New Year Day afternoon. I started the 2021 paddling on Horsetooth Reservoir with Sea Wind, my expedition canoe. No drysuit or wetsuit needed, but loading this boat on Toyota 4Runner and carrying to water was a good crossfit training in […]
paddling with a camera
Posts Tagged ‘Starting’
Starting 2021 Paddling Season with Kruger Canoe in Colorado
04
Jan
Photography Equipment for Beginners: What to Buy When Starting Out
24
Oct
The post Photography Equipment for Beginners: What to Buy When Starting Out appeared first on Digital Photography School. It was authored by Rick Ohnsman.
You’ve decided you want to get more serious about photography, move beyond just making snapshots with your cellphone, and perhaps even pursue making money from your hobby. You’re ready to start shopping for a better camera and the accessories that go with it.
Many articles about photography equipment for beginners will immediately start recommending makes and models. Or, if you walk into a traditional brick-and-mortar photo store, a salesperson might start showing you equipment, eager to make a big sale.
Ask other photographers, “What should I buy?” and many will launch into a list of equipment they like, probably favoring the make and model of the gear they own.
(Stay far away from “fanboys,” people who will tell you Brand X is the only way to go and only idiots would buy anything else.)
I’m here to suggest that, rather than immediately seeking a make/model answer to the “What should I buy?” question, you should instead start by asking yourself some more general questions.
Assessing your needs
Cameras and associated equipment will not make you a great photographer, any more than buying an expensive sports car will instantly make you a winning race car driver. To take that analogy further, why would you plunk down the big bucks for that exotic sports car when all you need is something to drive to the grocery store?
The same goes for simply buying the “latest and greatest” gear because that’s what other photographers are excited about, or because that make/model is the buzz of trade magazines and online photo sites. Porsche sports cars have a great reputation, but do you need one? The new mirrorless cameras from the big-name camera manufacturers are exciting, but are they right for you?
If money is no object (I wish that were my situation!), does that mean you should buy the most expensive, sophisticated camera and all the lenses and goodies to go with it? Will that guarantee you have the “best” and most capable gear that will ensure you make stellar photos?
I hope you don’t just reach for your wallet. Instead, do a little self-assessment and homework first.
So, let’s explore the questions you should be asking yourself as we dive into photography equipment for beginners.
What do you already know about photography?
If you’re looking for photography equipment for beginners, here’s the first question you should ask:
What do you already know about photography?
How much knowledge and experience do you already have? Have you only made some “pretty pictures” with a single press of the shutter button on your cellphone? Have you heard of the exposure triangle? Do you understand what ISO, shutter speed, and aperture are and how they interact to control exposure, depth of field, and motion capture? Have you had or might you have an interest in pursuing formal instruction to better learn both the artistic composition of photos and the technical operation of the camera?
Sure, you can buy a fancier, more expensive camera with the idea that you will “grow into it.” Of course, that more sophisticated camera with buttons, knobs, dials, and cryptic menus could also overwhelm you as a beginner. Sometimes simpler is better, especially when you’re still learning.
On the flip side, a cheap point-and-shoot, highly automatic camera might be easy to learn, but can very quickly create limitations for you as you grow as a photographer.
The real question here is, “How serious are you about photography?”
Do you simply want a camera you will use on occasion, perhaps take on vacation, and that will make good photos with its automatic modes? Or do you plan to make this a serious hobby in which you will invest time, study, and frequent practice? Do you want to dig in and really learn?
What type of photos will you be making?
Cameras don’t make photographs; photographers do. A camera is simply a tool a photographer uses to create a photograph.
In any endeavor, having the right tool for the job makes the work easier and gives improved results. So, when choosing the right camera for your photography, an essential question is, “What kind of photographs do I intend to make?”
I purposely use the word “make” rather than what many people say about “taking photos.” Snapshooters might take photos, seeing something of interest and quickly, without much thought, snapping a shot. Serious photographers, however, are craftspersons, thinking about composition, camera settings, and many other things involved in creating and “making” a photograph.
Whether you just want to take snapshots or make photographs will also influence what kind of equipment you should buy.
So what kind of photos do you want to make? What subject matter is your favorite?
I hear some saying, “I’d like to make all kinds of photos of whatever catches my eye.” So let’s ask the question this way: “What kind of photos do you envision making 80% of the time?” Photos of your kids as they grow up? Formal portraits? Landscapes? Vacation photos? Wildlife photos? There are hundreds of photo genres to explore and, while some camera and lens combinations might be able to handle a greater variety of these, expect to pay more for such photography equipment.
Specialized kinds of photography, such as bird or wildlife shooting where fast camera responsiveness and long lenses are required, will take more specialized gear. Perhaps you want to take photos of your kids playing soccer or engaging in other sports. You might consider an inexpensive point-and-shoot camera, but even if it does have a built-in 10x “superzoom,” will the lag-time between when you press the shutter and when it fires cause you to frequently miss the action? Will the tiny built-in flash have enough power to light your kid at the other end of the basketball court as he hits the winning shot at the buzzer?
Finding the balance between spending enough to have the most versatile equipment and yet not paying for things you will never or only rarely use can be hard. Back to the “80% factor” I mentioned: Buy the gear that will accommodate 80% of your needs. If you suddenly get to photograph that African safari and don’t have the equipment you need, then you can upgrade or, better yet, rent the equipment to handle that unique opportunity.
How will your photos be used?
Before digital photography and the internet, a photograph meant a print. Today, it’s becoming rarer and rarer to see printed photos. Some of these statistics are from 2017, so they’re already dated, but still amazing to consider:
- An estimated 1.3 trillion photos are taken each year
- 75% of those photos are taken with cellphones
- Less than 13% of photos are taken with dedicated digital cameras
- Approximately 121.5 million digital cameras were sold in 2010; that dropped to 14.8 million in 2019
Do you wonder why companies such as Olympus have folded and even the largest digital camera makers are struggling? Sure, you’re reading this because you intend to continue pursuing digital photography, but the question I’m heading toward is, “What percentage of your images do you intend to print?”
Do you need a high-megapixel camera?
Top-end camera manufacturers like to boast about the high-megapixel cameras they are producing and, yes, these can produce some amazing images. Cameras from the top manufacturers now tout specs showing sensors between 40 and 60 megapixels (with prices to match).
The question is: If the vast majority of the images you shoot are only for display on your monitor or online, do you need such high megapixel counts? You can print a beautiful 300 DPI 16” x 20” print with a 4800 x 6000 pixel (28.8 MP) image.
At the time of writing, the Sony A7R IV is the highest megapixel full-frame camera, and it produces a 9504 x 6336 pixel (60.2 MP) image. Printing that at 300 DPI would give you a nice 20″ x 30″ print, and it would be quite easy to go far bigger than that.
On the other hand, if the largest you’d ever print is 8″ x 10″ (about an A4 size using European standards), a 7.2-megapixel image would be just fine. Most current smartphones produce higher resolution images than that.
I don’t mean to confuse you with math. But I want you to ask yourself the question, “Do I expect to be printing my photos and, if so, how large might I print them?”
Do you need an expensive, full-frame, high-megapixel camera if all you’ll ever do is share your work on social media?
Size, weight, and environmental factors
You’ve heard the saying, “The best camera is the one you have with you.” I suppose the corollary to that is, “The worst camera is the one you left at home” (or in your car, or anywhere that is not with you). If you buy a camera (and lenses, and tripods, and other equipment) that becomes a nuisance to bring along, or makes you wish it were smaller and lighter, you’ve probably bought the wrong gear.
Interestingly, many people believed the way to save on size and weight was to move to the latest mirrorless cameras. Yes, mirrorless cameras are marginally smaller and lighter, but lenses for them are not appreciably smaller and lighter. Many mirrorless cameras also draw more battery power, and so the weight saved with smaller equipment is offset by having to carry more batteries. About the only thing that has grown appreciably lighter are photographers’ wallets, because the new smaller, lighter cameras often carry a premium price.
Something else to be considered when shopping for photography equipment for beginners is where and how the camera and accessories will be used. If you’re taking a camera on vacation for travel photos, how much equipment do you want to pack and carry around all day? If you’re a backpacker or outdoorsman, do you want to take a tripod? An array of lenses? Might one of the more sophisticated bridge cameras be a better option for a travel camera?
Another consideration might be the operating environment in which you intend to make photos. If you will frequently be in dusty environments, you may not want a camera with interchangeable lenses. Maybe you frequently shoot in the wet, rain, snow, or in other inclement weather. If so, a camera that is weather-sealed might be worth considering.
Upgradability
If you intend to pursue photography for many years, you will want to give consideration to upgrading your equipment as you improve, as new innovations come along, as you diversify in your shooting, or even as equipment wears out.
Photographers who shoot with interchangeable lenses often find that they soon have more money invested in good lenses than their camera bodies. “Good glass” that can still be used when a camera body is replaced becomes a good investment. Because camera manufacturer lens mounts are usually proprietary to that brand, once you select a make and purchase a few lenses, you will likely want to stick with that manufacturer in the future, rather than sell off everything and start all over.
New, used, or refurbished?
Some people only want to buy new equipment and, if paying full-price for equipment to get factory-fresh gear with a full warranty is worth it to you, go for it.
But sometimes, when researching photography equipment for beginners, substantial savings can be had by buying well-cared-for, used equipment (with stress on well-cared-for). Here’s a good article from Jaymes Dempsey about considerations when buying used photo equipment, and here’s another by Tom Mason. I have had generally good experiences buying used equipment because I:
- Buy from photographers I personally know who take good care of their gear, or
- Buy from top resellers such as B&H, Adorama, KEH, and others that check and give their used equipment full inspections, ratings, and even limited warranties, or
- Buy directly from manufacturers who service, inspect, sell, and warranty refurbished equipment.
Excellent savings can often be had by purchasing used when new equipment is just coming out. Photographers with GAS (Gear Acquisition Syndrome) just have to have the latest, greatest thing. Many of these shooters, eager to trade up, are willing to sell their slightly used equipment for bargain prices.
Now, as a beginning photographer, you don’t need the newest cutting-edge equipment, because you likely still have to master the basics. If last year’s top (and now slightly used) camera can be had, helps you learn the basics, allows you to better understand your needs, and fits the bill at a reduced price, so what if you only have it a short while before you upgrade?
Who to purchase from?
Some good advice about buying photo equipment (or anything else for that matter) is the Latin phrase caveat emptor. You likely know that means let the buyer beware.
It used to be that you could walk into a camera store and deal face-to-face with the store owner or at least a salesperson. Even then, you always had to be wary of the unscrupulous salesperson who, once you were pegged as a beginner without much knowledge, would try to upsell you into purchasing far more gear (or more expensive gear) than you really needed. You hoped instead that you’d get a dealer who really wanted to understand your needs and outfit you with the best equipment suited to your budget and needs. This second type of dealer would ask the kinds of questions we’re exploring here, knowing that a satisfied customer would tell others of their good experience and thus bring in more business.
Sadly, these kinds of brick-and-mortar camera stores are becoming rare (the last dealer in my town closed shop about a month ago after 74 years in the photo business). That doesn’t mean there aren’t reputable online dealers who offer good customer service on photo equipment. You just have to do your research. Talk to experienced photographers and ask them where they buy their equipment, who gives good deals, who provides good advice and service, and who honors warranties.
Always be cautious of dealers who have questionable reputations and, even more so, offer deals that are too-good-to-be-true. Often photo equipment manufacturers will require all dealers to offer their equipment at the same price, and so where you shop won’t change the price. Some dealers will thus come up with their own incentives and offer packages of accessories they throw in to sweeten the deal. Look carefully at whether this is really worthwhile. You might get a cheap cleaning kit, a worse-than-nothing tripod, or a shoddy camera bag, stuff that’s not worth it if it tempts you to do business with a shady dealer.
Also, beware of the dealer who tries high-pressure tactics to get you to add on stuff you didn’t initially intend to buy or a questionable “extended warranty.” And beware of “gray market” equipment, which most manufacturers won’t warranty at all.
Using online buying guides
I have refrained from suggesting any specific makes or models targeted as specific photography equipment for beginners. If, after asking yourself the questions I’ve outlined, you think you’re ready to begin looking at specific gear, there are some great places to check out.
Here on the Digital Photography School (dPS) site, check out the Cameras & Equipment section.
Another place I particularly like is the Digital Photography Review site (DPReview.com) and their Buying Guides section. The Cameras by Use Case pages are great for helping suggest makes and models based on how you intend to use your camera.
I’ve primarily discussed cameras, but if you’re shopping for tripods, lighting equipment, or any other kind of photo accessories, places such as dPS and DPReview offer a wealth of information. There are also forums where you can learn from other photographers about the ins-and-outs of specific gear.
Do be cautious, however. Fanboys and trolls like to hang out in places like that, so don’t just go with the first opinion you read.
Photography equipment for beginners: The questions to ask
I’ve thrown out a lot of stuff here, so let’s summarize with a list of questions to ask yourself:
- What are my needs for a camera (or other photo gear)?
- How much do I know about photography?
- How serious do I intend to get? Will I pursue learning opportunities?
- How often will I use this equipment?
- What kind of photos will I be making (use the 80% rule)?
- Do I want to specialize in a particular photo genre/subject?
- How will I use my photos? (Online? Print? Sell?)
- How much resolution (megapixels) do I need?
- Is size/weight an important factor?
- Where will I use my gear (environmental factors)?
- Do I plan to upgrade, add lenses, and add accessories?
- Do I want new gear, or might I consider used or refurbished equipment?
- Who should I buy from? A store, an online dealer, or a private individual?
- Have I done research (via buying guides, and/or discussions with trusted photographers)?
Now take my money
Some people aren’t much for researching purchases and simply want someone to tell them what to buy. It’s easy to find salespeople perfectly willing to tell you what you “need” and take your money.
I suspect that, if you’ve read this article, you are not one of those people.
So, in writing this guide to photography equipment for beginners, my aim is not to tell you what to buy, but rather to have you ask yourself the right questions. If you do that, you can best make a wise purchase and get the photo tools that best suit your task.
The ultimate objective is that you learn and grow as a photographer, enjoy photography, and make increasingly better photographs. Best wishes!
The post Photography Equipment for Beginners: What to Buy When Starting Out appeared first on Digital Photography School. It was authored by Rick Ohnsman.
11 Things to Experiment With When Starting Out in Digital Photography
15
Oct
The post 11 Things to Experiment With When Starting Out in Digital Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.
Starting out in digital photography can seem a little daunting. With so many avenues to explore, it can be hard to pinpoint exactly where to begin. Here are 11 things to experiment with when first taking up photography.
1. Semi-automatic and manual modes
When first getting started in photography, it can be tempting to switch a camera over to Auto mode and forget about making manual adjustments, especially when starting out in digital photography. Why make manual adjustments when the camera can do it all for you, right?
The truth is that shooting with Auto mode sacrifices experience, flexibility, and control. If you can avoid Auto mode, you should.
Now, the prospect of shooting in Manual can prove overwhelming to start with. Fortunately, there are often semi-automatic modes available in-camera to bridge the gap between Manual and Auto.
Shutter Priority allows you to alter shutter speed while the camera automatically adjusts the aperture. Aperture Priority is similar, but it allows you to change the aperture while the camera adjusts the shutter speed instead.
Shutter Priority and Aperture Priority facilitate a creative approach to photography while allowing the camera to manage some of the load in maintaining a decent exposure. This balance of functionality allows you to experiment, which in turn helps you develop a good sense of the right settings for any circumstance.
And after becoming familiar with the dynamics of semi-automatic modes, graduating to Manual is a lot more fluid, when you can finally take full advantage of the camera as a creative tool.
2. ISO
ISO is a little misunderstood; there’s a great video about it here. But in basic terms, ISO is a setting that brightens an image in-camera. As the ISO value is increased, images grow progressively lighter. It’s a function that is useful for photography in darker environments.
However, raising the ISO value also increases noise, which can compromise the quality of a digital image.
Experimenting with ISO will give you a sense of how your images will turn out in low-light situations. By becoming familiar with ISO and its trade-offs, you can learn to anticipate the outcome of a photograph, maintaining as strong image quality as possible in a variety of environments.
3. Metering modes
In-camera metering is how a camera determines the appropriate exposure for a given situation. Metering modes refer to the method the metering system uses to evaluate a scene.
Different metering modes allow photographers to select the ideal settings for a particular situation. For example, Matrix metering (Nikon)/Evaluative metering (Canon) measures the light intensity at several zones in a scene, then combines the results to find the average settings for the exposure. Spot metering, on the other hand, measures only a very small portion of a scene to determine exposure settings.
While Matrix/Evaluative metering is useful for situations with evenly-distributed tones, Spot metering is ideal for metering in high-contrast scenarios. Experimenting with metering modes exposes a user to effective ways of working in different lighting conditions, leading to greater creative and technical control.
4. White balance
Different lighting conditions can impact the color temperature of the overall photo. For example, fluorescent lights can generate a different color cast than the afternoon sun. To rectify this, many digital cameras offer a function that balances the whites in a scene in order to make images appear more natural.
Experimenting with preset or custom white balance modes can help achieve a more aesthetically pleasing result in-camera. Although white balance can be set to Auto, the camera doesn’t always get it right. Trying out custom or preset white balance functions prepares a photographer for tricky lighting situations down the track.
5. Manual focus
As a beginner photographer, achieving sharp images can be a challenge. Although a camera’s autofocus function is quick and relatively easy to use, shooting with manual focus can sometimes be the difference between successful and unsuccessful images.
Often, manual focus is much more effective than autofocus in low-light and low-contrast conditions, and shooting through objects (like glass or fencing) with autofocus engaged can be a frustrating experience. The autofocus system may even get confused when the user is trying to focus on a fast-moving subject.
While autofocus may be convenient in some situations, switching to manual focus can play a vital role in creating quality images. Experimenting with manual focus when starting out in digital photography builds and reinforces technical experience. Using manual focus also fosters a greater awareness of camera capabilities and generates a more diverse range of images.
6. Composition
Throughout the history of visual art, concepts have emerged to aid in the formulation of impactful imagery. Composition refers to the organization of visual elements within an artwork. Whether it’s a painting, a photograph, or a sculpture, all art hinges on composition.
Experimenting with composition allows photographers in the early stages of their practice to arm themselves with helpful knowledge that has been passed down by artists. By experimenting with compositional elements (such as perspective, the rule of thirds, and leading lines), new photographers can quickly start to identify and utilize key visual aspects of a scene.
7. Abstraction
Wikipedia defines abstract photography as “a means of depicting a visual image that does not have an immediate association with the object world and that has been created through the use of photographic equipment, processes, or materials.”
Basically, abstract photographers generate subject matter that prioritizes aesthetic experience over conventional discernibility.
Right: Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | 1/250 sec | f/6.3 | ISO 100
Abstraction is a unique facet of photography in that it encourages a more experimental approach to the photo-making process.
By taking advantage of abstraction, those starting out in digital photography are free to experiment beyond the conventional notion of a photograph. This experimentation will inevitably inform other areas of a new photographer’s practice, building experience and developing individual perspective.
8. Subject matter
There is nothing wrong with specializing, but tackling a range of different photographic fields expands your photographic experience. And it can also completely alter the way you approach your preferred subject matter.
For example, landscape photography can reveal opportunities for beautiful outdoor portraits. Abstract photography can impact the way motion is expressed in action shots. Street photography can help you develop an eye for subtle photographic opportunities. Macro photography will help you notice small details.
In short, experience with different photographic subjects can feed into one another in surprising ways. Experimenting with a variety of subjects is a solid means of developing a well-rounded photographic approach.
9. Perspective
One of the reasons photography is so effective is because it challenges both the photographer’s and the viewer’s comprehension of the world. However, it can be easy to get into the habit of photographing subjects from the same eye-level viewpoint, especially when starting out.
We all know the saying, “Show, don’t tell.” Moving around with the camera is one of the simplest ways to convey a unique photographic experience. You can shoot from above your subject, below your subject, or off to the side.
And by experimenting with different camera positions, you explore the nature of photography and the world we live in. By photographing from interesting or unusual perspectives, the physicality of the image-making process is emphasized, providing a unique insight into the world through the experience of the photographer.
10. Post-production
Getting it right in-camera is ideal, but sometimes a bit of work in post-production is necessary. Becoming familiar with digital post-production techniques can be very handy, especially because even minor adjustments can create a positive impact. In addition, editing can affect your overall approach to digital image-making by revealing photographic techniques that work well or need improvement.
Photoshop is a great tool for editing images, but there are also free applications such as GIMP to make use of. With practice, you can develop a sense of how to bring the best out of a photograph.
11. Accessories
There are plenty of ways to expand your creative image-making through economical accessories.
For example, extension tubes are a cheap way of getting into macro photography. Filters can significantly alter the outcome of a photograph. And a budget tripod will help you achieve sharp images. Renting or buying second-hand is also a viable option. In some cases, digital photographers can even make use of old lenses designed for film cameras.
Investing in economical accessories allows new photographers to experiment with engaging techniques without breaking the bank.
Starting Out in Digital Photography: Conclusion
While there are plenty of considerations to take into account when starting out in digital photography, experimenting with technical settings, creative approaches, and accessories gives you a strong foundation for future photography endeavors.
And this allows for a more comprehensive skillset and well-developed creative instincts.
Now over to you:
Have you tried experimenting with any of these items? What are you going to experiment with first? Leave a comment and let us know!
The post 11 Things to Experiment With When Starting Out in Digital Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.
Starting with Off-Camera Flash in Photography: Techniques
30
Jun
The post Starting with Off-Camera Flash in Photography: Techniques appeared first on Digital Photography School. It was authored by Carl Spring.
In my last post, I showed you what equipment you needed when starting with off-camera flash. This time, I am going to be looking at the technical side and what you actually need to learn in order to take great photos using off-camera flash.
It’s hard
This is the part where you need to really get to grips with how this all works. When starting with off-camera flash, this will be something that frustrates you. I’m not going to lie, it involves hard work and practice to get right.
In order to start, you really should have a good idea of how to shoot in manual mode, or at least a good awareness of aperture, shutter speed and ISO.
For someone new to off-camera flash, the technical aspects are the part that is the most daunting. Not only are you working with the camera in manual mode, but you are also adding things such as flash power and flash-to-subject distance. Then there is a model for an extra layer of pressure. That said, a good model is vital.
Working with a model
Finding people to pose for you while you learn is always hard. For this article, I managed to get an awesome model. She is incredibly patient and did exactly what I asked her to do every time. Here she is:
Honestly, a mannequin head is a great investment when starting with off-camera flash. I only paid £4 for this hairdressers mannequin on an Amazon flash sale. Using a mannequin really allows you to build confidence and test lighting setups without worrying about annoying friends, family or models.
You can always use other inanimate objects, especially if you are not interested in portraits, but a hairdresser mannequin is one of the best investments you can make to help you master off-camera flash for portraits.
Learn the technical rather than letting the camera do it
With modern cameras, flashes and triggers, you can easily stick with letting the camera do all the hard work. Call me old school, but I think it is hugely important to learn off-camera flash manually. By doing this, it is easier to understand how everything works. It also means you are in total control of what is happening.
Just like learning to photograph in manual mode, using off-camera flash manually allows you to get the exact results you want every time. Even if you then go on to shoot in auto mode, you will have the knowledge to still get the shot when the camera plays up (which they tend to do when you need them to do it least).
As you shoot more, you will become more confident, so I would always suggest using an inanimate object whilst you practice. There is nothing worse for knocking your confidence than having your subject in front of your camera and having a total mental meltdown, because you changed the position of the flash but you can’t remember how to adjust the exposure in your camera to make it look right.
The five variables
Unlike shooting in ambient light, where you only have three variables that can control the image, shooting flash ramps this up to five.
However, it is simply a case of working through them methodically. With practice, it becomes easier. However, your first few times, it may be trial and error (and possibly frustration).
The five variables are:
- Shutter speed
- Aperture
- Flash power
- ISO
- Flash-to-subject distance
Let’s start with the two elements that are present in every photograph: shutter speed and aperture.
1. Shutter speed
The main use of shutter speed when using off-camera flash is that you can darken or lighten the ambient light. This includes your background and any other light sources, such as room lights and candles, etc. By using your shutter speed, you can alter the amount of ambient light in the shot without altering any other variable.
The reason for this is that a flash will put out all of its power in the smallest fraction of a second (as quick as to 1/20000th second on some flashes). Your shutter speed will be less than this and, therefore, will not affect the power of the flash itself.
There is also one other thing that affects the use of shutter speed, the flash sync of your camera.
The flash sync is the maximum speed that you can shoot the flash at. This is usually around 1/200th of a second. There is a technical explanation for this and ways to shoot faster, but I won’t get into it within this article as I don’t want to overload you with information. Just remember, you cannot put your shutter speed faster than your flash sync.
Shutter speed in practice
When thinking about using the shutter in off-camera flash photography, the thing you need to decide is how much of the surroundings you want to include. If shooting portraits outdoors against a beautiful sky or backdrop, you may want to balance the exposure with the flash to make the most of the location.
However, if you are doing an indoor shoot with ugly or unflattering lighting, you may want to totally remove all ambient light. Shutter speed is your key to doing this.
Let’s look at this with a series of images.
In all of the images, the only thing I will alter is the shutter speed. Everything else will remain identical. The Aperture is f/16, ISO 100. My flash power is 1/4.
For the first shot, I set the shutter speed to the maximum sync speed (1/200th). As you can see in this image, the background is underexposed for effect and the model is lit by the flash.
As I slow the shutter, this time to 1/100th second, you can see the sky is lighter and the darker areas of the model that are not hit by the flash are less harsh. I have allowed one more stop of light into the camera, but only for the ambient exposure due to the speed of the light coming from the flash.
Finally, I slowed the shutter down to 1/60th to give the correct ambient exposure for the sky and using the flash as a fill for any shadows on the model.
Notice how the lighting from the flash has not changed. That is because aperture controls flash exposure.
You can also use your aperture or ISO to increase or decrease the natural light coming into the camera, but remember when you alter them, you will also need to alter your flash power too.
2. Aperture
When starting out. The easiest way to think about things is that shutter speed controls the ambient exposure and your aperture controls your flash exposure. I know it is a little more nuanced than that in reality, but when learning, you want things to be as simple as possible.
We know that your shutter speed controls how long your camera shutter is open. Your aperture, however, controls how much light enters your camera, not for how long.
As flash power is too quick to be affected by shutter speed, you control it by changing the aperture. If the image is overexposed, you need to close the aperture down, and if it is too dark, you need to open your aperture up.
Setting aperture in practice
To show this in action, look at the images below. In all images, I will keep the shutter at 1/200th of a second and my ISO at 100.
Firstly, I set the flash at f/4. As you can see, the image is overexposed. This means I need to close the aperture a little.
Next at f/8, you can see I have closed the aperture down too far. The image is too dark, so I need to open the aperture a little more.
Finally, here is the shot at f/5.6. As you can see, this is the correct exposure.
As you can see, I have not changed any other exposure variable, just the aperture. Changing the shutter speed would have no impact because the flash discharges its power so quickly. Now I have locked in my exposure, my lighting will be identical every time.
Bonus round
Here is the same image shot with the same aperture and a shutter of 1/100th of a second. A you can see, the change of shutter speed has made no difference to the exposure.
3. Flash Power
Flash power is simply how much power the flash can put out. This varies from flash to flash.
In terms of getting started, a Speedlite is more than fine. It will mean not shooting in the brightest part of the day (unless you are in shade), but it is super affordable, and the best way to start with off-camera flash.
As with shooting in manual mode, you want to learn with your flash in Manual mode. This helps with consistency.
If you set your flash to 1/2 power, every single pop of that flash will be half power. This consistency is key to mastering flash.
In terms of power, you start with full power, which is sometimes also known as 1/1. This is the largest amount of light that your flash can produce. Most modern flashes work in small 1/3 stops, but to simplify things whilst you learn, you really need to concern yourself with the following outputs:
- 1:1
- 1/2
- 1/4
- 1/8
- 1/16
- 1/32
- 1/64
- 1/128
Each of these settings equates to 1 full stop of light the flash produces. So changing the flash from full power (1/1) to half power (1/2) reduces the amount of light coming out by one full stop. Changing it from 1/1 to 1/4 reduces it by two full stops, etc.
Remember, the stops it refers to are your aperture, as this is what controls flash exposure. If you look at the table below it will explain it more clearly.
| FLASH POWER | 1/1 | 1/2 | 1/4 | 1/8 | 1/16 | 1/32 | 1/64 |
| APERTURE | f/16 | f/11 | f/8 | f/5.6 | f/4 | f/2.8 | f/2 |
As you can see, if the flash at full power gives you a correctly-exposed image at f/16, half power will bring you down to f/11 and so on. This relationship is the key to mastering flash. Half the power = 1 stop of light.
4. Where does ISO fit into all this?
Shooting a flash at full power is less than ideal. There may be some circumstances where you cannot avoid it, but it will kill your batteries quicker, take longer to recharge between shots, and, in some cases, it may overheat the flash, causing it to not work at all. Ideally, you want to be working at 1/2 power or less.
ISO is where you can make that happen.
By doubling your ISO, you allow one more stop of light into the camera. Therefore, you can reduce the flash power and still get the look you wanted. For example, an image at ISO 100 and a flash power or 1/1 will be the same as an image at ISO 400 and 1/4 flash power.
ISO in practice
I have decided I want to shoot at f/8 and ISO 100. To do this, the flash has to be at 1/1. To get to 1/4, it means I will lose two stops of flash power.
To keep the same aperture, I turn my ISO from 100 to 400, therefore, giving me two more stops of light into the camera. The image is virtually identical
It is all a juggling act, and ISO is there to help you fine-tune. However, upping your ISO comes with more noise. But, most DSLR and mirrorless cameras can easily go up to ISO 800 and still be of great quality.
ISO can also help with getting the correct ambient exposure whilst keeping a required shutter speed – especially as light drops. A simple tip is – if you need to double your ISO to get more ambient light, drop your flash power by one stop to compensate.
5. Flash-to-subject distance
I have saved this for last. This is the most technical when it comes to understanding flash (and involves the laws of physics).
The distance of your flash to your subject is governed by The Inverse Square Law. This law states:
The intensity of an effect such as illumination or gravitational force changes in inverse proportion to the square of the distance from the source.
https://www.diyphotography.net/visual-approach-inverse-square-law-affects-photographers/
Now, I am sure you are reading this thinking, what the heck does that mean? Well it means the amount of light is reduced by distance. See the diagram below courtesy of Wikimedia:
Image: Borb / CC BY-SA (https://creativecommons.org/licenses/by-sa/3.0)
The easiest way to look at this in a photography sense is every time you double the distance between your light and the subject, the amount of light will be reduced to 1/4 of what it was.
What also happens is that every time you double that distance, you get more space to work in. This is really useful if you are doing a group shot. Again, whilst this is hard to explain with words, look at the diagram below.
Flash-to-subject distance in practice
Now we understand the inverse square law, we can use it to our advantage. All of the images will be shot on the same blue background.
For both images, I will set the exposure at 1/200th, f/16 at ISO 100. I will keep the exposure the same by changing the flash power. The model is 1.5m from the background.
I start with the flash close to the subject (30cm). You can see the background is black. This is due to the light being close to the subject. Therefore, the difference in exposure between the subject to the background is huge due to the inverse square law.
Now, as I move the light back, the difference in the power of light between the subject and the background is much less due to the inverse square law.
The distance between the model and the light is now around 2m.
To keep the exposure the same, I have had to increase the power of my flash a whopping 6 stops. In this example, it has gone from 1/128 power to 1/2 power to keep the same exposure.
As you can see in the image below, the final model and background are both well-exposed due to moving the light further back.
Let’s recap
So hopefully, you now have a good understanding of the basics for getting started with off-camera flash. But let’s recap the basic points to remember:
- Aperture controls the flash exposure
- Shutter speed controls the ambient light
- Doubling or halving the power of your flash moves the power of the flash by one stop of light.
- When the flash is close, the light falls off incredibly quickly
- As you move further away, the fall-off is much slower.
- Get yourself a model that isn’t human to practice on. Try the model head or bottle of whiskey.
- Practice, practice, practice.
- It isn’t easy to get your head around, but I promise that one day it will just click. The only way for this to happen is if you practice. So, what are you waiting for?
There are more variables you can throw in, such as modifiers, high-speed sync, etc. but right now, that isn’t what you need to learn.
Master these basics and then push things further. The only thing I would suggest to add is an umbrella to diffuse the light and give more flattering results.
Now it’s time to practice
An article about starting with off-camera flash that tells you to shoot fully manual. You might be thinking “I can’t do this.” You can – you just need to practice.
It may sound daunting to some of you, but I promise it is easier than you think. I always compare starting with off-camera flash to learning your time tables. When you are learning them, they feel really difficult. Then it clicks, you suddenly understand it and you wondered why it took so long.
All together class, sing along. Two times two is four…
Do you have any other tips or questions you’d like to share? Please do so in the comments.
The post Starting with Off-Camera Flash in Photography: Techniques appeared first on Digital Photography School. It was authored by Carl Spring.
Topaz Labs will end free upgrades for several products starting in August 2020
15
Feb
 |
Topaz Labs, the software company known for offering free software upgrades, has announced a major change to its business model: customers will have to pay to upgrade several of the company’s products starting in August 2020. The announcement was made by company CEO Eric Yang in a statement on Thursday. Gigapixel AI, DeNoise AI, Sharpen AI and Mask AI are all affected by the change.
Yang explains that offering free major upgrades for its products was a way ‘of acting differently than faceless corporations,’ but that it ultimately had an unwanted effect. By hinging its revenue on new products rather than product upgrades, Yang says, ‘we found that we weren’t focusing as much as we wanted on improving existing products.’
Yang goes on to state:
We ended up with several different products that did similar things, which caused confusion about which tool to use. Although it started out with good intentions, our free upgrade policy ultimately prevented us from delivering the best possible products to you. Make no mistake about it: this situation was 100% our fault. We were not thoughtful enough about aligning our pricing structure with continuous improvement of our products.
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Topaz Labs says more than $ 8 million worth of free upgrades were claimed for major new products last year. In 2020, the company will transition to paid upgrades, which will involve paying $ 49.99 for a year of upgrades following an initial first year of free major and minor upgrades. For customers who own multiple Topaz Labs products, the upgrades can be collectively purchased for $ 99.99.
The company says that Mask, Sharpen, DeNoise and Gigapixel will require upgrade licenses this year. Topaz Labs stresses that customers retain access to the products they purchased even if they choose not to purchase software upgrades. ‘Wait until [the upgrade] actually includes something you want to pay for,’ Yang says. ‘This also incentivizes us to make sure that the improvements we do implement are useful enough for you to upgrade.’
Some customers are understandably upset about Topaz’s decision to start charging for upgrades. Yang acknowledges this in his post, stating that it was a hard decision to make. ‘I’m asking you to lock arms with us and walk through this phase of our development by accepting this change,’ he states. Users will soon be able to view how much time remains on their upgrade licenses within their customer accounts.
Articles: Digital Photography Review (dpreview.com)
DJI expected to release at least 3 new drones in 2020, starting February
24
Jan
 |
| The Mavic 2 is suspected to be succeeded by the next-generation Mavic drone. |
Last May, DJI made an important announcement: starting January 1, 2020, every drone model weighing over 250 grams will have AirSense Automatic Dependent Surveillance-Broadcast (ADS-B) receivers installed. By identifying helicopters and airplanes nearby, drones equipped with ADS-B sensors will be able to detect obstacles and avoid collisions. It would only make sense that DJI plans on rolling out new models soon, especially after a relatively quiet 2019.
A DJI Mavic 3 was expected by the end of this month. However, according to DroneDJ, invites for an industry release party have yet to be sent out. This is certainly not a promising sign. There are two reasons for this possible delay – the Skydio 2 and Autel EVO II. The latter is the most concerning as it blows the Mavic series out of the water with superior specs including the first consumer-grade 8K camera.
A delay in the Mavic 3 may mean the DJI Mavic Air 2 will be the first consumer-grade model featuring ADS-B technology to be released in 2020. Rumored upgrades to the original Mavic Air include longer battery life, 360º obstacle avoidance, aerodynamic propellers for quieter flights, and improved 4K video with an Ambarella processor.
The Matrice 300 is expected to arrive before the end of February. The Matrice 200 and 210 models are primarily used by search and rescue teams, police forces, and firefighters. The enterprise-grade drones started malfunctioning and falling from the sky, according to a report by the UK’s Air Accidents Investigation Branch. A Matrice 600 is also a possibility toward the third or fourth quarter of this year.
Keep in mind these are only rumors. DPReview has not received any confirmation on new releases for 2020 from our contacts at DJI.
Articles: Digital Photography Review (dpreview.com)
Nikon Z6/Z7 Raw video upgrade available starting today for $200; new firmware adds CFexpress support
17
Dec
 |
Nikon has some much-anticipated news for Z-series videographers: starting today, Z6 and Z7 owners can send their cameras to a Nikon Service Center for a paid upgrade to add Raw video output. The company has also released firmware v.2.20 for the Z6/Z7 today, adding support for CFexpress memory cards.
First announced earlier this year, the paid upgrade brings 12-bit 4K or Full HD ProRes Raw video recording with the Atomos Ninja V recorder to both the Z6 and Z7, which were previously limited to 10-bit Log over HDMI. While 12 months is a fairly long time to wait, it’s probably no coincidence that this announcement comes after the recent settling of a long-running dispute between Apple and RED over the patent to Raw video. This may also explain why the update is paid, rather than available for free.
However, those who purchased the Z6 as part of the Filmmaker’s kit can receive the update at no charge; all other Z6 and Z7 owners must pay $ 200 for the service. Nikon USA has published a dedicated Raw video page explaining the requirements and instructions for obtaining the upgrade.
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| Nikon Z6 Filmmaker kit |
Additionally, firmware v.2.20 for the Z6 and Z7 arrives today, enabling use of more robust (and more costly) CFexpress memory cards. Since the cards are physically the same dimensions as XQD, there’s no need to physically modify the cameras to make them compatible with the new format. The company also says it will add CFexpress support to the Nikon D5 (XQD-type), D850 and D500 at a later date.
Nikon Z6 and Z7 firmware version 2.20 is available starting today free of charge – visit Nikon’s firmware page to learn more.
NIKON Z SERIES EVOLVES TO BECOME EVEN MORE POWERFUL: FIRMWARE VER. 2.20 RELEASED, ADDS SUPPORT FOR CFexpress MEMORY CARDS;
PAID SERVICE TO INSTALL RAW VIDEO OUTPUT FUNCTION ALSO BEGINS
MELVILLE, NY (December 16, 2019 at 11:00 P.M. EST) – Nikon Inc. is pleased to announce the release of firmware Ver. 2.20 for the Nikon Z 7 and Z 6 full-frame mirrorless cameras. This firmware update offers several improvements that make these cameras even more powerful, including the addition of support for the next generation memory card, CFexpress. Additionally, Nikon has announced that beginning today, service to install RAW video output functionality will be available for those wishing to add enhanced professional video capabilities.
Support for CFexpress, the New Standard for Speed and Durability
Updating Z 7 and Z 6 firmware to Ver. 2.20 enables the use*1 of CFexpress*2 cards. CFexpress cards are robust and reliable, and support even faster data transfer than XQD cards for a smoother and more efficient photographic workflow.
CFexpress cards use a similar form factor to XQD, eliminating the need to physically modify the camera’s memory card slot. After upgrading, users will be able to use CFexpress as well as XQD cards in their camera interchangeably. In addition to the Z 7 and Z 6, CFexpress memory card support will be added to the Nikon D5 (XQD-Type), Nikon D850 and Nikon D500 digital SLR cameras in the future.
Initially, only limited CFexpress card types are fully supported and the number of supported cards will continue to expand as additional cards are tested and certified (Type B CFexpress cards manufactured only by Sony Corp. Availability date for the cards may vary by market).
RAW video output function (4K UHD and Full HD)
Developed in conjunction with Atomos, this capability enables recording of RAW video, which has greater flexibility for color grading compared to other video formats.
With this upgrade, 12-bit 4K UHD or full-HD RAW video can be recorded*3 to select models of Atomos video recorders*4 connected to a Z 7 or Z 6 camera via a HDMI connector. As RAW video is not subjected to in-camera processing, all information that is outputted from the image sensor is preserved. This abundance of information can later be used in post-production.
The RAW video output capability upgrade can be installed at a Nikon service center and will incur a fee but will be included free of charge as part of Nikon Z 6 Filmmaker’s kit bundles. Those customers in the United States who have already purchased a Nikon Z 6 Filmmaker’s kit (Product #13545) will be eligible to have the fee waived (proof of purchase required). For more details about the Nikon Z 6 Filmmaker’s kit, please visit here.
For additional technical information, equipment requirements and instructions on requesting the RAW video output upgrade, please visit: www.nikonusa.com/RAWvideo.
Price and Availability
The firmware update Ver. 2.20 which enables CFexpress functionality is available now, free of charge. Please visit The Nikon Z series Firmware update page to download and find more information.
The RAW video output upgrade is available starting today and will require installation by a Nikon Service Center. A $ 199.95* fee will apply.
For more information on the latest Nikon products, including the Nikon Z mount system, please visit www.nikonusa.com.?
*1 Type B CFexpress cards manufactured by Sony Corp. only. Operation is not guaranteed with cards from other manufacturers (as of December 2019).
*2 CFexpress is a trademark of the CompactFlash Association.
*3 With the Z 7, full-HD RAW video can be recorded using the FX-based movie format, and 4K UHD RAW video can be recorded using the DX-based movie format.
When the Z 6 is used, recording of either 4K UHD or full-HD RAW video is possible with both FX- and DX-based movie formats.
See the cameras’ Technical Guide, available from the Download Center, for details on differences between Z 7 and Z 6 specifications.
Nikon Download Center (https://downloadcenter.nikonimglib.com/en/index.html)
*4 The Atomos Ninja V supports Nikon RAW video output, and records videos in ProRes RAW format. Operation is not guaranteed with recorders other than the Ninja V (as of December 2019). RAW video output from a Nikon camera is supported by Ninja V firmware Ver. 10.2 and later.
See the Ninja V firmware download site (https://www.atomos.com/firmware/ninja-v).
*5 See our website for instructions on requesting the RAW output options activation service (www.nikonusa.com/RAWvideo).
*Pricing and availability of the service will vary by region
Articles: Digital Photography Review (dpreview.com)
Instagram CEO says it will start testing hidden ‘likes’ in the US starting this week
10
Nov
 |
After testing it in numerous other regions, including Brazil, Japan, Canada and Australia, Instagram has confirmed it will start hiding ‘likes’ for accounts based in the United States this coming week.
The confirmation comes from Instagram CEO Adam Mosseri during the below interview at WIRED25. In it, he says certain users in the United States will have ‘private likes’ as soon as this week. Based on how Mosseri addresses the crowd, it appears as though the rollout will be random.
WATCH: Instagram CEO Adam Mosseri announces that the platform will start hiding likes for US audiences starting next week. It’s the latest step in Instagram’s quest to become the safest place on the internet. https://t.co/BGkMG57rdk #WIRED25 pic.twitter.com/WNTyAPVhaD
— WIRED (@WIRED) November 9, 2019
While elaborating on why Instagram is looking to test this, Mosseri said:
‘It’s about young people. The idea is to try and depressurize Instagram [to] make it less of a competition [and] giving people more space to focus on connecting with people that they love [and] the things that inspire them.’
It very much seems as though this is a work in progress, far from being set in stone, so initial feedback will likely play a major role in whether or not this feature — or mores the lack of a feature — sticks around.
Articles: Digital Photography Review (dpreview.com)
Gnarbox 2.0 SSD is now available around the world starting at $499
03
Oct
 |
MyGnar Inc. has announced worldwide availability of the Gnarbox 2.0 SSD. Originally funded on Kickstarter, the Gnarbox 2.0 SSD is now available to purchase from retailers around the globe and brings with it a few new features.
As detailed in our original coverage, Gnarbox 2.0 SSD is a rugged storage solution that works hand-in-hand with a collection of apps to make it easy to import, sort, edit and export multimedia content while on the go.
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The Gnarbox 2.0 SSD offers a 2.4 Ghz Quad-Core processor, 4GB of RAM and up to 1TB of NVMe SSD storage. Photos and videos can be imported to the device using the onboard SD card slot (up to 75MB/s) or one of the two onboard USB-C ports (up to 350MB/s) and Micro HDMI port is onboard to show photos off on any HDMI comparable display. The battery inside is charged via USB-C and is rated for three to six hours of use.
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Gnarbox has also announced two new features the Gnarbox 2.0 SSD supports. First, MyGnar has partnered with Camera Bits, Inc. to power its Gnarbox Selects App using Photo Mechanic’s image processing technology, Raw file support and metadata tagging tools. Additionally, the Gnarbox 2.0 SSD can now be connected to iPad Pro devices via USB-C if you prefer a tethered connection.
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Although the specs themselves are impressive, it’s the connectivity that makes the Gnarbox 2.0 SSD shine. When used with iOS devices, the Gnarbox 2.0 SSD works seamlessly with Lightroom CC and video editing application LumaFusion, making it easy to edit media when out and about.
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The Gnarbox 2.0 SSD is available in 256GB, 512GB and 1TB capacities for $ 499, $ 599 and $ 899, respectively. In addition to Gnarbox’s website, it’s also available at Amazon and B&H Photo.
Articles: Digital Photography Review (dpreview.com)
Walmart mistakenly prices DJI Inspire 2 and Spark drones starting at $17.99
18
Aug
 |
| Daniel John posted this tip in the Chicago Drone Pilots Facebook Group early Friday morning. |
Early Friday morning, retail behemoth Walmart offered up deals that were so unbelievable, they seemed too good to be true.
Eagle-eyed shoppers took advantage of the lowest prices they’ve ever seen assigned to the DJI Spark Fly More bundle, priced at $ 17.99, a DJI Mavic Pro Bundle for $ 24.99, a DJI Inspire 2 Premium Combo with Zenmuse x5 for $ 42.99, plus Sony and Leica cameras, which typically start between $ 1,000 – $ 5,000, for $ 24.99 – $ 42.99. Those who purchased these items from retailer Ecom Electronics, in the narrow window of time they were available through Walmart.com, will have ultimately scored an unbeatable deal if Walmart chooses to honor these prices.
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| Savvy shoppers like Wayne Douglas discovered deals beyond the DJI Spark Fly More bundle. |
I first stumbled across this error in pricing on the Chicago Drone Pilots Facebook Group. Curious to see if it was legitimate, I purchased on DJI Spark Fly More Bundle for $ 17.99 through my PayPal account. As of this writing, Walmart has processed my payment and has not issued a refund. Ecom Electronics has confirmed my order will arrive between Wednesday, August 21st and Tuesday, August 27th.
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| Talk about a hustle. Some people maxed out their orders with a quantity of 12 units. |
Other people got creative, typed ‘eCom Electronics’ into Walmart.com’s search bar, and came up with a Leica SL (Typ 601) Mirrorless Digital Camera for $ 22.99, a Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera Body for $ 22.99, and a Sony Alpha a7R Mirrorless Digital Camera for $ 42.99. Savvy shoppers pushed purchasing limits to the max and ordered up to 12 units of a deeply-discounted item. All of these low-priced offerings sold out quickly, returned to full price, and then were subsequently pulled from Walmart’s site altogether.
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| As soon as the word got out, items sold out in a matter of minutes and returned to full price before disappearing from Walmart.com completely. |
For those concerned about a possible scam, Walmart has a favorable reputation for honoring their mistakes, if sentiments in the numerous posts I’ve seen across online forums are accurate. Ecom Electronics, on the other hand, has a Better Business Bureau Rating of ‘C.’ No matter how painful the mistake, the Walton family, owners of Walmart, likely won’t flinch as they are currently the wealthiest family in America with an amassed fortune surpassing $ 160 billion dollars.
Articles: Digital Photography Review (dpreview.com)
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