimenting more than thirty years after being introduced to this cubist form of image making. The concept still captivates me and draws me to explore wider and deeper.

Be Purposeful in Your Hero Worship

Seek to emulate. Picasso said, “Good artists copy, great artists steal.” Make the most of what you see in other photographers work. Don’t just admire it, mimic it. Build the techniques and methods you see your heroes using into your photography. Then incorporate your ideas, or things you have seen in various other photographer pictures.

The daily bombardment of images into your eye space hopefully presses you to produce better, more exciting and creative photographs. It is too difficult to do on your own. Find your heroes and pay them homage by developing a style of your own, inspired by the images they’ve produced.

The post Why You Should Have Photography Heroes appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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Here’s why I won’t be swapping my Nikon D750 for a Z6 (but maybe you should)

20 Nov

I’ve spent a few weeks shooting around with the Nikon Z6. And in that time, I’ve made up my mind that as a current D750 owner of 3+ years, I will not be trading it in for its mirrorless sibling. But maybe you should. Here’s why…

Marginal size/weight advantage

The Z6 offers a size and weight advantage over the D750 but it’s less than you might think. At 675g, it’s about 10% lighter than the D750 (750g). And though the D750 feels a little chunkier in hand, I prefer its grip. I can get my pinky on it comfortably and access the front function button with ease. On the Z6, there’s no room for a pinky and its two front function buttons are awkward to reach. Of course, everyone’s hands are different, and the Z6 might fit more comfortably in your hands.

No image quality advantage

Raw image quality between the two cameras is nearly identical. As a music photographer, I shoot a lot of personal work in low light environments. And in extreme cases of shadow pushing, the Z6’s on-sensor AF points can show up as banding. This isn’t the case for D750 files.

Less reliable low light AF

Shot on the Nikon D750. I love to shoot live music in underground/DIY venues, like basements and living rooms; places where lighting is dim and flash photography is generally unwelcome. The D750 is my go-to camera for this and all kinds of still photography work because it’s reasonably small and light, offers great dynamic range and, most importantly, has rock solid low light autofocus, not to mention reliable tracking.
ISO 3600 | 1/320 sec | F2.2 | Shot using the Nikon 35mm F2 D

In my experience, the D750 is a more reliable autofocus performer in dark conditions than the Z6. Nikon even rates it as 1EV more sensitive, -3EV vs -2EV, when using normal AF modes (the Z6’s ‘low light AF’ mode is sensitive to -4EV, but Contrast Detect-only). Simply put, I found the Z6 hunting in conditions the D750 doesn’t. And when using the D750’s central cross-type points, it has proven to be a top performer, whereas initial impressions suggest the Z6 is about as good as the Z7: which is to say, not great.

Difficult to use AF tracking

While I stick to a single, central point on the D750 in very low light, I like to use 3D-Tracking in brighter conditions. And it couldn’t be easier to use – simply hit the AF-on button and watch the camera track whatever is under the current selected AF point. From a compositional standpoint, the AF focus area can be somewhat limiting, but the reliability of the system is top notch.

With the Z6, the 273-point system with 90% coverage offers virtually no compositional barriers but engaging tracking is needlessly cumbersome to do when shooting with an eye to the finder. It’s only available in the camera’s Auto AF area mode and requires you to first press the camera’s ‘OK’ button in the center of the directional pad, which I can’t quite reach without compromising my grip.

Shot on the Nikon Z6. As a Nikon DSLR shooter, the Z6 has a familiar feel to it. Still, I prefer the reliability and usability of the D750’s AF system to that of the Z6 (even if the point coverage on the Z6 is way better), as well as the D750’s greater usable dynamic range.
ISO 100 | 1/320 sec | F4 | Shot on Z 50mm F1.8 S

Limited support for Nikkor AF-D lenses

Almost all of my lenses are Nikkor AF-D, which use a Nikon DSLR’s internal focus motor to drive focus rather than having a motor in the lens. These lenses represent excellent value for Nikon DSLR users and are generally very fast to focus, though noisy. Jumping into the Z-mount would render these lenses useless from an AF standpoint, as Z mount cameras have no motor. However most newer Nikon lenses have built-in motors and work with no noticeable penalty adapted via the F to Z adapter.

But…fabulous video

Video is the one area the Z6 has me hung up because it absolutely smokes the D750. If you have even the slightest interest in video capture, the Z6 is a far better choice than the clunky, prehistoric video offering found in the D750. The Z6’s 4K quality is excellent (sorry, only 1080p on the D750), in-body image stabilization is super useful (not available on the D750) and the camera’s touchscreen for AF point placement (also not available). Focus during video is solid on the Z6 in contrast to the downright awful Contrast Detect video AF found on the D750. And did I mention it shoots 10-bit log over HDMI?

Bottom line

As I’m primarily a stills shooter, at the end of the day, image quality and AF reliability (especially in low light) are the two things that matter most to me and the D750 holds its ground in both regards to the Z6; all the touchscreens and in-body IS systems in the world can’t change that. For these reasons I’ll be holding on the my D750 and waiting at least another generation before making the move to Nikon mirrorless.

But those interested in video would be wise to give the Z6 some serious consideration because it really is that good. Plus other features, like better AF precision without a need to micro-adjust, live exposure and depth-of-field previews in the finder, and greater AF coverage, might also win you over.

If you’re even remotely tempted, consider this: used D750’s sell for upwards of $ 1000, depending on the condition, which puts you about halfway to a Z6. Just don’t forget the adapter…

Articles: Digital Photography Review (dpreview.com)

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5 Beginner Photography Mistakes You Should Avoid

06 Oct

If you’re relatively new to photography, then Jessica Kobeissi has shared her past experiences to help you avoid making some simple mistakes.

Kobeissi’s photography tips have garnered her over 1,000,000 subscribers and 60,000,000 views. Over this time, she has definitely had her fair share of mistakes, no doubt about it!

Any good photographer will have made more errors than they can count during their careers, and learning from these mistakes can help you to fast-track your own pictures. It’s the perfect way to cut corners!

The photography mistakes you don’t want to make

Here are some of the mistakes that Kobeissi thinks you should avoid:

Don’t rely on filters and presets that you can apply to your photos in post-production.
Spend time gaining the necessary experience yourself.
Stop shooting the same thing over and over again.
Don’t get caught up in what other people say about your photos.
Plan shoots based on the time of day.

Check out the full video above to see Kobeissi’s explanations of each mistake and, crucially, how you can go about avoiding them in the first place!

The post 5 Beginner Photography Mistakes You Should Avoid appeared first on Digital Photography School.

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The Nikon Z system: What we think, where it should go

25 Aug

Introduction

By the time you read this article, you’ll surely have absorbed most of the news, specifications and in-depth analysis related to Nikon’s new full-frame mirrorless cameras, the Z 6 and Z 7. And there’s been quite a bit of coverage, to be sure. After all, this is Nikon’s first new full-frame lens mount since 1959*.

But here in this piece, we’re hoping to convey some of our reflections of the new system; how it feels in the hand, how it responds when you’re out shooting. Not just what the customizations are, but how useful we find them. We weren’t able to perform any of our standard tests on our pre-production Z 7, but we came away with plenty of thoughts and hopes for the future. Let’s dive in.

Hits

We all agreed that the Z 7 feels great in the hand.

The build quality and hand-feel of the Z 7 were met with universal praise from the staff. Editor Dan Bracaglia, who’s been shooting with Nikon DSLRs for over a decade, said everything on the exterior of the Z 7 – grip, buttons, switches – feels built to the same level as a D850. I’m inclined to agree; the grip matches the comfort of the D850, and despite weighing less than a D750 (the lightest full-frame DSLR on the market), it feels even more solid than that camera. And your fingers don’t run off the bottom of the grip like some other mirrorless options. The top plate OLED is also much crisper and easier to read than the older LCD panels on DSLRs.

The viewfinder was likewise met with enthusiasm. The Quad VGA panel is bright and contrasty with a high refresh rate. Our Editorial Manager Wenmei Hill said that, in her opinion, it’s the closest you can currently get to an optical finder. Senior Editor Barney Britton mentioned that he started to find the viewfinder in the D850 a bit fuzzy and cool in comparison. It was important for their existing DSLR users that Nikon got this right, and it looks like they have. Unlike many competitors, the viewfinder also doesn’t drop in resolution during continuous focusing or burst shooting. That makes it a great viewfinder experience for anyone, not just users of optical viewfinders.

The viewfinder doesn’t drop in resolution during focusing or burst shooting

The touchscreen interface, even on our pre-production model, was extremely polished and responsive. That you can interact with every aspect of the camera via its touchscreen – including the customizable ‘i’ menu – is encouraging, and genuinely useful.

One rift between DSLRs and mirrorless cameras that persists even today simply concerns the cameras’ startup times. DSLRs are still nigh instantaneous; when you flip the on switch and mash the shutter, the camera will fire a shot right then and there. The Z 7 doesn’t get to quite that level of responsiveness, but it also doesn’t make you wait an age either. We’d say it’s on par with the likes of an Olympus E-M1 II or Panasonic G9, while some of Sony’s a7-series of cameras still takes noticeably longer to power on and and take an image.

Power-on time is an area where mirrorless cameras, including the Z 7, continue to lag behind DSLRs.

Lastly, we were disappointed by the CIPA rating of 330 images for the EN-EL15b battery that powers the Z 7. It’s not a woefully bad score, but it’s around the rating of Sony’s 1st and 2nd gen a7-series cameras for which we regularly recommended carrying a second battery, while Sony’s latest Z-series battery is rated for around 700 shots. All that said, Barney’s actual experience with the Z 7 put him at ease; over the course of a 12-hour shoot, he recorded 1500+ images and several 4K video clips before the battery warning kicked in at 10% remaining. He wouldn’t be opposed to venturing out for a full day in a new city with one battery for the Z 7. Not too shabby, but definitely something we’ll be looking at in detail when we get a reviewable camera.

Misses

As a team, we also agreed on a few aspects – particularly regarding autofocus – of the Z 7 that struck us as less-than-polished. And we should stress, the model we used was pre-production using non-final firmware, and there’s always a chance that some of these can be addressed via firmware updates later on.


Single point	Dynamic	Wide S	Wide L

The AF area modes (excluding pinpoint) that the Z 7 and Z 6 offer. One thing we really liked was how bright, red and visible the AF points were in all area modes.

The first is a lack of any form of touchpad AF, which we found strange considering how otherwise impressive the touchscreen interface is. Sure, there’s a joystick to move your AF area around, but we’d prefer Nikon give users the option to choose which method they prefer (plus, it’s already incorporated on the D5600 for that camera’s viewfinder autofocus system).

Continuing on the autofocus theme, we’re all puzzled regarding the new autofocus implementation. Considering the relatively seamless transition from, say, the D850 to the Z 7 in terms of menus and most of the direct controls, the AF system is less familiar. It’s closer to the autofocus implementation in their DSLRs’ Live View, rather than the much more familiar system through the optical viewfinder.

Barney said that he adapted to the new autofocus system quickly for his style of shooting

The autofocus tracking implementation is more cumbersome, and there’s no provision to change your AF mode with a single button press (AF Area Mode + AF-On) as there is on Nikon’s D5, D500 and D850 cameras. As our Science Editor Rishi Sanyal explains, this can make it difficult to adapt to fast-changing scenarios, like moving from a bouquet toss at a wedding to a candid portrait moments later.

Barney, on the other hand, said that he adapted to the new autofocus system quickly for his style of shooting (which didn’t include fast action), but he was a little more concerned about stop-down focusing. The pre-production Z 7 we used stops the lens down to the shooting aperture (down to a limit of F5.6) to give the user a live depth-of-field preview, but this also gives the autofocus system less light (and less phase separation) for the on-sensor PDAF system to work with. If you’re shooting in dim conditions but don’t want a paper-thin depth-of-field, you may experience slower autofocus or more hunting than you expect.

Just because you can shoot at F1.8 doesn’t mean you’ll always want to, even if the conditions are a bit dim.

In terms of handling, we miss the ease of the autofocus mode and area selector switch near the lens barrel on Nikon DSLRs, which is missing on the Z 6 and Z 7. And while we appreciate the Fn1 and Fn2 buttons between the grip and the lens mount, we do find them a bit difficult to press without shifting your hand uncomfortably.

Mixed blessings

There are also some aspects of the new Z 7 that we appreciate – with some caveats.

The first is the completely silent shutter; this is incredibly valuable in quiet or sensitive settings, and being able to fire at full burst speed in silent shutter is a welcome addition. But due to the sensor’s somewhat limited readout speed, rolling shutter is likely to be an issue, as is banding under artificial light.

While we like the move to XQD cards for the speed they offer, there’s no denying they’re more expensive and harder to find than good ‘ol SD cards.

Likewise, when shooting 4K video, Nikon’s added digital stabilization as an other method of reducing camera shake on top of in-body and lens stabilization. Unfortunately, while you might be tempted to turn it on for, say, walking while recording, it doesn’t deal well with more jarring movements. It results in soft or blurred footage during the steps themselves, and we find it less distracting to have less stabilization with the IBIS system alone.

Lastly, the Z 6 and Z 7 are only offered with single XQD cards, which promise incredible read and write speeds as well as better durability when compared to conventional SD cards. But some users will likely be turned off by the lack of dual card slots, and we found the buffer on our pre-production Z 7 to clear more slowly than we’d expect (it clears almost instantly on a D5 or D500 once you stop shooting). Additionally, XQD readers just aren’t as ubiquitous as SD, and the cards themselves are more expensive.

Looking ahead

In looking toward the future of the new Z system, we have to say we’re pleased by the lens roadmap that Nikon put out – more than one editor was hoping for a native 70-200mm lens sooner rather than later.

The combination of high resolution, expansive dynamic range, compact size, comfortable handling and great 4K video is hard to dismiss.

And most of the concerns we have – the lack of Touchpad AF, for example – we’re hoping can be addressed in firmware, or at the very least, in the next Z-camera. We’re curious whether Nikon has any plans for a D500-level APS-C interpretation for Z-mount, though the team has predicted that there’s likely going to be a D5-level mirrorless coming around in time for the 2020 Olympics in Tokyo.

Overall, the combination of high resolution, expansive dynamic range, compact size, comfortable handling and great 4K video with intuitive and decisive autofocus is hard to dismiss. We’re confident in saying that, as of now, the Z 7 is Nikon’s most well-rounded camera they’ve ever produced.

*This excludes the Nikonos mount on Nikon’s early waterproof film cameras and an F-mount variation with the Nikonos R-UW mount.

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Articles: Digital Photography Review (dpreview.com)

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4 Less Popular Types of Lighting Every Photographer Should Know

20 Aug

How can you, as a photographer, best use lighting to your advantage? Working with different kinds of light can be a challenge for even the most seasoned photographers. This often leads to a common suggestion: “Point your shadow at the subject.” Yet certain underutilized less popular types of lighting can actually enhance your photographs.

macro photography bokeh flower dahlia - Types of Lighting

In this article, you’ll get tips for working with four different types of natural lighting, including shade, overcast light, and strong backlighting. Hopefully, you’ll come away with the know-how and inspiration to start using more creative lighting in your own photographs.

macro photography bokeh flower tulip - Types of Lighting

1. Shade plus front light

By “shade plus front light” I’m referring to the lighting situation when the sun is behind you (and coming over your shoulder), but the subject is shaded. That is, the sun would normally front light the subject, but it is blocked by an object.

macro photography bokeh flower trout lily - Types of Lighting

I shaded this trout lily with my body, resulting in a shaded subject and a well-lit background.

Many photographers like to ignore shaded subjects. However, I love this lighting situation for a few reasons.

The first is that it is easier to expose for a shaded subject. You don’t have to deal with intense highlights and shadows. Instead, you can rest easy knowing that the range of lights and darks in your image will be rendered properly by your camera’s sensor.

Another shaded but front lit situation. Notice the brighter background here.

The second is that this lighting scenario offers up wonderful backgrounds. This is an especially powerful technique when shooting during the “golden hours”, the time just after sunrise and just before sunset.

If you can position the subject so that the sun falls behind it, you can take images with rich, warm background colors. The key is to expose for the main subject (i.e., meter off it), and let the background remain bright. Use a wide aperture to ensure that the background is thrown out of focus.

macro photography bokeh flower cosmos - Types of Lighting

Shading this cosmos flower allowed me to produce a more subtle looking subject with a beautiful background.

Shaded subjects can make for great photographs if you know how to use them!

2. Shade plus backlight

To continue with the “shade” theme, let’s discuss another underutilized type of light: shade and backlight.

By this, I am referring to a situation with a shaded subject where the sun is positioned behind that subject so that you are pointed toward the sun. In this situation, you cannot do the shading yourself. Instead, you have to rely on environmental features to block the light.

macro photography bokeh flower - Types of Lighting

This flower was shaded by some nearby grasses. I was able to get these background highlights by including the edge of the sun in the frame.

What does this type of lighting offer you? Similar to a shaded and front lit subject, a shaded but backlit subject is easier to expose.

If you’re struggling to photograph a brightly colored flower, for instance, it might be beneficial to find a similar specimen in a shaded area. This will help prevent you from blowing out the highlights on the flower’s petals.

macro photography bokeh flower aster - Types of Lighting

Another compelling reason to use this particular type of lighting is that it can create beautiful bokeh. I’m not really talking about bokeh in the sense of that smooth, creamy look that we photographers love (for that, go back to shade plus front light).

Rather, I’m referring to those beautiful geometric shapes that occasionally appear in the background of photographs.

macro photography bokeh flower tulip - Types of Lighting

Notice the slight highlights in the background, created by the shade-sun combination.

How do you do this?

In a backlit environment, the light is often filtered through the surrounding greenery. These are often leaves, but also grasses, shrubs, branches, tree trunks, etc. The rays of the sun are broken up into small points of light, which are then rendered in that geometric fashion when incorporated into your images.

This is a beautiful effect that can add an extra punch to your photographs.

3. Overcast lighting

This type of lighting is more commonly used than the two mentioned above, but overcast light (i.e., light on cloudy days) deserves a mention.

macro photography bokeh flower aster - Types of Lighting

I photographed these flowers on a cloudy afternoon.

You might think that the camera should stay inside on overcast days. After all, the subjects aren’t very well lit, and everything seems a bit gloomy and bland.

Actually, overcast days are fantastic for photography. Especially if you go out toward the middle of the day when the sun is high in the sky (and blocked by clouds), you’ll find wonderfully diffused lighting.

The clouds act as a giant softbox, subtly lighting the entire landscape. This results in colors that are deeply saturated. Macro photographers such as myself love overcast lighting because our flower photographs become much more colorful.

macro photography bokeh flower tulip - Types of Lighting

Another advantage to shooting on overcast days is similar to that of shaded lighting in that the subjects are easier to expose well. There is no bright sunlight to create harsh shadows and unpleasant highlights.

Therefore, overcast days can be a great choice for photographing brightly colored subjects.

4. Direct backlighting

Direct backlighting refers to situations where the sun is directly behind the subject (and therefore directly in front of the photographer).

The sun is just out of the frame here, above the tulip.

This type of lighting is difficult to work with. Photographers often come away with unwanted flare and a drastically underexposed subject. However, using backlighting is simpler than you might think. Just remember a few key guidelines.

The first thing to note is that I don’t like to use direct backlighting unless the sun is low in the sky. Otherwise, instead of achieving a charming, warm look, you’ll find yourself with a harsh, contrasty image. Sunrise and sunset are your windows, so you’ll need to work quickly and efficiently.

Second, don’t put the sun in the image itself. This will result in a nearly impossible lighting situation. Instead, block the sun with your subject. Move around a bit. Get down low. If you do decide to include the sun in the image, put it at the very edge of the frame (as I did in one of the photos above).

macro photography bokeh flower bleeding heart - Types of Lighting

Backlighting (the sun was in the background on the right-hand side) produced some really interesting bokeh in this bleeding heart photograph.

Third, make sure that your subject stands out against the background. I often try to compose with the subject against the sky.

Fourth, expose for your main subject. Don’t worry about the bright background. Then, once you’ve settled on an accurate exposure for the subject itself, feel free to raise or lower the exposure. Lower it for a slightly darker, more dramatic look (and if you lower it a significant amount, you’ll end up shooting a silhouette). Raise it for a slightly brighter, in-your-face type image.

While there are certainly variations in backlighting conditions, these four guidelines will get you well on your way to shooting some creative backlit images.

Conclusion

While it can be difficult to think outside the box and take risks when it comes to lighting, the rewards can be great.

Try using some of the lighting scenarios discussed above: shade and front light or backlight, overcast light, or even direct backlighting.

Your images will become far more diverse and a lot more impressive!

macro photography bokeh flower aster - Types of Lighting

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Why You Should Avoid Shooting at Small Apertures Like F18 to F40

26 Jul

The bigger the number, the better, right? Wrong! The aperture is a strange thing and one you may find difficult to understand in depth. The first weird thing is that large numbers means a small apertures. It is very counter-intuitive.

In this article, you will learn a couple of quirky details about aperture and why you should avoid shooting in the top range of f/18 to f/40.

ocean view and cliff - Why You Should Avoid Shooting at Small Apertures Like F18 to F40

The aperture plays a significant role in two different equations. The first one defines the exposure and the other one controls the depth of field.

Changing the aperture will change both the exposure settings as well as the depth of field. In some cases, you can take advantage of that, in particular, if you are a landscape or cityscape photographer.

The advantages of small apertures

Two common goals for a landscape or cityscape photographers are:

To get everything within the frame in focus.
Get longer exposure times to blur moving objects like water or moving cars.

It happens so, that these two goals go hand in hand with aperture. If you set your camera to a smaller aperture (that is a larger f-number), you will get a greater depth of field. At the same time, you will also get longer exposure times.

The photo below is a photo of a mountain lake in France. It serves as a classic example of what you as a landscape photographer may experience in the field.

mountain scene France - Why You Should Avoid Shooting at Small Apertures Like F18 to F40

You want the foreground to be in focus as well as the mountains in the background. On top of that, you want the water to be smooth. It requires longer exposure times to smooth small ripples on the surface.

To get a longer exposure times, you can attach a Neutral Density Filter on your lens. If your filters are not quite enough, you can also lower the aperture to f/22 or whatever is the smallest your lens can do.

The depth-of-field is maximized at f/22 or smaller if your lens allows it. So this magically goes hand in hand and everything seems great.

However, a couple of things happen, when you stop a lens down all the way to f/22 or even lower.

Problem #1: Small apertures reveal dust on your sensor

The first problem that arises is that the dust spots you have on your sensor becomes painfully visible. Almost any camera, even with a freshly cleaned sensor, will have dust spots.

Why You Should Avoid Shooting at Small Apertures Like F18 to F40

Dust spots clearly visible due to a small aperture.

Dust spots are annoying because you have to clone them out later in the post-processing and if you have many dust spots this is a real pain. For this reason alone, you may want to avoid f/22.

Problem #2: Small apertures lose sharpness

The other problem may a surprise to you. The dust spots are annoying, but not more that. At f/40 you can’t even shoot a sharp photo! But even at f/22, there are problems.

200% crop of a blurry image at f/22.

This is a 200% close-up of the unprocessed RAW photo of the French lake above, which was shot at f/22. As you can see the photo is not quite sharp. There is a softness to it and it is not a focus problem, but something entirely different.

This lens, a Nikon 16-35mm f/4, cannot produce anything sharper than this at f/22. You can work on this in the post-processing stage by applying some sharpness, and get something that seems reasonably sharp, but it is not really that good.

200% crop of the final processed image.

Some harsh post-processing has made the image seem sharper. But had the RAW photo been sharper in the first place, this would have been a much better result.

Below are some examples shot using a Sony 24-240mm lens at 240mm on a Sony a7R II body, shot from a sturdy tripod.

This lens is not the sharpest one in town, but for a superzoom, it is one of the best I have seen. At 240mm f/6.3 (wide open – it is no fast lens) through to f/40 (fully stopped down).

1/320th at f/6.3

1/160th at f/9.0

1/80th at f/13

1/40th at f/18

1/15th at f/29

1/8th at f/40

Have a look at this series as the aperture lowers. At f/9 the lens is at its sharpest and then sharpness begins to decline. Even at f/13, it is not super sharp, but still fixable. At f/18 the lens begins to lose details and at f/40 you can no longer tell the bricks from each other.

Why they even bother providing f/40 on a lens such as this, is a mystery. So what is going on? This is much worse than a few dust spots and it is NOT fixable.

Diffraction is the problem

What happens is that you run into the laws of physics and there is nothing you can do about it. When you stop down your lens, the hole the light passes through inside the lens becomes smaller and smaller. That’s why it’s called a smaller aperture.

When the hole gets small enough you run into trouble with one of the laws of physics which is called diffraction.

Shot at f/22 on a full frame camera. Sharpness is not optimal.

In layman terms, what happens is that the light spreads out a bit when it passes through a small hole. The light intended for one receptor (one pixel) on the sensor spreads a little bit to its neighbors. The result is an unsharp photo.

And the smaller the hole, the bigger the problem, which is exactly what you see at f/40 above. Diffraction begins around f/22, but even as the lens is closing in on f/22 the sharpness is declining.

What is the minimum usable aperture?

So what is the minimum f-stop or aperture you should use? Or phrased not be misunderstood, what is the largest f-number you should use?

All lenses behave differently, but the laws of physics are constant. Some lenses are sharpest at f/5.6 while others may be sharpest at f/9.0, as was the case with the Sony 24-240mm lens. This has to do with the design of the lens.

15mm at f/8 on a full frame camera.

What is common for most lenses, is that they produce the sharpest photos somewhere in the middle range, from f/7.1 to f/13 (called the sweet spot). What is certain for all lenses is that as the aperture gets smaller (bigger f-number) beyond f/13, the worse the lens performs in terms of sharpness.

Diffraction becomes a problem around f/22 and the lens will become increasingly less sharp. The Sony lens takes diffraction pretty hard while a Nikon 28-300mm I also own is less pronounced.

The title of this article suggests that you should avoid using f/18-f/40. Why do I say f/18?

It is a gradual change, but personally, I have stopped going beyond f/16, simply because I find the photos too soft. You can never make them tack sharp, and you have to process them pretty hard to get something fairly sharp and acceptable.

Why You Should Avoid Shooting at Small Apertures Like F18 to F40 - park bench and scenic view

The best way to find your personal limit on your favorite lens is to put your camera on a tripod and shoot test shots at f/11, f/13, f/16, f/18 and f/22 or even further down if your lens has those apertures.

Look at the photos at 200%. Notice the sharpness difference and decide what your limit should be. Memorize that and just be sure not to go below that aperture.

The compromises

Photography is full of compromises and now you have a couple more you have to make. As I established at the beginning of this article, there are some good reasons why you want to go for small apertures, but they come at a price of lack of sharpness and dust spots.

You may want to reduce the dust spot problem, I know I do. If you stay around f/8 the dust spots will not be very pronounced. However, the shutter speed will be much faster than at f/16 and the depth of field much less as well.

You can affect the shutter speed by attaching a 2-stop Neutral Density filter, which will produce the same shutter speed as f/16 but shooting at f/8.

Why You Should Avoid Shooting at Small Apertures Like F18 to F40 - large chain links

Another solution

You can solve the problem of getting everything in focus by shooting more than one photo. One having the foreground in focus and one having the background in focus and then blending these two photos.

This technique is called focus stacking. Whether that is easier than fixing dust spots is something you will have to decide for yourself.

Why You Should Avoid Shooting at Small Apertures Like F18 to F40 - forest and pathway

This is a focus stacked photo shot at f/11 and 134mm on a cropped sensor.

In photography, there are always compromises you have to make. How will you overcome the urge to shoot at f/22 and beyond?

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Updated: Which RX100 should you choose?

17 Jul

There have now been seven variants of the RX100 series, and at least six of them are still current models. Confused? Here’s an updated look at their differences, and our recommendations among them now that we’ve tested the Mark VI.

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Rugged compact, GoPro, or smartphone: Which should I take on vacation?

18 Jun

My family hikes, we camp, we fish, we snowboard. As a photographer, that leaves me with some choices to make if I want to take pictures or video of our adventures.

Vacations, particularly outdoor, active ones, can provide some of the most vivid family memories, but can also be some of the most difficult to photograph. Several different types of device try to fit the bill but which is best for you?

Your mirrorless camera may be pretty compact to travel with, but can it film your kid’s first trip down a waterslide? Your DSLR may claim to be weather sealed but are you willing to risk pulling your $ 3000 camera+lens combo out to take a ski chairlift photo? Even if you are willing to trust it, are you willing to carry that kit with you all day?

In 2018, there’s no reason to let that keep you from being able to record those moments in your life. There are more options than ever for water, shockproof / freezeproof cameras that can survive life’s more demanding adventures. I’m talking about cameras that can survive a rainstorm or a day at the beach or sledding hill. Something compact and easy to travel with that you don’t have to worry about (and won’t cost thousands to replace) if clumsy Uncle Fred drops it into the hotel pool. Let’s look at the options:

Action cameras

Small, tough and able to capture wide-angle video, Action cameras are especially good for capturing the spirit and experience of action activities.

Since the introduction of the GoPro HD in 2009, action cameras have become almost a required accessory for outdoor adventures. Once the sole domain of those who jumped off of cliffs or surfed on 20 foot waves, these days GoPros are used for everything from ‘Hot Wheels’ tracks in the backyard to Formula 1 races across the globe. From a child’s first wobbly bike ride to mountain bikers who throw themselves down cliffs. If you are on Instagram, Facebook, or Twitter, It’s highly likely that you see video from these cameras virtually every time you look at your feed.

While not expressly listed as shockproof or freezeproof, action cameras have a pretty proven track record.

It’s easy to see why action cameras have become so popular. They are tough, small, offer very good video quality, and can be mounted literally anywhere. Their super wide lenses give them a unique field-of-view that both suits, and has become de-rigueur for, recording ‘cool’ adventures. 4K video, image stabilization, and even Raw image shooting options are common. The newer camera designs from GoPro (Hero6, Hero5, Session) offer 10 meters / 33 feet of waterproofing while still offering clear audio out of the water and an optional external case extends this depth to 60m / 196ft.

These cameras are far better when mounted on a helmet, handlebar, or selfie stick than they are used handheld.

While not expressly listed as shockproof or freezeproof, action cameras have a pretty proven track record. Googling ‘GoPro survives fall’ or ‘GoPro Everest’ should give more than enough examples to convince most skeptics. Most offer Bluetooth or Wi-Fi connectivity and many have apps that allow for remote control via smartphone. Finally, it is hard to deny just how much kids love these cameras. The days of youngsters being thrilled by the apparent magic of a smartphone or a digital camera are probably over. But for whatever reason, when you hand a kid a GoPro, they just go nuts with it. You’ll get some of the most fascinating and genuine footage of children you’ve ever seen. It is both unique and heartwarming.

There’s something unobtrusive about an action camera that can help candidly capture natural behavior.

However, it can be frustrating trying to use an action camera for still images. JPEG quality, color science, and even operational speed can feel like they lag behind dedicated still camera makers. Manual controls are near non-existent, and those that do exist are frequently hidden behind screen/button taps and menus. With no zoom or interchangeable lenses, your field-of-view is limited to super-wide or cropped ‘medium’ and ‘narrow’ options, limiting both flexibility and quality. And as cool as that super-wide view is, you probably won’t be surprised to hear how easy it is to get your fingers in the way if you are shooting handheld.

These cameras are far better when mounted on a helmet, handlebar, or selfie stick than they are used handheld, particularly given their size and lack of physical controls.

Waterproof P&S cameras

There are times when those ‘freezeproof’ ratings start to seem pertinent.

The waterproof point-and-shoot camera has been around for many years, as 1994’s film-based Canon Sure Shot A1 can attest. But as with most P&S cameras, the digital revolution brought a whole new level of usefulness to these tough little cameras. However, unlike most P&S cameras, the waterproof segment continues to thrive and evolve even in the age of smartphones.

Many of these cameras are not only waterproof, but are rated to be freeze, dust and shockproof. For example, typical specs might be waterproof to 15-30 meters / 50-100 ft, dustproof, crushproof to 100 kgf / 220 lbf, shockproof from 2.1 meters / 7 ft, and freezeproof to -10° / +14° F. While lenses in these cameras are the typical variable aperture midrange zoom that most P&S cameras have, the waterproof versions tend to be a bit faster on the wide end, apertures of F2 or F2.8 aren’t uncommon. And unlike action cameras or smartphones with their fixed lenses and digital zooms, these are true optical zooms that typically offer a 4x-6x range. RAW shooting, 4K video, optical image stabilization and Wi-Fi/bluetooth connectivity are showing up on recent models.

Even if you’re not shooting underwater, there are times it’s nice to know your camera will withstand a drop.

But perhaps most importantly, these cameras blow the other options out of the water in terms of ergonomics. While their physical controls, shutter buttons, and handgrips won’t win any awards when compared to DSLR or mirrorless cameras, they are miles ahead of a GoPro or iPhone. You can successfully use these cameras with gloves on, with wet hands, or in a location where a fumble would mean losing the camera. Along similar lines, these cameras all have one small feature that is difficult or impossible to find on action cameras or smartphones: a strap loop. While a full neckstrap may be a bit much for a camera like this, a small wrist strap is a worthwhile and compact safety measure. Buoyancy floats can even be attached if you do find yourself out on the water.

These cameras blow the other options out of the water in terms of ergonomics

While these cameras often have more physical controls than other options on this list, they still don’t tend to have very many of them compared to more serious cameras. Camera and shooting settings are still commonly accessed via pressing buttons to scroll through menus. On the other hand, this may not matter because there just aren’t that many manual control options on most point-and-shoot cameras, waterproof or otherwise. Shooting and ‘art’ modes of limited usefulness are far more likely than shutter or aperture priority options.

Autofocus is improved from the cheap P&S your parents might have had at one point, but it still is going to lag behind any DSLR or mirrorless you are used to. They are also absolutely an additional device to carry with you. Unlike a tiny GoPro or the smartphone that you probably ready have with you, a waterproof compact can feel bulky/heavy enough that you know you are having to carry it around.

Smartphones

But a dedicated camera isn’t necessarily your only option. What if there was a surprisingly powerful camera that you probably already owned and it was almost always in your pocket or purse? What if this camera also had powerful photo and video editing capabilities and could instantly upload the finished product to the internet and social media? As you’ve probably already guessed, this camera already exists and you probably already own one, a smartphone.

It is becoming more and more common for higher end smartphones to have some level of Ingress Protection rating

It is becoming more and more common for higher end smartphones to have at least some level of IP (Ingress Protection) rating. Typically, they are dustproof and water resistant for up to 30 minutes in water around 1 m / 3.3 ft deep. This means you shouldn’t go snorkeling with any of them, but they will survive dunkings and splashes easily, even without one of the great many ‘protector’ cases that are available for the flagship handsets. High-resolution 4k video, dual (or even triple) lens options, optical image stabilization, and front/back cameras are all regularly seen on expensive and budget smartphones alike.

Default camera apps are decent, but the real power is using some of the 3rd party apps that give you additional shooting modes, full manual control and the ability to shoot in Raw. Not only can you capture images, but editing programs give you the ability to crop, sharpen, adjust and enhance your photos/video right on your phone. Cellular and Wi-Fi connectivity allow instant uploading to social media or text / email to friends and family.

With an IP-rated smartphone, the selfies don’t have to stop when the conditions get more challenging.

Perhaps most importantly, you are almost assuredly going to have a smartphone with you anyway. Whether for communication, navigation, entertainment, and even emergencies, you’ll want your smartphone for all of them while traveling. There is a reason that these days, hardcore outdoor folks often call a mobile phone the ‘eleventh essential’ on the classic ‘ten essentials’ survival item list.

The convenience factor of using a smartphone as your vacation/adventure camera is high, but the drawbacks may be even higher. There is simply no getting around the fact that the ergonomics of these devices as cameras are simply awful. They are thin, slippery, and without any sort of handgrip or strap options. A shattered screen from a two foot drop on the pool deck or a tumble down a thousand foot cliff is just one small stumble away. Almost everyone you know has dropped their phone with dry hands, so how much worse is that likely to be with wet hands or gloves? And, as most of us know, using a touchscreen with gloves or wet hands can be impossible, which just exacerbates the ergonomics issue.

A lack of zoom may be a drawback but chances are you’ll have a smartphone with you at key moments.

Battery life is frequently a problem with phones, and constantly filming and photographing will only make this worse, which may leave you without communication or data capabilities at a crucial moment. Most important of all is the fact that if something happens to your phone, you are likely losing a lot more personal data than just a few images. Dropping and breaking your GoPro is a good way to have a bad day, but dropping and breaking your iPhone X could leave you stranded in the middle of nowhere if you were relying on its GPS to get you home. Not to mention the fact that you’d be out over $ 1000: that’s going to hurt no matter who you are.

If you are going the smartphone route, it might be worth looking into some of the extreme protection cases form companies such as LifeProof or OtterBox.

Conclusion

So, which to choose? That depends on what sort of vacation/adventure you see yourself taking.

If you are looking for still image capability, a waterproof point and shoot camera will probably prove the most versatile. With their optical zooms and physical controls, they easily best the other options for still images. 4k video and image stabilization means that they’re not slouches in the video department as well. Equally at home capturing everything from a flower in a tropical rainstorm to rock climbing in a national park, they really are a jack of all trades. I take mine anytime I want to shoot still images, might want the option for video, and require protection from water/drops/freezing/etc.

Rugged, waterproof cameras aren’t only useful for underwater shooting.

More action-orientated adventures are probably better suited to the video and perspective that action cams offer. Will you be skiing, sailing, paragliding, mountain biking or anything like that? For me, I’m mostly likely to pull out the GoPro when I’m snowboarding. A video with that wide field-of-view just does the best job of capturing that memory for me. Additionally, any trip that includes children is a strong point for these cameras as well. As you can see from the waterslide video above, even a day poolside with a GoPro can capture some pretty fun kid moments.

Finally, let’s face it, you’ll likely have your cell phone in your pocket no matter where you go. In 2018, most of us are so addicted to the connectivity that these devices offer, we’re unlikely to leave them home. But can they be a vacation camera for you? If you are going to be somewhere with good cell coverage and with a low level of risk, then yes. Seeing the Smithsonian, visiting the beach, taking a train across Europe or dropping into an oyster shack for lunch? The still and video options of today’s smartphones will serve you well. Pick up a model with a decent IP rating and you can even enjoy some protection from splashes and sand. Just make sure you don’t drop it and leave yourself stranded somewhere!

The Olympus Tough TG-5 is one of the few rugged cameras that lets you shoot Raw, which is useful for making the most of those images shot in difficult conditions.

But if I was only going to carry one on a vacation or adventure, I would still choose the waterproof P&S option (probably the Olympus Tough TG-5 in my case). It is the best of the bunch as far ease/quality of still photos, has the ability to shoot Raw, does a great job with video, offers a few physical controls, has a usable and reasonably fast zoom lens, is freeze/drop/waterproof, includes Wi-Fi connectivity, and can be found for under $ 400.

I’ve gone fishing, snowboarding, snorkeling, camping, traveling, and splashing at the local pool with mine. It’s survived, kids, grandfathers, drops, kicks, falls, bouncing across river rocks, careening down waterslides and generally being ridden hard and put away (literally) wet. It’s yet to let me down.

The Olympus Tough TG-5 is the camera we recommend as best camera in our Waterproof Camera buying guide.

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5 Camera Settings That All Macro Photographers Should Know

03 Jun

This article will detail five camera settings that are essential and which all macro photographers should know. It was inspired by Will Nichols’ excellent tips Five Camera Settings Every New Photographer Needs to Know. You will notice two main themes in this article – ensuring a perfect point of focus and ensuring maximum sharpness. Both of which are critical in macro photography.

Included in the list of settings are Manual Focus, Manual Mode, Live View, the self-timer, and burst mode. By familiarizing yourself with these settings, your macro photography will grow by leaps and bounds.

dahlia macro photography flower - 5 Camera Settings That All Macro Photographers Should Know

1. Manual Focus

Manual focus is one of the most important tools in a macro photographer’s toolkit. When working at high magnifications, you cannot rely on a lens’s autofocus capabilities for a couple of reasons.

First, Manual Focus is necessary for creative macro photography. In macro photography, particularly in more abstract macro photography, you have to make your point of focus count. Only by using Manual Focus, can you do so with the required pinpoint accuracy.

Secondly, macro lenses tend to have relatively bad autofocus capabilities, especially at high magnifications. It becomes frustrating to sit and wait while the lens pans back and forth (this is an even bigger problem in low light).

Macro photography grape hyacinth abstract - 5 Camera Settings That All Macro Photographers Should Know

By using Manual Focus, I was able to render the tip of the flower sharp.

The solution? Learn to use Manual Focus. With a bit of practice, you’ll find that you can focus quickly and efficiently, and your keeper rate will immediately increase.

Flower Abstract Macro Photography pink flower - 5 Camera Settings That All Macro Photographers Should Know

2. Aperture Priority or Manual Mode

There’s no way around this. A macro photographer must have maximum control over their depth of field.

At the high magnifications that are characteristic of macro photography, depth of field is often mere millimeters. And, as touched on above, it is essential that you use that in-focus area to your advantage.

One way to do this is by carefully selecting your depth of field. This may involve using a shallow depth of field for a more abstract look, or a large depth of field so as to ensure a completely sharp subject. Regardless, being able to modify your depth of field from subject to subject, from image to image, is crucial.

Tulip abstract macro photography - 5 Camera Settings That All Macro Photographers Should Know

I knew that I needed a very shallow depth of field if I wanted to pull off this tulip photograph. I used Manual Mode to select an aperture of f/4.2.

There are two settings that offer this level of control: Aperture Priority and Manual Mode. Aperture Priority Mode (labeled A or Av on your camera mode dial) allows you to set the aperture (and hence adjust the depth of field). Then the camera sets the shutter speed based on its internal light meter. Manual Mode (labeled M on your camera mode dial) allows you to control the aperture but also gives you control over the shutter speed.

I generally use Manual Mode, because I like to make split-second decisions regarding the shutter speed. But there are good reasons to use aperture priority mode as well. Whichever mode you choose, make sure that you are consciously adjusting the depth of field to fit your creative vision.

macro photography abstract trout lily - 5 Camera Settings That All Macro Photographers Should Know

3. Live View

Live View is useful in macro photography for a few reasons.

First, Live View allows for you to check your point of focus. As mentioned above, nailing your desired point of focus is essential in macro photography. With Live View, you can zoom in on the LCD screen to ensure that you are not front-focusing or back-focusing.

macro photography abstract flower - 5 Camera Settings That All Macro Photographers Should Know

Live View allows for you to make an image such as this where you can carefully focus on the base of the flower.

Furthermore, on some camera bodies, Live View enables you to reduce camera shake and keep your images sharp.

How? For the relevant camera bodies (I recommend that you check to see if this is true for your camera because it is an excellent trick), when Live View is activated, the mirror in your camera immediately flips up. Normally, this mirror flip occurs when you press the shutter release, causing camera vibration, and thus reducing sharpness.

But with Live View, this pre-flip means that, when you ultimately press the shutter release, no extra vibration occurs.

Macro photography black eyed susan abstract - 5 Camera Settings That All Macro Photographers Should Know

I took this handheld image at dusk, and just barely managed a sharp image.

4. Burst Mode

If you always use a tripod when shooting macro, feel free to ignore this tip. But for those who don’t like the weight or reduced flexibility that a tripod brings, Burst Mode can be a great tool.

What is Burst Mode? This is the camera setting that allows rapid-fire photography when you hold down the shutter release button. It ranges from a few frames per second to upwards of 10 (depending on your camera model).

While primarily used by wildlife, sports, and bird photographers in order to capture split-second action in the field, Burst Mode can also be used by macro photographers in order to ensure maximum focusing accuracy.

macro photography seedhead abstract - 5 Camera Settings That All Macro Photographers Should Know

I took this photograph while hand-holding at an extreme magnification. Without burst mode, I probably would have failed to get a usable image.

Macro photographers are often working at such high magnifications that it’s difficult to ensure perfect focusing even when using the above settings. This is where Burst Mode comes in. By taking a series of images, any slight camera motion is controlled. Even if a few photographs are out of focus, you are likely to be satisfied with some of the others.

5. Two-Second Self-Timer

A final setting that is useful for macro photographers is the two-second self-timer. When shooting (with or without a tripod) in low light with a large depth of field, you might struggle to get sharp images. Part of the problem may be camera shake, caused when you press the shutter release button. Your finger pushes the button but also rocks the camera at the same time.

The solution is to use the two-second self-timer. This is a setting offered by most DSLRs which allows you to obtain maximum sharpness and may be the difference between a usable image and a blurry one.

macro photography abstract lights - 5 Camera Settings That All Macro Photographers Should Know

When shooting in the evening, the two-second timer can be extremely useful.

Conclusion

By familiarizing yourself with these five settings; Manual Focus, Manual Mode, Live View, Burst Mode and the two-second self timer – you will have the technical grounding that all macro photographers need.

Can you think of any others settings that all macro photographers should know? Please share them in the comments below.

macro photography abstract - 5 Camera Settings That All Macro Photographers Should Know