Blog

  • DSLR or Mirrorless Cameras Which is Right for You?

    Have you considered switching to a mirrorless camera system from your DSLR? Or are you upgrading fro a point and shoot and want to know which system is the right choice for you? This video from Phil Steele may help you understand the differences and make a decision that’s sound.

    If you found that helpful you can learn more from Phil over on his website Steele Training.

    Soe Lin

    By Soe Lin

    You can also see more info on mirrorless cameras and the differences between them and SLRs in these dPS articles:

    • 3 Reasons Why Mirrorless Cameras are Better than Digital SLRs for Focusing
    • Does the Camera Matter? SLR versus Mirrorless versus Smartphone
    • 8 Factors to Look at Before You Choose a New DSLR or Mirrorless Camera
    • The 19 Most Popular Compact System and Mirrorless Cameras with Our Readers
    • 5 Lessons Learned Switching from DSLR to Mirrorless for Travel Photography
    • How the Switch from DSLR to Mirrorless Changed How I Edit Photos
    • 10 Reasons Why a Pro is Using a Mirrorless Camera for Personal and Paid Jobs

    You can also vote and see the results of our poll on mirrorless cameras here.

    googletag.cmd.push(function() {
    tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

    googletag.cmd.push(function() {
    mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

    The post DSLR or Mirrorless Cameras Which is Right for You? by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Rolling Landscape: Driverless Geodesic Garden Hits the Streets of London

    [ By WebUrbanist in Conceptual & Futuristic & Technology. ]

    geodesic-mobile-garden

    As robotic cars take to the streets, designers are beginning to see possibilities for urban mobility that go beyond human and cargo transport. What if plants, for instance, could be moved around automatically, seeking out sun, filtering dirty air and providing fresh greens within cities?

    Inspired by Buckminster Fuller’s geodesic domes and Operating Manual for Spaceship Earth, the Interactive Architecture Lab at the University College London has designed and built Hortum Machina B (the last letter short for Bucky).

    rolling-garden

    An aluminum core houses the technology’s robotics, monitoring plants on the periphery and changing rotation and position to accommodate their needs. On-board water storage supplies moisture for growth while the ball stays in motion.

    garden-sphere

    This novel mobile ecosystem is solar-powered, so its search for sunlight fuels not only the plants on board but the system itself. With efficient water reclamation, the garden could stay on the move indefinitely.

    garden-module-prototype-plan

    The internal computer system not only keeps the plants healthy but serve as part of a larger set of smart-city initiatives. For instance, sensors can detect and seek out areas with poor air quality, letting the plants provide filtration on demand.

    urban-farm-rolling

    The sphere could also roll itself through urban food deserts, allowing people to pick edibles as it winds its way through a city. Of course, this shape may not be the most efficient manifestation of the idea, but as a conceptual model could inspire similar and more sustainable typologies.

    solar-garden-london

    street-garden-design

    Presumably, in a future world of autonomous vehicles, there will be both mechanisms and space to accommodate driverless gardens as well as cars. Freed-up streets could be used to transport all kinds of things, not just conventional goods and people but also micro-ecosystems and other stuff we have yet to think of. For now the, the robotic garden has been tested in London and remains prototype. It might not be as productive per square foot of space as many new urban farm designs, but perhaps it makes up in novelty and mobility what it lacks in terms of strict productivity.

    Share on Facebook





    [ By WebUrbanist in Conceptual & Futuristic & Technology. ]

    [ WebUrbanist | Archives | Galleries | Privacy | TOS ]


    WebUrbanist

  • Dear Dairy: 12 Delicious Displays Of Milk Crate Art & Design

    [ By Steve in Art & Sculpture & Craft. ]

    milk-crate-art-1a

    Milk crates are like jumbo LEGO bricks: they’re colorful, lightweight, plentiful, and can be arranged in an infinite number of artful configurations.

    milk-crate-art-1b

    milk-crate-art-1c

    Looking a little like a gargantuan game of true-life Tetris, this monumental milk-crate magic carpet by local artists Philippe Allard and Justin Duchesneau won the Prix Art Public at Montreal’s Gala des arts visuels in 2012. Dubbed “Courtepointe” or “Quilt” in English, the installation was set up at the disused Darling Foundry which has housed and hosted artists studios and an art gallery since the early 2000s. Credit Flickr user taoquay for the above images snapped on July 24th of 2012.

    Lactose Lighthouse

    milk-crate-art-3

    Sculpture By The Sea, held annually in Bondi and Cottesloe, Australia, are said to be “the largest free to the public art exhibitions in the world”. The 2004 edition held along the scenic Bondi to Tamara clifftop walk featured a titanic tower of red and black milk crates built in the form of a lighthouse. No sea cows were harmed during its construction.

    Crate Habitat For Humanity

    milk-crate-art-4a

    Featured as part of the 2015 London Festival of Architecture, the Art|House was a pop-up commission located in Powis Square. The structure was built using approximately 4,000 milk crates.

    milk-crate-art-4b

    milk-crate-art-4c

    Designed by Jo Hagan and Use Architects/The Institute Of Light, the house was constructed in such a way that the component crates can either be re-introduced to perform their original purpose or packed down, delivered to any new location, and reconstituted as a sustainable shelter. Wonder what happens when it rains, this being England and all.

    Branching Out

    milk-crate-art-11

    By now you might just assume Australia is the center (or “centre”, as the Aussies spell it) of the milk crate art universe, and that assumption would be correct. It would seem the ground down under is already saturated with milk crate artworks so there’s now nowhere to go but up – as in the suspended crate man from Footscray, a suburb of Melbourne, snapped by Kham Tran of Kham’s Blog in September of 2011.

    Next Page – Click Below to Read More:
    Dear Dairy 12 Delicious Displays Of Milk Crate Art

    Share on Facebook





    [ By Steve in Art & Sculpture & Craft. ]

    [ WebUrbanist | Archives | Galleries | Privacy | TOS ]


    WebUrbanist

  • 5 Easy Tips for Photographing Babies Outdoors

    When it comes to photographing babies under two years old (and newborns), most people immediately think of studios with elaborate backdrops and lots of available headbands, hats, and props. There’s nothing wrong with that type of photography for children, but if you don’t have access to a studio space of your own, you have to get a little creative.

    outdoor-newborns

    More and more, I’m discovering that I love to photograph both newborns and young babies outdoors. Yes, I often take even 5-10 day old little babies outside for at least part of their session. If you’d like to give it a try as well, here are five simple tips to help get you started while also keeping the little guys and gals safe.

    1. Settle them inside

    photographing-newborns-outs

    When it comes to newborns, you’ll find that they settle best when they’re very warm. This means that if you want to photograph a baby outdoors, you will typically be more successful if you begin indoors. Inside, swaddle the baby up tightly. Keep in mind that babies like to be warm, so you may want to leave them in pyjamas under the swaddle. Then rock them while playing white noise or making sushing sounds until they are nice and sleepy. Next, lay the baby in a basket or bowl that has been lined with a fluffy blanket and let them settle. Once the baby has settled in, carry the whole thing outdoors.

    newborn-photos-outside

    Sometimes, photographing babies outdoors can be a bit of a race against time, as any big gust of wind or loud noise can startle them awake. For best success, scout out a location that’s close to the house before you begin. Also, even in the most ideal situations, there are times when a baby just won’t stay settled outdoors. If you experience that, don’t sweat it, just move on.

    Recently, I tried to take a baby outdoors on several occasions, and each time she woke up crying before I could get even a single shot. So with permission, I cut a few flowers and brought them inside, and photographed the baby inside with the flowers instead (see photo above). Just be flexible. If you can’t bring the newborn outside, consider ways to bring the outdoors in.

    2. Have someone hold them

    newborn-session-outdoors

    If you primarily shoot on location, you’ll find that not all families have a great space for family portraits indoors. Sometimes the physical shape or size of the room isn’t particularly conducive to a group portrait, or the decor doesn’t quite match the desired aesthetic. Sometimes families just have beautiful outdoor spaces that I love to showcase.

    Regardless of the scenario, I often find myself asking mom or dad to hold the baby during a few family portraits outdoors. Particularly if the family has expressed an interest in “lifestyle” or “candid” images, as nature can tend to feel less stuffy and conservative than an indoor studio setup.

    outdoor-newborn-session

    Even if you experience a baby that won’t settle outdoors in a basket or bowl, keep in mind that being held in mom or dad’s arms may be an entirely different story. Sometimes babies just want to be held. Don’t be afraid to experiment with both scenarios until you discover what works best for each individual baby and family.

    3. Shade them appropriately

    outdoor-newborn

    Whether you’re placing a baby in some vessel or having a parent hold them outdoors, it is really important to make sure that they’re shaded appropriately. Both newborns and older babies have very sensitive skin, and the last thing you want is for them to get a sunburn for the sake of some photos (it’s also better light for portraits). If you’re not able to find shade naturally available, some alternative options are a large umbrella (patio or beach umbrellas work well), or even a reflector held directly overhead.

    When dealing with dappled light through trees, I sometimes position mom or dad strategically just out of frame so that they block any light that may fall on baby’s face or body.

    4. Try to contain walkers and crawlers

    photograph-babies-outdoors

    When it comes to photographing older babies outdoors, there’s a sweet spot between sitting babies and crawling babies when outdoor photography is easiest. That said, you won’t always be working with the ideal developmental stage because all babies hit those stages at different ages. So, it’s best to be prepared with a few tricks up your sleeve to make photographing walkers and crawlers a little bit easier.

    photograph-babies-outside-3

    I usually start by laying a quilt or blanket down on the ground. Some babies will not crawl off the blanket because they hate how the grass feels on their bare hands and feet. This is typically not a solution that lasts for the duration of the session without causing frustration, but can sometimes buy you a few stationary minutes. Other than the blanket trick, I have used galvanized wash tubs, old crates, toddler sized chairs, and wagons, to help contain older babies outdoors.

    When using any of these props, please be safe. Use a spotter if necessary to prevent tumbles, and don’t be afraid to use composite images (combine two shots) if needed so that someone can have a hand on the baby at all times.

    5. If you can’t contain them, entertain them

    photograph-babies-outside

    If sitters, walkers, and crawlers aren’t happy being contained, your next best bet is to just roll with it. Don’t push things, or you’ll likely to end up with a baby in tears, and nobody wants that at a photo session.

    At the first signs of frustration, transition to games or activities that will entertain the baby, then keep taking pictures. Many babies and early walkers love to hold hands and stand or walk, so let them. Have mom or dad pick up the baby overhead and play airplane. Play a game of chase. You’ll be surprised at the opportunities for candid images of the family having fun together, as well as the number of opportunities for images that have a portrait feel to them as well.

    photograph-babies-outdoors-

    Do you have any other tips for photographing newborns or young babies outdoors? If so, please chime in the comments below.

    googletag.cmd.push(function() {
    tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

    googletag.cmd.push(function() {
    mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

    The post 5 Easy Tips for Photographing Babies Outdoors by Meredith Clark appeared first on Digital Photography School.


    Digital Photography School

  • Art of Deception: NYC Monument to Giant Octopus Attack Misdirects Tourists

    [ By WebUrbanist in Art & Installation & Sound. ]

    fake-ferry-memorial

    Visitors to Battery Park in Manhattan will find memorials to fallen soldiers, sunken sailors and 400 passengers who perished when a Staten Island ferry was attacked by a giant octopus.

    puzzling-fake-memorial

    This last event, however convincing (thanks to 250-pound cast-bronze sculpture and plaque), is entirely fictional, part of surprisingly elaborate hoax. That would be hard to guess at a glance, though, given the thought and craft that went into this fake memorial and the other materials that were designed to bolster its credibility.

    octopus-attack-ferry-boat

    Artist Joseph Reginella invented the scenario, crafting a website, a mock documentary, news articles and fliers to complete the deception. The monument even directs people to the Ferry Disaster Memorial museum. It also weaves in real-world facts, like the name of the ship.

    He had the idea while taking the ferry himself. When his won asked whether there were dangerous creatures waiting below, he invented the story, then spent months elaborating on the fabrication.

    fake-ferry-monument

    To keep the city from taking it away, he has moved the memorial from place to place. To add credibility, he made the day of the event the same as the assassination of President Kennedy, something that would plausibly overshadow such a massive historic disaster.

    Share on Facebook





    [ By WebUrbanist in Art & Installation & Sound. ]

    [ WebUrbanist | Archives | Galleries | Privacy | TOS ]


    WebUrbanist

  • Tips for Using the Blur Filters in Photoshop

    For most photographers before they even press that shutter button, they have already pictured the type of shot in their heads. What exactly do I mean by that?

    Well for example, a sports photographer may use a panning technique to shoot a moving sports car so that the background is out of focus to convey a dynamic shot of motion. Or maybe you are a portrait photographer and you want your subject set against a wonderful bokeh in the background.

    Field Blur in Photoshop

    Shallow DOF on the photo to the left. A Field Blur filter using Photoshop was added to create a greater depth of field look to the photo on the right.

    In-camera blur versus done in Photoshop

    All these techniques can be done in-camera. But sometimes due to time, technical constraints, or other factors, getting that desired shot in-camera isn’t always possible.

    In this article, I will take a look at the Blur filters in Photoshop and demonstrate how useful these effects can be when applied in post-production. Whether you want to create a motion blur effect or simply blur part of the image to create a shallow-depth-of-field look.

    When Photoshop CS6 was released Adobe added three new filters: Field Blur, Iris Blur, and Tilt-Shift. This brought the tally up to 14 different types of Blur effects in Photoshop. These new blur features were impressive.

    Blur filters in Photoshop

    First, let’s take a look at few and where you access them in Photoshop. I’m using Photoshop CS6. Go up to the Menu Bar > Filter and select Blur. I’m not going to describe all of them. Instead, I will concentrate on the few that I use the most but feel free to experiment with the others.

    different-blur-filters

    Where the different Blur filters are located in Adobe Photoshop.

    Some of the filters I’ve never used let alone tried, such as Blur and Blur More. Here are some blur filters which include my personal favorites:

    • Gaussian Blur
    • Field Blur
    • Radial Blur
    • Motion Blur
    • Average Blur
    • Lens Blur

    If you take a look at the following images, you can see the subtle, and not so subtle differences, each blur filter has on the same image, which are white lines on a black background.

    white-lines-and-shape-blur

    Normal whites lines on a black background – no blur effect. A Shape Blur filter was applied to the same image on the left.

    gaussian-and-radial-blur

    Gaussian Blur was applied to the image on the left and Radial Blur was applied to the image on the right.

    lens-and-motion-blur

    A Lens Blur was applied to the image on the left and a Motion Blur was applied to the image on the right.

    Gaussian Blur

    I use Gaussian Blur the most out of all of the blur filters. It is my general workhorse for blurring parts of an image and for softening the edges of a layer mask. It can also reduce noise in an image.

    Field Blur

    Field Blur works great when you want to focus on an area of your photo, such as the foreground or background. You apply a pin on the part of the image where you want the focus left as it is. Then reduce the Radius to 0px, which can be done either by using the slider in the top right part of the menu or by dragging the white bar around the pin until blurring disappears. Place another pin or pins on the image where you want to blur the focus. The default setting is 15px Radius.

    sunflowers

    Sunflowers in France – one is smiling while the others are wilting due to the intense heat.

    sunflowers-pins-field-focus

    Applying the pins on the image where I want the focus to remain, and others where I want it blurry.

    sunflowers-field-focus

    I applied the Field Blur to blur out the poor wilting sunflowers so that the focus was on the smiling sunflower.

    Note: If you have version Photoshop CS6 13.1 or Photoshop CC, you can apply these blur filters to Smart Objects. That’s a big plus.

    What I found particularly impressive when either of these three blur tools are accessed is the separate panel for creating Bokeh. Read this dPS article if you want to know how to create a Bokeh effect in Photoshop.

    Radial Blur

    Pick up any magazine or newspaper where you see photos of cars being advertised. If you look closely, you will see some images of cars where the motion effects were applied in post-production. Reflections, the wheels of the car, and the background are the usual tell-tale areas.

    animated-car

    An animated Gif to illustrate the Radial and Motion Blur effects applied to the wheels and parts of the car and the background.

    Let’s take for example, the wheels of a car. A Radial Blur could be used here to create the effect of the wheels spinning around.

    2-radial-blurs-to-front-wheel

    Radial Blur applied twice to the front rim part of the wheel.

    In the example above, I first selected the wheel rim and part of the tire using the pen tool (See Note below). The pen tool saves the selection and I can edit it later if needed. This selection was placed on its own layer and converted it to a Smart Object. I applied two Radial blurs. For the first method, I used Spin; Quality Best with a 8px blur. I then applied another Radial blur using the Zoom method; Quality Best at 6px blur.

    Motion Blur

    For the background and other parts of the car, I used the Motion Blur effect. I duplicated the image and converted it to a Smart Object. The car was isolated with the pen tool and I applied a layer mask so that when the motion blur is applied, it affects the background only and not the car. You will notice a little ghosting around the rear of the car.

    car-with-radial-and-motion-blur-effects-applied

    Radial Blur was applied to the wheels. Motion Blur was applied to the side panel, rear side window, and to the background.

    Ideally, you would also cut out the car from the duplicated image and clone the area back in with the surrounding sky, trees, and road.

    Disclaimer: I’m in no way inferring here in this article that to convey motion to a static shot of a car that all you need to do is apply Radial and Motion blur effects. Far from it. I fully appreciate that more techniques are involved, along with time, skill, and effort, to pull off a professional retouching job.

    Note: I feel the Spin Blur Filter in Photoshop CC is definitely a much improved version of the Radial Blur. You add a pin over the part of your image. Click and drag the ellipse’s borders to resize it, or you can also click and drag the handles to reshape and rotate it. It’s much faster and intuitive to use. You have more control and it works on Smart Objects. The effect is also more realistic in my opinion.

    Average Blur

    This is a filter I don’t use that often but I wanted to demonstrate how to use it to remove color casts on your photos.

    With your image already opened, duplicate the layer. Go up to Filter > Blur > Average. It will turn the image to a solid color by producing an average of all colors in the image. Add a Levels Adjustment layer. Click on the middle eyedropper tool and click anywhere on the solid color layer. This samples a gray point in your image. Turn off the visibility of this layer and you will see the difference, the color cast has been removed. It’s not perfect though, and you may find that further editing is required.

    Average-blur-blue-drums

    How to apply the Average Blur in Photoshop.

    click-on-gray-eyedropper-tool

    A solid average colour is calculated, which is blue. Add a Level Adjustment Layer and click on the middle eyedropper tool.

    the-blue-color-changes-to-grey

    By selecting the gray eyedropper tool and clicking on the image, the blue colour changes to grey.

    color-cast-removed

    The colour cast has been removed.

    Lens Blur

    The Lens Blur filter is probably my favorite of all of them if I had to choose one. It does a fantastic job of replicating the shallow DOF (Depth-of-Field) look normally achieved in-camera. While Field Blur also does a great job of this, I still prefer the Lens Blur method as you can import a depth map. That is an alpha channel which stores the selection as an editable grayscale mask in the Channels panel.

    An example

    In this image of the rhino taken at Dublin Zoo, I was too far away and I didn’t have a telephoto lens with me to get a nice shallow depth of field to blur out the background.

    rhino-at-Dublin-Zoo

    A rhino taken at Dublin Zoo.

    So in Photoshop, I selected the rhino using the Quick Selection and Refine Edge tools. I saved this selection and named it. The selection or mask is now permanently stored as an alpha channel. To access it, I opened up the Channels panel and selected the alpha channel called rhino. By holding down on the Cmd/Ctrl key and pressing the letter I, it inverts the mask. The rhino is now black. Remember black conceals, white reveals on masks. Next, I clicked on the RGB layer to go back to the Layers panel.

    I now need a layer mask for the foreground as I only want the background to appear blurred. Follow these steps to do the same:

    Create a new layer and click on the Gradient Tool. Go up to the Gradient Editor and make sure you choose the preset Foreground to Background. Start near the bottom of the image while holding down the Shift key and drag upwards. It may take a few tries but you want a nice transition from black to white, similar to the image below.

    Gradient-Toll-Editor-set-to-Foreground-Background

    Open up the Gradient Editor and set the preset to Foreground-Background.

    Open up your Channels panel again and duplicate any of the red, green, or blue channels and name this gradient. You now have two separate channel layers; one with the rhino and the other with the gradient for the foreground.

    duplicate-channel

    Duplicating the gradient channel to create one alpha channel.

    Bear with me for the next few steps!

    In order to create just one alpha channel to load as a depth map for the Lens Blur filter, we need to copy the rhino selection onto the gradient layer. So duplicate the gradient channel by right clicking on the layer or dragging the layer to the bottom of the Layers panel to the icon “Create new channel”. Name it rhino mask in this instance.

    Hold down the Cmd/Ctrl key and click on the rhino layer. You will see the marching ants around the rhino and the border. Go up to the Menu Bar > Select > Inverse. Now the marching ants are just around the shape of the rhino. Go back up to the Menu Bar > Edit > Fill with Black. Click on the RGB layer and go back to the Layers panel.

    fill-with-black-rhino

    After inverting the selection of the rhino, you can now fill it with Black.

    alpha-channel-for-rhino-photo

    Now we have the rhino mask and the foreground mask on the one channel ready for the Lens Blur filter as a depth map.

    Now we are ready to load this channel as a depth map into the Lens Blur filter. Duplicate the layer, or if you have a new version of Photoshop convert it to a Smart Object.

    A separate dialog box appears and the image will initially be blurry. Go to where it says Source and click on None. A drop down menu appears and you can select the channel you have just created, in this case “rhino mask”. Adjust the radius value and click the Ok button.

    loading-alpha-channel-in-the-lens-blur-filter

    Selecting the channel rhino mask in the Lens Blur filter

    Lens-Blur-applied-using-alpha-channel

    The depth map has been applied and a shallow depth of field has been created.

    Conclusion

    I hope this article was helpful and your eyes aren’t too blurry from reading it.

    Do you use Blur filters in Photoshop? What are your favorite ones? Please share your comments below.

    googletag.cmd.push(function() {
    tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

    googletag.cmd.push(function() {
    mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

    The post Tips for Using the Blur Filters in Photoshop by Sarah Hipwell appeared first on Digital Photography School.


    Digital Photography School

  • How to Capture the Perfect Action Shot in Sports Photography

    Sports photography is a fun challenge for any photographer. There is plenty of intensity and emotion to be found at any competitive event. These elements combine to create the potential for some truly memorable images.

    At the same time, the speed and unpredictability of some games can be intimidating. Especially if you are used to dealing with slower-moving subjects, like portraits or landscapes.

    Never fear! This article will arm you with helpful knowledge so that your next brush with sports photography will result in some fantastic captures.

    Getting your settings right

    A soccer player about to kick a soccer ball, captured with a high shutter speed

    This image was taken at 1/1600th of a second, which freezes the action completely. This super fast shutter speed is possible because there is a lot of sunlight.

    Chances are that you’ve probably taken your fair share of blurry sports photo. Typically, players or athletes are moving at high speeds, and your camera doesn’t necessarily know for itself how to compensate.

    Freezing the action

    If you want to freeze the action in a photo, you’ll need to use to choose a fast shutter speed. But, how fast does it need to be? Well, that depends on the sport. 1/250th of a second should be enough to freeze kids playing soccer, but you’ll need to go a lot faster if you want to capture a baseball in mid-flight. Experiment and find what shutter speed you need to use in order to produce sharp images.

    Adding motion

    On the other hand, you can also experiment with slowing down the shutter speed and panning your camera throughout the picture to create a sense of speed and movement. It takes a bit of practice to get right, but if you match the speed of your subject, you can hold them in focus while the directional blur emphasizes the sense of movement.

    Whenever possible, you will want to use a wide aperture, such as f/3.5 or lower. This will create a narrow depth-of-field, and helps the players to stand out, as the background distractions will be blurred.

    Two soccer players fighting for the ball with spectators watching the game behind them

    This image was shot at an aperture of f/2.8 so that the spectators in the background don’t distract from the players chasing the ball.

    If the sport is being held outside during overcast conditions or indoors with consistent lighting, consider using manual exposure mode and settings. It may take a bit of time to figure out, but you’ll get much more reliable and consistent images.

    Pick your spots

    When you first arrive at the field, arena, gym or track, consider all of your potential angles and options. Your options will be different depending on whether you have a short or a long zoom lens.

    For many sports, you won’t be able to cover every angle. Getting up close with a wide-angle lens means you won’t be able to capture plays on the other side of the field. While using a long zoom means you may struggle to capture play right in front of you.

    Find the “sweet spots” – the places on the field of play which are the perfect distance away for your camera and lens combination. You’re going to get your best images when the play is in these areas. Rather than trying to get an incredible picture when play is far away on the other side of the field, be patient and prepare so that you make the most out of every opportunity when play is in your sweet spots.

    A hockey player tries to deke around the goaltender

    When I stand near the benches with a 70-200mm lens, this play in front of the net is right in my sweet spot, which allows for strong composition.

    Where possible, it’s a good idea to put yourself in a position where the players will be coming towards you. This allows you to see faces and get a better sense of depth than if you shoot from the sidelines and get a side profile view of everyone.

    A female soccer player attempts to dribble the ball through two defenders

    Get in the middle of the action

    If you want to take a sports photo that will be memorable, you need to bring the viewer in as close as possible. Typically, this means using a zoom lens like the 70-200mm. If you don’t have a long zoom lens, simply get as close as possible to the field.

    Perspective changes quite a bit as you zoom in. A wide-angle shot looks very different than a shot with full zoom (long telephoto). Consider how you can use this change in perspective to find some unique captures.

    Many first-time sports photographers are nervous to zoom right into the middle of the action. Yes, it does come with some risks. You’re likely to snap plenty of frames where an unexpected zig or zag took the player partially out of the image. This is part of sports photography. Even the professionals aren’t able to nail the perfect shot every time.

    A hockey picture where the focus has missed

    In this shot, the referee passed in front of the camera and messed up the focus. Don’t feel upset if some pictures turn out like this! These kinds of images will be very familiar to any sports photographer.

    Risks sometimes pay off

    If you have trouble following the play, it definitely is an option to play it safe by taking a wider shot and then cropping in closer afterward. But by taking a high risk, high reward approach to composition will result in some magnificent images!

    Another reason to use zoom: To capture expressions!

    The most memorable sports shots show faces full of emotion – whether that is the joy of the game, the thrill of victory or the agony of defeat.

    Image of hockey players celebrating on the ice after a goal

    Image of two soccer players laughing while preparing for a corner kick

    Timing is everything

    There seems to be a furious competition between manufacturers to see who can make a camera that takes the most images per second.

    Burst mode is an incredibly useful tool for sports photography, but all too often it can be a crutch. Just because you can take 10 pictures in one second doesn’t mean you should.

    Soccer players attempting to head the ball into the net from a corner kick

    Having the ability to take pictures in bursts should be secondary to anticipating the action. Understanding of the game and having a sense for what is going to happen next is more important than burst mode in every case. If you return from every event with thousands of pictures, all taken a fraction of a second apart, it’s going to be a strenuous job of sorting and finding the keepers.

    With that said, burst mode can be a great tool if you don’t want to miss any opportunities and have lots of room on your card.

    Lastly, don’t spend the whole game chimping! Chimping is when you get so caught up checking out all of your sweet pictures on your camera’s LCD screen that you miss an incredible play that happens right in front of you. Your pictures will still be there when the game is over. Focus on getting your shot!

    Hitting your focus

    Having the perfect settings, composition and timing won’t count for anything if you miss your focus.

    With the possibility for spectators, colourful advertisements, and other players in the background of your images, your camera’s focus might wander and lock onto the wrong target.

    For sports photography especially, you might want to consider using back button focus. With this method, your focus is controlled by a button on the back of your camera, which you can reach with your thumb. The shutter button doesn’t influence the focus at all.

    By separating the actions of focusing and taking the picture, you will have greater control and independence over both roles. You may need to consult the manual for information on how to switch your camera to back button focus.

    An sports action shot of hockey players fighting for the puck

    Focus modes

    Your camera comes with different focus modes that you can use to get more reliable results, even when dealing with fast and unpredictable subjects. The process for selecting these modes will be a bit different for every camera, so consult your manual for information on how to switch to these options.

    First off, you can allow your camera to use all the focus points to determine the best target to lock onto. This can often go wrong, however, as the camera may choose the wrong point, leaving you with an out-of-focus image.

    You can get a bit more specific with zone focus, which allows you to select a group of focus points that the camera uses to determine what it focuses on. This focus mode gives up greater control over what the camera locks onto, but still leaves some room for error.

    If you want to be very precise, single point focus allows you focus based on just one point of your choosing. This is great if you want to focus on a specific player in a group. The drawback is that is may not be as accurate, and you may need to be very steady in order to stay locked on target.

    Shows all the different focus modes

    This image shows three different focus modes as seen through a Canon 7D: Full Auto Focus, Single Point Focus, and Zone Focus

    You can also select how the focus will track. These settings may have different names from manufacturer to manufacturer, but they do the same thing.

    Continuous or AF-C (Nikon) / AI Servo (Canon):  In this mode, your focus will constantly seek for as long as you are holding your focus button down. This is ideal for moving subjects, and should be your first choice for sports.

    Single or AF-S (Nikon) / One Shot (Canon):  In this mode, your focus will find a target and lock, even if you continue to hold down your focus button. While this is often slightly more accurate than servo focus, your subject may have already moved out of focus by the time you take the shot.

    AF-A (Nikon) / AI Focus (Canon):  This mode is an intelligent blending of the two previous modes – it will determine if the target is moving and will lock or track accordingly.

    Making the most of the focus technology your camera has to offer will play a big role in snapping some excellent sports shots!

    Bonus tips and tricks

    If you are photographing a car race or a long jump event, it can be a real challenge to track your subject in action. A fast moving car or runner isn’t an easy target for a lot of cameras.

    One surefire way to hit your focus even under these tricky conditions is to prefocus. When using this technique, you pick a spot somewhere ahead on the track to carefully set your focus. Then, when your subject comes through, you simply snap the picture and voila!

    Two hockey players in mid air after a body check collision

    If you want to add drama and action to your images, consider shooting from a lower angle. This perspective can often make athletes seem heroic or larger than life. Shooting from a lower angle also means the background will show spectators or the opponents behind the player, giving a better sense of the setting and action.

    Take Lots of Pictures!

    When you get home and load the images on your computer, you’re going to find that many of your shots have missed focus, have players in awkward or unflattering angles, or other annoying distractions. This is perfectly normal! It isn’t easy to capture the chaos of sports, and you’re going to need to throw out a lot of shots.

    Over time, as your feel for the game from behind the camera improves and as you begin to master these techniques, you will find yourself coming home with more and more keepers!

    googletag.cmd.push(function() {
    tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

    googletag.cmd.push(function() {
    mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

    The post How to Capture the Perfect Action Shot in Sports Photography by Frank Myrland appeared first on Digital Photography School.


    Digital Photography School

  • Winning images from Red Bull Illume 2016

    Winning images from Red Bull Illume 2016

    © Lorenz Holder / Red Bull Illume

    Lorenz Holder of Germany has taken the top prize for a second year in a row in the Red Bull Illume sports and action photography awards. His photo of pro BMX rider Senad Grosic took Overall Winner as well as the Athletes’ Choice award. Read on to learn more about the winning image and see more category winners. An exhibition of the top images is underway in Chicago and will go on tour after October 9th – visit Red Bull Illume’s website for a schedule.

    Winning images from Red Bull Illume 2016

    © Lorenz Holder / Red Bull Illume. Overall Winner

    ‘Senad and I were on the way to a different location early in the morning, when we passed this scenic spot. We saw a sign from the street and I had some pictures in mind that I’d seen from this bridge on the internet. When we got there the sun was just above the trees and it was lighting up the full color-spectrum of the autumn leaves in a very soft way.

    One thing that was a little annoying was that the lake was covered with leaves which had fallen from trees, so the reflection of the bridge in the lake was just not there. But sometimes you just need a bit of luck – I had been on a fishing trip some days before and still had my fishing-boots and a net in the car. So got the stuff and tried to clean the lake by hand. It took a while until it was almost perfectly clean – at least where it was relevant for the picture. Luckily the sun was still very soft, so we had good light for the shot.

    I’d chosen a very low camera position to get an almost perfect mirrored scene on the water surface. The bridge looked like a perfect circle and the light was still very good. When Senad was on the bridge, it took us two or three tries to get the shot. There was also no more time for another try because the wind came up and the perfect reflection on the water was gone.

    We jumped back to the car and drove towards our originally planned spot. It was an awesome feeling to have shot this picture with more or less pure luck. Without the sign next to the road, we would have passed one of the nicest photo scenes.’

    Camera: Canon EOS 5D Mark III
    Lens: EF 24-70mm F2.8L USM
    ISO: 500
    F-Stop: 8.0
    Shutter Speed: 1/640

    Winning images from Red Bull Illume 2016

    © Daniel Vojt?ch / Red Bull Illume. Sequence by Sony Winner

    ‘Red Bull asked me to do some portraits and action photos of the Flying Bulls. We had an air to air photoshoot and I knew it would be great for a sequence. An airplane is the only place from where you can see something like this. I did one fast attempt. After I stitched the sequence it was great, but I could still be a little bit closer.

    We had another photoshoot on another day so we tried it again but I was much closer to the planes in front. It was cloudy so the final image looks very dramatic. The pilot also turned on the smoke so you can see the trail behind.

    The camera I used for this photo was Nikon D5 and Nikkor 16/2.8 fisheye because there was almost no space and I wanted to show inside the part of the airplane I was sitting to show the pilot’s POV.’

    Camera: Nikon D5
    Lens: 16mm F2.8 AF Fisheye
    ISO: 640
    F-Stop: 5.6
    Shutter Speed: 1/250

    Winning images from Red Bull Illume 2016

    © Jody MacDonald / Red Bull Illume. Lifestyle Winner

    ‘When I was young I used to look through National Geographic magazines and dream of adventures like this; train hopping through the Sahara on one of the world’s longest trains. I had dreamt of the oceans of sand, the loud noises of the train, the cold, the wind, the scorching sun, the unknown smells and sounds of the desert and the discomfort that goes with it. So when I was asked to dream up and photograph a trip in harsh conditions, a 700 kilometer journey through the Sahara desert in Mauritania came to mind.

    After weeks of planning, our journey began in the capital of Nouakchott, from there my brother and I moved north through the interior to board the Mauritania Railway. Our risky rail journey started from the iron-mining center of Zouérat in the Sahara, and snaked through the barren desert toward the port of Nouadhibou on the Atlantic. We wanted to get to the coast to try to find some unexplored surf breaks and capture the spirit of adventure and exploration through this incredible landscape. Having only a few minutes to hop on the train in the middle of the night, we spent 15 long hours slithering through the desert on the three kilometer train that transports approximately 84 tons of iron ore across a country crippled by terrorism, slavery, and poverty.

    I photographed this image with Leica’s new X-U all weather camera with a fixed 23mm lens. I used a shutter speed of 1/500 to stop the motion of the train and an f-stop of 7.1 at ISO 100.’

    Camera: Leica X-U (Typ 113)
    Lens: 23.0mm F1.7
    ISO: 100
    F-Stop: 7.1
    Shutter Speed: 1/500

    Winning images from Red Bull Illume 2016

    © Dean Treml / Red Bull Illume. Spirit Winner

    ‘In this image Josh Neilson of New Zealand is supported by fellow paddlers (L-R) Barnaby Prees, Sam Sutton, Tim Pickering, Ben Brown, Jamie Sutton and Jared Seiler as he waits for a helicopter evacuation after a bad landing off Matze’s Drop, Storulfossen, Norway on July 7th 2014. It left him with a broken L1 vertebrae.

    I traveled to kayaking mecca Norway for a few days to shoot and hang with my Kiwi mate Ben Brown, one of the world’s most prodigious adventure kayakers. As fate would have it he dislocated his shoulder the day I arrived, but luckily he was traveling with some brilliant paddlers so I still had subjects to shoot.

    On the last day we found ourselves at this spectacular waterfall, where five others made the run, then Josh went off. After a good entry the nose of his kayak was thrust up and he flat landed at the bottom, the impact breaking his back. His colleagues were immediately on hand to assist and stabilize Josh, and Ben, who had previously suffered a similar injury, was able to reassure Josh while a helicopter was summoned. Josh was flown to Lillehammer hospital and then on to Elverum for successful surgery. With determined rehabilitation in New Zealand, Neilson was back in a kayak one year later and subsequently traveled back to Norway to paddle their rivers again.’

    Camera: Canon EOS 5D Mark III
    Lens: EF 24mm F1.4L II USM
    ISO: 400
    F-Stop: 2.0
    Shutter Speed: 1/2500

    Winning images from Red Bull Illume 2016

    © Vegard Aasen / Red Bull Illume. Mobile Winner

    ‘This winter some friends and I went to Hakuba in Japan to ski some deep powder and big mountains. The day this shot was taken was a really windy one but the snow was still really good, so we went out into the backcountry. One of my friends brought his DSLR camera, so I decided to not bring my camera because I wanted to ski instead of taking photos.

    We hiked for a while, and discovered a group hiking across the ridge above us. The wind and the clouds looked amazing, so my friend took out his camera and started shooting. I hated myself for not bringing my camera. Luckily I had my mobile phone in my pocket. I could not see anything on the screen, but obviously managed to aim pretty well.

    A week later, I scrolled through my phone, while waiting for sushi at a restaurant. I had completely forgotten about the shot, so I was pretty stoked when I found it. I edited it to black and white in Photoshop Express on my phone, and was really happy with the result.’

    Camera: HUAWEI P8
    ISO: 64
    F-Stop: 2.0
    Shutter Speed: 1/3200

    Winning images from Red Bull Illume 2016

    © Dean Treml / Red Bull Illume. Enhance Winner

    ‘Jonathan Paredes of Mexico dives from the 28 meter platform on the roof of the Copenhagen Opera House during the first practice session of the second stop of the Red Bull Cliff Diving World Series, Copenhagen, Denmark on June 20th 2013.

    I remember while I was originally scoping out the location for this event thinking how surreal images could look without the diving platform jutting out, and just the small form of the diver, and the huge cantilevered roof dominating the frame, and even discussed it at the time with my wife (the photographer Romina Amato) who was also there.

    As I am editorially focused the integrity of the image is paramount so the platform stayed, but while reading the categories of Red Bull Illume this image jumped into my mind and I figured a quick ‘fix’ to one of my shots couldn’t hurt, so this version of the image really came about thanks to the ‘Enhance’ category. ‘

    Camera: Canon EOS 5D Mark III
    Lens: EF 70-300mm F4-5.6L IS USM
    ISO: 400
    F-Stop: 5.6
    Shutter Speed: 1/4000

    Winning images from Red Bull Illume 2016

    © Micky Wiswedel / Red Bull Illume. Wings Winner

    ‘My buddy Jimbo had been opening new hard routes in the area and we wanted to try and capture some of the climbs. With climbing photography it’s not often you can just walk somewhere to get a good angle – most good shots require some form of rigging. The angle of this image happened by chance. We were setting up for another shot but when I looked back I knew we had to change plans and grab the shot with the sea and horizon in the background, framed by this huge rock roof.

    Lighting is also difficult, as climbers prefer to climb in the shade as cooler temperatures provide more friction between skin and rock. This often means overexposed backgrounds and underexposed foregrounds. The best I could do in this situation was to shoot somewhere in the middle.

    The route is one of the hardest on Table Mountain. The last ‘crux’ section is near the top – you have a few pieces of protection below but there’s a final jump, or ‘dyno’ for the last hold. The image captures what happens if you don’t manage to stick that hold!

    There was always a chance that Jimbo would fall, so I was ready for it. For the couple of seconds leading up to the big move I was holding my breath and ready to fire. I could definitely feel the adrenaline pumping! It’s a pretty big and impressive fall, but luckily far from the ground – that doesn’t make it any less terrifying.

    We had planned to grab some cool climbing shots, but in the end this image of Jimbo mid-air was the shot we felt captured the intensity of the climb. Jimbo did send the route that day – after a few more falls.’

    Camera: Canon EOS 5D Mark III
    Lens: EF 16-35mm F2.8L USM
    ISO: 400
    F-Stop: 3.5
    Shutter Speed: 1/1600

    Winning images from Red Bull Illume 2016

    © Ale Di Lullo / Red Bull Illume. New Creativity Winner

    ‘I’d been working on shots through transparent surfaces for a few years but it was during a long drive across Europe that I had this idea. I was forcing myself to think of new angles and nothing really came to mind. But when I said to myself that the best ideas are the simplest ones, that usually you have the answer in front of you, I realized the shot was actually in front of me. It was right there, where most people spend a lot of time everyday – cars!

    Nobody had done an extreme sport shot from inside the car having the rider riding on the windshield. I understood that a shot like this had to be made in an iconic spot and the spot had to be in a city so it was clear that New York City with all its bridges was the place. And what could have been better than a NYC cab to shoot from?

    Choosing Aaron Chase as the rider was natural. He has been a friend for a long time and happened to be a pioneer of street riding in our sport and is almost a local in New York. It took us one year of preparation, one full day of work, involved a few people and a bit of money. But I kept shooting, all the while fearing I would break the windscreen, and 12 attempts later I nailed this shot.’

    Camera: Canon EOS-1D X
    Lens: EF 8-15mm F4L Fisheye USM
    ISO: 640
    F-Stop: 5.6
    Shutter Speed: 1/1600

    Winning images from Red Bull Illume 2016

    © Lorenz Holder / Red Bull Illume. Playground Winner

    ‘I shot this unique location a couple months before this action shoot as a landscape picture because I just liked the whole structure and the way it was integrated into the landscape. It’s a viewing platform made of steel that has rusted over the years. You can walk up the stairs to enjoy the view over the lakes that surround the area.

    I knew somehow, that there was the potential for it to be a location for an action photo. My first idea was to shoot snowboarding in it, but that was just impossible because of the limited space. I almost gave up on the idea, but then I bumped into Senad Grosic in Berlin one day and we talked a bit about spots and stuff. I showed him the landscape picture and he told me that we need to go back there to see what’s possible.

    So Senad and I took a road trip and drove all the way to Senftenberg. We discussed and fine-tuned a plan that would look rad on photo. Senad had the idea to be dressed all white to give it more contrast, because I didn’t want to use flashes to keep the structure as evenly lit as possible. The angle is almost the same angle I chose for the landscape picture. It’s actually an architectural picture with the spice of action sports in it.’

    Camera: Canon EOS 5D Mark III
    Lens: EF 24-70mm F2.8L USM
    ISO: 500
    F-Stop: 6.3
    Shutter Speed: 1/400

    Articles: Digital Photography Review (dpreview.com)

  • 24 Images That Show Details of Every Day Life

    Every day we do a lot of the same things again and again. Yet we overlook things right in front of our faces.

    Here is a set of images that show things from our every day lives in a new light. What do you pass every day that you don’t really see?

    Henrique Simplicio

    By Henrique Simplicio

    Freaktography

    By Freaktography

    Faungg's Photos

    By faungg’s photos

    Flood G.

    By Flood G.

    Lee Thatcher

    By Lee Thatcher

    Nicolas Alejandro

    By Nicolas Alejandro

    Tsaiproject

    By tsaiproject

    Patrick

    By Patrick

    Moyan Brenn

    By Moyan Brenn

    Tonzn

    By tonzn

    Greenzowie

    By greenzowie

    Jose Sepulveda

    By Jose sepulveda

    M01229

    By m01229

    Chris Chabot

    By Chris Chabot

    John Watson

    By John Watson

    Markus Spiske

    By Markus Spiske

    Victor

    By Victor

    Dave Fayram

    By Dave Fayram

    Emanuele

    By Emanuele

    Mikepmiller

    By mikepmiller

    Chris Campbell

    By Chris Campbell

    Jpellgen

    By jpellgen

    Janine

    By Janine

    Staceyjoy

    By staceyjoy

    googletag.cmd.push(function() {
    tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

    googletag.cmd.push(function() {
    mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

    The post 24 Images That Show Details of Every Day Life by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Weekly Photography Challenge – Everyday Life

    The first thing I want you to do it is to have a look at these photos of details of everyday life.

    Sam Hawkins

    By Sam Hawkins

    Weekly Photography Challenge – Everyday Life

    This one should be easy and hard at the same time. Easy in a sense of finding subjects because it’s the things you see and use every single day. Hard in a sense that you need to look at them in a new way. See them differently, and photograph them in a way that is interesting.

    Look for light, shapes, shadows. Get creative with your post-processing. Put in a macro lens or extension tube and get in close. Try something new just for fun.

    Ioiyyfv

    By ioiyyfv

    Aftab Uzzaman

    By Aftab Uzzaman

    Waferboard

    By waferboard

    8 Kome

    By 8 Kome

    Glenn Euloth

    By Glenn Euloth

    Damianos  Chronakis

    By Damianos Chronakis

    Share your images below:

    Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

    Share in the dPS Facebook Group

    You can also share your images on the dPS Facebook group as the challenge is posted there each week as well.

    Patrik Nygren

    By Patrik Nygren

    Juan Antonio F. Segal

    By Juan Antonio F. Segal

    Artjouer Street Art

    By artjouer street art

    googletag.cmd.push(function() {
    tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

    googletag.cmd.push(function() {
    mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

    The post Weekly Photography Challenge – Everyday Life by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School