The post Food Photography Techniques and Tips appeared first on Digital Photography School. It was authored by Jonathan Pollack.
Editor’s note: This article was updated in October 2020.
I originally wrote this article in 2009 when I was beginning to take pictures for my wife’s baking blog and various local magazines. Since then, I’ve had a lot of practice, and I’ve honed my food photography techniques.
I’m thrilled to update everyone with what I’ve learned, and I hope that you find the information here helpful when taking pictures of your food.
Food styling
When you’re taking pictures of food, it’s critical that your subject looks as good as it hopefully tastes. If you don’t have the budget to hire a food stylist, it’s important to know some basic styling techniques that can make food look its best.
Make more food than you think you’ll need, and always photograph the examples that look the best. You cannot make a burnt waffle or soggy asparagus look appetizing.
Props can help you set the mood for your food photos. I have a basement full of plates, platters, chargers, cups, glassware, utensils, napkins, tablecloths, surfaces, and cutting boards at my disposal. With those, I can pull together what I need to set a table (or a portion of a table) for a picnic setting, a fine-dining scene, or something in between.
While you don’t need to have a ton of food photography props, I recommend that you at least have a few place settings and utensils, as well as a nice surface to photograph on.
Plating your dish properly can elevate it from mundane to extraordinary. If you aren’t working with a professional chef or food stylist, I recommend you read articles and watch video tutorials about plating as a starting point.
Think about ingredient placement, creating height or depth, adding color, or increasing contrast.
Here are a few plating tips to improve your food photography:
Plate an odd number of the item you’re photographing.
Add garnish where appropriate, such as with soups.
Lean longer flat items against those with some height.
Use edible flowers or fresh herbs to add some contrasting color to your plate.
Food photography composition
When taking pictures of food, you have the advantage of a subject that is stationary. This means you have complete control over the camera’s position and angle, and how close or far away the camera is from the scene.
To get the best composition, I recommend you start with a few food photography techniques:
Use the traditional rule of thirds to yield strong compositions if you don’t have a lot of experience. Mentally divide your frame into a 3×3 grid and place key elements at the gridlines or intersections. Once you’re familiar with the rule of thirds and you can see how it can lend power to your scene, treat it as a suggestion and experiment.
Draw the viewer into your composition. Show part of the plate in your photo rather than the entire dish. Use utensils or napkins to help guide the viewer’s eyes to what you want them to focus on. And remember that the same contrasting elements that help you style a plate will also work in your favor when it comes to composition.
Use negative space to make a powerful photo. Clutter in your scene causes visual confusion, so remove it. The less your viewer is drawn to, the better.
Think of how the dish would best be viewed. Head-on views, overhead shots, and views looking slightly down into the dish are always preferable to looking down at a plate from a 45-degree angle.
Keep your camera level. Early in my food photography career, I felt that angles conveyed a sense of excitement to the viewer. They did – because they made it look like the food was falling off the plate! I stopped rotating my camera, and my photos became much stronger overnight.
Zoom with your lens and your feet. There are times when macro photos of food work well, and there are times when a wider shot conveys a better sense of place and atmosphere. See if background compression helps remove distractions from your dish. Try a number of options with your food and see what works best.
Food photography lighting and exposure
While you don’t need the absolute best equipment to photograph food – I’m using camera equipment that’s a decade old! – you do need to think about how your choice of lighting, exposure, and even camera equipment affect your photo.
Placing your dish with natural light to the side and behind generally yields great results, but it’s also not consistent or reproducible; a passing cloud or thunderstorm can suddenly destroy all of your styling and composition efforts.
If you’re working on taking photos over the span of a few hours and you want them all to look similar, I highly recommend that you use artificial light of some sort. Most food photos I’ve taken indoors are photographed using flashes with diffusion from behind or off to the side of the food. I use reflectors to bounce some light back to the front of the dish, if needed.
If you’re working within a budget, consider getting inexpensive work lights and putting white linens between the lights and your food.
Learn how to use the exposure triangle whether you’re using natural or artificial lighting, and start setting everything on your camera manually. Aim to blur out your background while keeping the foreground nice and sharply focused. And, of course, make sure everything is lit just right.
Equipment for food photography
The best camera equipment in the world won’t help if you haven’t learned what to do with it. I always advise people to start by renting equipment or buying cheap, used gear.
To start off, I recommend a tripod, a camera body that supports detachable lenses, and a medium zoom lens. I encourage you to learn to shoot and edit RAW photos, as you can adjust far more in post-production with them than you can with JPEG images.
If you’re ready to move on from your basic camera setup, I recommend you buy color calibration equipment and lighting. And when you feel confident that you have a good understanding of all of the gear you have and you feel that your current gear is holding you back, finally commit to a full-frame camera system and professional lenses.
Food photography techniques: conclusion
What food photography techniques have worked for you? What techniques have been problematic? Please let me know in the comments!
The post Food Photography Techniques and Tips appeared first on Digital Photography School. It was authored by Jonathan Pollack.
Autel Robotics announced its long-awaited EVO II series drone at CES 2020 in January, promising vast improvements over the original EVO model launched back in 2018. Its most notable feature is a modular camera system, offering three models that cover a range of features that meet different users’ needs, from consumers to professionals.
The camera on the standard EVO II uses a 1/2″ 48MP Quad Bayer sensor and is the first consumer drone to offer 8K video. The EVO II Pro uses a larger 1″-type 20MP sensor that gives 6K recording, and the EVO II Dual features both an optical and a thermal camera in a single unit and also maxes out at 6K recording. The modular system allows users to switch cameras if needed on a single drone.
12 computer vision sensors for omnidirectional obstacle avoidance
Controller with built-in color screen
9km video transmission
No geofencing
Online login not required to fly
These shared specifications suggest a capable drone. The lack of geofencing will certainly appeal to some, and the 40-minute flight time is impressive. However, there are key differences between models depending on which camera you intend to use.
EVO II
EVO II Pro
EVO II Dual
MSRP
$ 1495
$ 1795
$ 9998
Sensor size
1/2″ CMOS
1″-type CMOS
1/2″ CMOS (optical)
FLIR BOSON sensor (thermal)*
Sensor resolution
48MP Quad Bayer
20MP
20MP (optical)
640 x 512 (thermal)
Max photo resolution
48MP
20MP
20MP
ISO range
Video: 100-6400
Photo: 100-3200
Video: 100-6400
Photo: 100-12,800
Video: 100-6400
Photo: 100-12,800
Max video resolution
8K/25p, 6K/30p, 4K/60p
6K/30p, 4K/60p, HD/120p
6K/30p, 4K/60p, HD/120p
Lens
26mm equiv. (F1.8 fixed)
29mm equiv. (F2.8-11)
29mm equiv. (F2.8-11)
Zoom
8x (up to 4x lossless)
8x (up to 3x lossless)
8x (up to 3x lossless)
Takeoff weight
1150g (2.5 lbs.)
1191g (2.6 lbs.)
1150g (2.5 lbs.)
*FLIR sensor size not specified
When buying an EVO II, you can choose the model with the camera that best fits your needs. If you want to switch cameras at some point, you can do it without buying a whole new drone.
The EVO II was released in June following several delays, beginning with a software bug and supply chain shortages. Has the company ironed out the glitches that delayed its launch for a few months? And, how does it compare to similar models from DJI? We’ll explore both questions in this review.
We tested the standard EVO II, thanks to our friends at Drone-Works. Chicago-based professional Antoine Tissier lent us his EVO II Pro model for some additional tests. We did not test the EVO II Dual.
Aircraft and controller
The EVO II bears a strong resemblance to DJI’s folding Mavic series of drones, though its body is substantially larger, and it doesn’t quite fit in your palm. One thing that’s a bit perplexing is that the bottom propellers don’t fold neatly under. They jut out slightly, making it more difficult to carry the drone in-hand.
Aircraft
The EVO II features a total of 12 computer vision sensors located on the front, rear, top, bottom, left, and right side of the aircraft for omnidirectional obstacle avoidance. There are also two ultrasonic sensors located on the bottom of the drone for precision hovering.
The Owner’s Manual points out that there are blind spots on all 4 corners of the drone. When I flew the EVO II in diagonal directions, I noticed that obstacle avoidance didn’t activate at times. You should always fly your drone within visual line of sight, regardless.
The bottom of the Autel EVO II aircraft is equipped with 2 Ultrasonic sensors (closest to the camera) followed by the Downward Vision System (in the middle and back) and the Downward Vision Lighting LED (middle-right).
Autel claims a 40-minute battery life while flying and 35 minutes when hovering without wind. I found this figure extremely accurate. For comparison, the Mavic Air 2 clocks in at 34 minutes while the Mavic 2 Pro tops out around 30 minutes. That extra 6–10 minutes of battery life will matter if you’re performing an inspection or mapping a site.
The battery is huge at 7,100 mAH and slides in and out easily. According to Autel, a ‘patented Battlock system’ prevents the battery from ejecting during fast flights or crashes.
8GB of onboard storage is available if you’re without a memory card or as back up if you run out of space while capturing imagery. Media stored on the drone can be accessed through a USB-C port located on the right-hand side. On the opposite side is a microSD slot that can house a card up to 256GB.
Controls and flight modes
The EVO II is powered by the same type of remote as the original EVO, which is disappointing for several reasons. Because you’re using it to maneuver your drone, the remote should be ergonomically friendly. Unfortunately, that’s not the case with this particular design. Two rather awkward handles fold out from the bottom that are made of slick plastic. While I didn’t fly in hot weather, I couldn’t help but wonder how challenging it might be to hold on to the remote should my palms sweat.
Your mobile device clamps in on top of the remote, and you don’t need to remove your smartphone case. Much like the original EVO or competing Mavic models, tablets will not fit. The main part of the controller features a built-in 3.3–inch OLED display.
The controller’s 3.3–inch built-in OLED display gives you critical flight information.
It’s possible to operate the EVO II using the remote controller on its own. This works for taking photographs or video clips on the fly. However, Autel recommends using its Explorer app on a smartphone to access all of the drone’s features.
Unlike recent Mavic controllers, there isn’t a simple routing solution for connecting your mobile device if you’re using Apple’s iPhone. Instead, a USB Type-A port can be found at the bottom of the remote. This means you need to supply your own connecting cable, much like the DJI Phantom 4 models of 2016. For all other smartphones, a USB Type-C connector is included.
Another issue stems from two buttons labeled ‘A’ and ‘B’ on the remote’s backside. They’re way too easy to accidentally press while flying and activating, for example, the Voice Assistant or an Intelligent Flight mode. It’s possible to program the buttons to perform different functions, but you’re likely to activate a feature unintentionally at least once per flight, and it’s distracting at best.
Poorly placed buttons on the backside of the remote make it much too easy to activate features like Autel’s Voice Assistant accidentally.
I can’t help but wonder why Autel didn’t take a cue from DJI, who made it incredibly simple to switch flight modes by featuring them front–and–center on their Mavic Air 2 remote. For example, to activate ‘Ludicrous’ mode, the equivalent of Autel’s Sport mode, which allows the drone to travel at its top speed of almost 45 mph, you need to go into the app’s settings menu to switch over.
The sticks on the remote are easy to maneuver with just the right amount of resistance. When powering on, you’ll have to press down on the drone battery button for three or more seconds before it powers up or down, a bit different for DJI users accustomed to a quick tap followed by a two-second hold.
Odds and ends
Drone-Works sent me the EVO II ‘Rugged Bundle,’ which includes a hard case designed specifically for this product by GPC. It also has two extra sets of propellers and an additional flight battery. The case is rather large for what is fundamentally a compact drone and will be a hassle, especially with airport security, once air travel becomes commonplace again.
On the right is a Mavic 2 case I purchased for myself. Though the drone isn’t too much smaller than the EVO II, the case that comes with the ‘Rugged Bundle’ is overwhelmingly large for a foldable drone.
Don’t ask why Yongnuo decided to showcase a full-frame E-mount lens on an APS-C camera body…our guess is as good as yours.
Chinese accessory and lens manufacturer Yongnuo has announced the release of a new 35mm F2 autofocus lens for full-frame Sony cameras.
The new lens is constructed of nine elements in eight groups, including one low-dispersion element and one aspherical element. The lens also features what Yongnuo calls a ‘nano-multilayer coating,’ but doesn’t specify what elements this coating is applied to.
The 35mm F2 has an aperture range of F2-F16, uses a seven-blade aperture diaphragm and has a minimum focusing distance of ‘about’ 35cm (13.7”). Its autofocus is driven by a digitally-controlled stepping motor (DSM) and an onboard USB-C port will allow for firmware updates, should Yongnuo release any to improve function or compatibility.
A diagram of the lens’ optical construction.
While constructed mostly of plastic, the lens features metal bayonet mounts and uses gold-plated contacts, which transmit, in addition to data for autofocus and aperture control, EXIF data. Also present is a switch for turning on and off autofocus, as well as a Function (Fn) button that can be customized to perform a certain action or bring up a certain menu.
There’s no word on when exactly the lens will go live or how much it will retail for, but you can keep an eye out on Yongnuo’s online shop and Amazon shop.
Award-winning artist and director Lynette Wallworth released her documentary Awavena in 2018 to critical acclaim. The project’s director of photography, Greg Downing, utilized numerous cameras during production, including the specialized Canon ME20F-SH multi-purpose camera.
Awavena follows the first female shaman of the Yawanawa tribe in the Amazonian rainforest. As part of the film, the crew documents an Ayahuasca vision quest and represents this experience using real footage captured in incredibly low light and CGI. Downing, with the aid of the ME20F-SH, captured footage of fluorescent insects and plants in nearly no light, something that Canon believes could have proven impossible for other cameras.
This week, Canon shared a video going behind the scenes with Downing and the ME20F-Sh camera. You can view this below.
If you’d like to view the trailer for Awavena, it can be seen below. Awavena is Wallworth’s second mixed-reality VR film, following up on the Emmy-winning film, Collisions. Wallworth says, ‘We engaged DP Greg Downing from XRez to film in the Amazon and brought the eminent Australian fluorescent biologist Dr. Anya Salih, my longtime collaborator, along on the shoot so we could film the previously unseen world of forest fluorescence as part of the vision sequence.’ Wallworth’s full artist statement about Awavena can be read here.
While the Canon ME20F-SH camera is getting a bit long in the tooth, its technical specifications and features continue to impress over five years since it was announced. The camera utilizes a 2.26MP CMOS image sensor, which was originally announced all the way back in 2013. The sensor has pixels measuring 19?m, allowing for 1080/60p video capture in light levels as low as 0.0005 lux at a gain setting of 75 Db, which is equivalent to over ISO 4,000,000. The ME20F-SH supports Canon’s EF and EF-S lenses. While Awavena represented Downing’s first experience with the ME20F-SH camera, he has long relied upon Canon cameras for his work and has been a longtime Canon Professional Services member.
Canon ME20F-SH camera
This is not the first time footage from the ME20F-SH has been featured on our site. In 2016, Ben Canales recorded video of the Perseid meteor shower using the camera. You can see that footage below.
In 2017, Canon outfitted an industrial done with the ME20F-SH all-purpose camera for nighttime surveillance. That video can be seen here.
As PetaPixel notes in its coverage of Awavena, the ME20F-SH has been used to record the aurora borealis in real-time and record bioluminescent coral over 1,000 feet beneath the ocean’s surface. You can check out these videos below:
The post Weekly Photography Challenge – Silhouette appeared first on Digital Photography School. It was authored by Sime.
This week we’re looking forward to not seeing the subject of your photographs because the theme is ‘Silhouette’ we hope you’re up for it! #dPSSilhouette is the hashtag we’d like you to use (add it to your post wherever you post it: details at the end of the post)
See ALL of our weekly challenges right here
Not sure how to make a silhouette photograph? Have a look at these articles!
Photograph silhouettes in eight easy steps
18 Shape defining silhouette images
Perfect outdoors silhouettes
Great! Where do I upload my photos?
Simply upload your shot into the comments 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 favourite photo-sharing site and leave the link to them.
Share in the dPS Facebook Group
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSSilhouette to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.
Follow us on Instagram?
The post Weekly Photography Challenge – Silhouette appeared first on Digital Photography School. It was authored by Sime.
If you’re wondering what all Apple managed to pack inside its iPhone 12, repair site iFixit is currently hosting a live teardown of one of Apple’s latest smartphone on its YouTube channel.
The review started at roughly 1:20pm ET, but it’s still going on and is available to watch from the beginning if you’d prefer to take it all in. If iFixit comes across any interesting surprises, we’ll summarize them in an update to this article.
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.
Your needs should dictate what to buy. Might a simple point-and-shoot be a good starter camera, or will you need a full-frame DSLR with a long lens and a big tripod? Don’t just buy what a salesperson or someone else tells you is “the best.” Ask yourself some important questions.
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.
You could just buy the top-of-the-line flagship camera from one of the big-name companies and figure it would do everything you’d ever need. But when you’re still learning, the plethora of buttons, dials, knobs, and menus would likely overwhelm you. Then you’d be paying for things you won’t use or understand. The “best” is not always what is best for you.
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?
What do you already know about photography? Do you understand the exposure triangle? When exploring photography equipment for beginners, your pre-existing knowledge, as well as your interest in learning, should be factors in deciding the right gear for you.
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
Over 1.3 trillion photos are being taken each year, the vast majority with cellphone cameras. Just a small percentage of those are printed. If you don’t plan to make prints, do you need a high-megapixel camera?
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.
If you do intend to make prints, think about how large you’d like to make them. My Canon Pixma Pro-100 can print up to 13″ x 19″. To print at 300 DPI, that means I need a 3900 x 5700 pixel image. My Canon 6D is a 20.2-megapixel camera with a maximum resolution of 5472 x 3648 pixels. 13” x 19” is about the maximum I can go with good quality. There are ways to go larger, but give consideration to your printing needs when purchasing a camera.
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?
My first digital camera was the 1.2 MP Nikon Coolpix 950. I still have it.Here’s a slightly-cropped image from the Nikon Coolpix 950. The maximum resolution for that camera was 1600 x 1200 pixels, just enough to make a 4″ x 6″ print. If all I wanted to do was post images online or to social media, however, that still would be plenty of resolution. What you intend to do with your photos should be an important consideration when purchasing a camera.
The little Coolpix 950 excelled at macro shots.
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.
Once you start buying lenses and accessories, you will soon have invested more than the price of your camera body. Because each camera make typically has its own proprietary mount, picking and sticking with a camera brand makes upgrades less expensive. You’ll be reluctant to switch brands if it means selling off everything and starting 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.
Do you need the “latest and greatest” as a beginner? Do you need new equipment, or might a slightly used and well-cared-for earlier model save you some money and be more than adequate for you?
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.
Idaho Camera had been the camera store in my town for 74 years. They closed permanently this past month, a victim of changing economic times, competition with online dealers and, finally, the Covid-19 crisis.
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.
Check out the Cameras & Equipment section here on dPS for good information and reviews of photo equipment.
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.
The Digital Photography Review site. Cameras by Use Case is great for helping you explore photography equipment for beginners and is specifically geared toward how you intend to use your equipment.
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)?
Here, take my money! I guess if money is no object, you might just buy what someone else tells you is the “best.” But, for most of us, research will help you get what you need, and what will be the best tool for the job at the best price.
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.
Pinhole photography is often associated with ‘intro to photography’ -type classes, because it simplifies the process of recording an image down to bare bones. But there is both an art and a science to creating a well-functioning pinhole camera. Specifications like hole diameter and the light-sensitive material’s distance and angle-of-view to the pinhole make a huge difference.
So, how does one elevate the pinhole camera from DIY beginner project to serious creative tool? With a little bit of technical know-how and a whole lot of trial-and-error. Join 35mmc’s Sroyon on their adventures in the world of cardboard cameras.
Read: Making and using a cardboard camera – adventures in pinhole photography
About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at KosmoFoto and 35mmc.
DJI’s new Ronin gimbals, the RS 2 and RSC 2, have been updated a ton of important ways: better stabilization algorithms, built-in color displays, heavier payloads… heck, even the carrying cases are better. Jordan takes a closer look at what’s new and how they function in the field, both as tools for videographers and fitness buffs alike. Yep, you read that right.
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