The S1H can be seen as a large-sensor GH5S, but it’s not simply the case that the bigger camera gives you better quality. There are times it can, but it’s not just about cleaner footage.
Articles: Digital Photography Review (dpreview.com)
Nikon Trade-Up Program for the D780 and the Z-Series Mirrorless Cameras in US
03
Feb
The post Nikon Trade-Up Program for the D780 and the Z-Series Mirrorless Cameras in US appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
With competition coming from Canon, Sony, Fujifilm, and more, it seems that Nikon is doing whatever it can to keep buyers walking in the door. This includes a new trade-up program, which offers photographers savings when purchasing the Nikon D780.
The Nikon D780 is Nikon’s recently-released DSLR update to the Nikon D750; it features a 24.5-megapixel full-frame sensor, 7 frames-per-second continuous shooting (12 fps silent shooting), a tilting touchscreen, 4K video at 30p, and more.
While the trade-up program hasn’t yet begun, Nikon claims that you’ll be able to hand in “any working camera” when purchasing the Nikon D780. And that they’ll take $ 300 off the price of the D780, plus the “value of your trade-in.”
How will the trade-in value be calculated?
We can’t say for certain, but a similar deal has been offered on Nikon’s Z50/Z6/Z7 mirrorless lineup, promising trade-in value plus savings on a Nikon mirrorless model. To calculate the trade-in value, you’ll need to enter your camera model and condition. Nikon’s trade-in estimator will spit out a quote, and you’ll be able to claim the offered trade-in value (assuming that you’ve described your camera model and condition accurately).
If you’d like to test out your current camera on the trade-in value calculator, you can enter your camera model here.
Unfortunately, it doesn’t look like the trade-in values are on-par with current used marketplaces (e.g., eBay), so unless you don’t want to spend time selling off your own gear, it may make sense to just purchase the D780 (or the mirrorless bodies) separately and sell your gear elsewhere.
Now, Nikon does promise savings in the form of $ 300 off the D780. But a quick look at the parallel Nikon offer for the Z6 and Z7 shows that this “instant savings” simply makes the price competitive with an Amazon offering. For instance, Nikon supposedly drops $ 600 off the Z7 price of $ 3399.95 USD, taking it down to $ 2799.95 USD; compare this to Amazon’s current offer of $ 2796.95 USD, and your enthusiasm for these “instant savings” will immediately wane.
Regardless, we won’t know for certain until the D780 trade-up program officially debuts on February 3rd. It’s worth a look, especially if you’re looking to sell off your old camera without much hassle. Note that if you’ve already purchased the D780, you should still be able to grab the deal when it drops.
The post Nikon Trade-Up Program for the D780 and the Z-Series Mirrorless Cameras in US appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
6 Vital Things to Look for When Photographing Landscapes
03
Feb
The post 6 Vital Things to Look for When Photographing Landscapes appeared first on Digital Photography School. It was authored by Jeremy Flint.
Photographing landscapes is a hugely enjoyable pursuit that you can undertake all throughout the year. Landscapes are all around us, and being among them and capturing their beauty is a great way to immerse yourself in nature. Landscape photography can also be a fun way to practice your photography outdoors and learn about your camera in the fresh air. Here are six things to consider when photographing landscapes to elevate your images.
1. Dramatic light
One of the best times to be outdoors with the camera photographing landscapes is when the light is adding ambiance to the land.
Dramatic light can appear in all weathers.
You might expect dramatic light only to appear when the sun is shining. This is simply not the case. A predominantly overcast sky can yield impressive light for landscape photography. When the clouds disperse, the sun can unveil magical light as it paints and radiates the landscape.
It is often these fleeting moments of light that make the scenery more outstanding.
Another great moment for dramatic light is after a storm or rain shower when the bad weather clears and breathtaking light replaces it, or the final rays of light following a sunset.
Fujifilm Finepix F700, 12.9mm, 1/300 sec, f/3.6, ISO 200, Normal Program, Pattern Metering. © Jeremy Flint
2. Changes in the season
You can enjoy the beauty of the landscape throughout the year. Have you ever thought about how a local panorama changes with the seasons throughout the summer, autumn, winter, and spring? The changes each season brings can be brilliant for photographing landscapes.
Next time you visit and capture your favorite local scenic view, re-visit during a different time of the year and see how the landscape transforms in an alternative season.
The beautiful vibrant greens of summer are usually followed by the crisp and golden leaves and foliage of autumn when a palette of colors unfolds from shades of red and orange to hues of yellow.
In spring and summer, photographing landscapes can be a superb time to capture flowers in bloom or more minimalist looking images when the trees are bare and striking in winter.
Also, consider using a wide-angle lens to capture a greater perspective.
Canon 5D Mk II, EF 17-40mm f4L USM, 19mm, 1/4 sec, f/11, ISO 100, Manual Mode, Pattern Metering. © Jeremy Flint
3. Changes in the landscape
Our dynamic landscapes continue to change due to human activity and natural processes, shaping our diverse and wonderful landscapes.
Farming has a big influence on our land and can be great for photography. Arable farming (the growing of crops and cereals) and pastoral farming (the rearing and production of animals such as pigs, sheep, beef and dairy cattle) can make great subjects for photography.
As fields get plowed, seeds also get planted. When different crops grow every year, including wheat and barley in the UK, for example, these changing landscapes provide wonderful photo opportunities.
You can also photograph grazing animals in the landscape.
4. Varying weathers
Changes in the weather can be unpredictable and can occur at a moment’s notice. One minute it can be sunny, and the next minute it can be raining. Although you cannot control the weather, you can alter what you shoot. So get creative when photographing landscapes in varying weathers and make the most of anything it throws at you.
Bad weather can provide exciting chances to improve your photos. For example, snow can transform a landscape into a striking minimalist scene.
If the skies are overcast or it is raining, either head to a river for your photography or venture into woodlands where there is more cover for taking pictures.
Canon 5DSr, 16-35mm f2.8L III USM, 18mm, 15 sec, f/11, ISO 100, Manual Mode, Pattern Metering. © Jeremy Flint
The weather can influence a landscape with its changing patterns of light. As the sun and clouds come and go, shoot the diversity of the scene as it develops.
5. Atmospheric conditions
Atmospheric conditions can really help to lift your landscape images. A hint of mist can make an uninteresting scene look moody and interesting. Mist swirling around a group of trees or encircling a building can look spectacular, especially in the right light.
You can use fog to create mystical-looking images too.
© Jeremy Flint
6. Interesting elements
The final suggestion to shoot quality landscapes is to add an extra element of interest in your shots. You can go for a tree, water, people, or even parts of the landscape, such as a fence or gate.
Experiment with different compositions and come up with a view you like. The extra element will help give scale to your pictures and bring out another interesting side to the scenery.
Canon 5DSr, 16-35mm f2.8L III USM, 18mm, 1/30 sec, f/11, ISO 100, Manual Mode, Pattern Metering. © Jeremy Flint
Conclusion
In summary, changes in the weather can be both subtle and extreme, creating incredible moments to capture the landscape. Consider things such as showers, sun, cloud cover or clear skies when photographing landscapes.
Also, look for the seasonal changes in crops and take advantage of dramatic light as it casts its rays over a magical view.
Mist and fog can be the icing on the cake for landscape photography as they add an element of drama and can lift your images from great to spectacular. Also, include a person or building in your landscape shots for interest and scale.
Do you have any other tips for photographing landscapes? Perhaps you’d like to share some of you landscape shots with us? If so, please do so in the comments!
The post 6 Vital Things to Look for When Photographing Landscapes appeared first on Digital Photography School. It was authored by Jeremy Flint.
Video: How to create a custom keyboard shortcut in Adobe Photoshop CC
03
Feb
Adobe’s latest video in its ongoing ‘Photoshop Magic Minute’ series shows it’s possible to create a custom keyboard shortcut within Photoshop CC.
In the 60-second clip, Photoshop Product Manager Meredith Stotzner shows how, with just a few steps within Photoshop’s dedicated Keyboard Shortcuts sub-menu, you can create your own macro.
It’s a fairly basic trick, but for Photoshop newbies and those diving into the world of further customization, it’s a good, quick tip that can save a great deal of time and hundreds of keystrokes in the long-run.
You can find more 60-second Photoshop tips in Adobe’s ‘Photoshop Magic Minute’ playlist on Youtube.
Articles: Digital Photography Review (dpreview.com)
Fujifilm X-T3 vs X-Pro3: Which one’s right for me?
03
Feb
Fujifilm X-Pro3 vs X-T3: a look at the differences (and what they mean)
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At a fundamental level, the Fujifilm X-T3 and X-Pro3 have a lot of hardware in common but, unlike their predecessors, they’re radically different cameras to use. We’re going to have a look at the differences and what it means when you’re out taking photos with them.
At heart, both are 26MP X-Trans cameras that can shoot at up to 11fps with their mechanical shutters and 30fps in a cropped e-shutter mode. But the hardware differences between the models quickly add up to mean that they’d appeal to very different people and very different styles of shooting. Which one are you?
Viewfinder
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The most obvious distinction between the two models is their viewfinders. Both have 3.69M dot OLED viewfinder panels, with the X-T3 able to offer a higher, 0.75x magnification (vs 0.66x on the Pro3).
But the X-Pro series’ defining feature is its hybrid viewfinder that can be also has an optical mode. This is one of the defining features of the X-Pro range: a viewfinder that can be used as a fully electronic finder or an optical finder with an electronic display of shooting parameters and frame guides projected into it.
Viewfinder (optical)
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Some people find that optical finders let you feel a more immediate connection to the scene you’re shooting, and the electronic mode means it can also operate essentially like an X-T3 (albeit with lower magnification, presumably as a result of the more complex optics).
For those users who do want the optical viewfinder, it’s worth noting that it’s not as flexible as the one in the previous X-Pro models. Those included a magnifying lens that slid into place when you mounts a longer lens, meaning it could accommodate both wide and moderately long lenses, whereas the Pro3 optical finder can’t show framing guides any wider than 35mm equiv, and ends up using a very small area of the finder with lenses beyond 75mm equiv.
Screen
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Having said that the hybrid viewfinder was one of the defining features of the X-Pro series, the rear screen arrangement has become a similarly distinctive feature for the X-Pro3.
Its main rear screen tilts up so that it faces in towards the camera. This means it can’t be used for composing photos with the camera held out in front of you, forcing you to either use the viewfinder or to fold it out to shoot from waist level (something you couldn’t do with the older X-Pros). This very much encourages you to shoot one way or the other, strong arming you into using the features that make the camera different to its peers.
The X-T3 plays with a straight bat: it has a rear LCD that tilts up for waist-level shooting, down for overhead shooting and has a second hinge that lets you shoot portrait orientation images at low angles, too. The viewfinder eyecup obscures the tilted-up screen a little more than occurs on the X-Pro3 but overall, the X-T3 approach is certainly the more practical. But then, practicality (and whether ‘practical’ is always the paramount consideration) is the underlying story of the relationship between these two cameras.
Sub-monitor
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While we’re on the subject of rear screens, we’re also going to look at one of the things you’re likely to have noticed first: the X-Pro 3’s rear ‘sub-monitor’ display. We put it last partly because it arguably adds the least functional benefit to the X-Pro3, but it’s also perhaps emblematic of the camera’s entire philosophy and potential appeal.
Yes, it can be used to display the camera’s current shooting settings but, unless you’ve pushed all the dial functions from their dedicated controls to the fiddly command dials, you can see most settings just by glancing at the dial positions. Equally, how often do you scrutinize a small panel on the back of a camera you’re mainly shooting through the viewfinder of?
That film-carton display is kinda cool, isn’t it? Your response to that question probably answers whether the X-Pro3 is right for you
Instead, the rear panel’s primary role is to show which film simulation you’re using, in the style of the flap of a film carton, slotted onto the back of a film camera. From a functional point of view it’s almost entirely pointless. But if you aren’t Mr Spock, you’ll recognize that dispassionate analysis is meaningless when it comes to human reactions.
A camera is a creative tool and, as a result, is an emotional purchase as much as a rational one. Sure, that film-carton display doesn’t really do much, but it’s kinda cool, isn’t it? Your response to that question is probably the answer to whether the X-Pro3 is right for you.
All the latest processing
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The X-Pro3 has a series of image processing options that aren’t available on the X-T3. The Classic Neg Film Simulation mode, variable grain size and Color Chrome Effect Blue are all currently exclusive to the X-Pro3 and are not listed in the announcements of forthcoming X-T3 updates. It’s the same story with the X-Pro3’s multi-shot HDR mode.
The latest Autofocus
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With the recent release of Firmware V2.30 for the X-T3, it gains the latest Face/Eye performance and user interface implementation we first saw on the X-Pro3.
Now, when Face Detection find a face in your scene, you can push the joystick in to over-ride it and toggles between face detection and your previously chosen AF point. If you set a button to engage Face Selection mode, you can use the joystick choose which face to focus on (or press to toggle to your previously chosen point). We’re not sure why ‘Face Selection’ isn’t the standard behavior, but this newer approach is a huge improvement because you can leave face detection turned on, with an easy way to opt-out, when you want.
This implementation still isn’t quite as slick as it could be (we can’t see a reason why the ‘Face Selection’ mode isn’t the full-time behavior of the camera’s Face/Eye AF system, but it’s a big step forward compared to the way the X-T3 previously functioned.
Autofocus
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For the most part there’s little to choose between the X-T3 and X-Pro3 in terms of autofocus: they have similar underlying hardware and the X-T3 is supposed to be getting an update to the latest AF behavior in a firmware update.
The difference when you use the cameras is simply a knock-on effect of how the screens and viewfinders work. As mentioned on the previous slide, the both cameras now have better integration of their Eye-AF features, but the X-Pro3 can only use Face and Eye detection in EVF mode or when you’ve got the rear screen folded out: it’s not available through the optical finder.
The optical finder can also make it a little difficult to know where the camera is going to focus. Parallax error between the viewfinder and lens positions mean you sometimes have to estimate where your chosen AF point is, relative to the thing you can see through the optical finder. The tools provided to help you with this estimation are arguably a little less helpful than on previous X-Pro models. But this ambiguity and need to estimate are may, to some people, be part of the appeal of the X-Pro3 experience.
Video features
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The X-T3 is by far the better video camera of the pair. But that’s not much of a surprise, since it’s one of the best-specced stills/video cameras on the market at present and probably the best for the money.
Both cameras will happily shoot both DCI and UHD 4K video at up to 30p, but the X-T3 goes way beyond this. It can shoot 4K/60p footage at up to 400Mbps for up to 20 minutes, and its 30p capture will typically record for 30 minutes (as compared to around 15 on the Pro3).
The X-T3 also has 10-bit internal capture, meaning that its F-Log footage is much more malleable than the 8-bit capture of the X-Pro3. And, if you don’t want to have to process F-Log footage – something that’s not a particular chore, given Fujifilm’s provision of a series of LUTs to convert the footage to something more finished – the X-T3 can shoot Hybrid Log Gamma, the industry-standard ready-to-view HDR format.
Fujifilm has also said developed a USB control protocol for the X-T3, specifically so that the camera can be operated from the controls on popular brands of gimbals.
The X-Pro3 is a remarkable competent video camera but most of its appeal is likely to be to stills photographers. If you’ve any real interest in video, the X-T3 is the clear choice.
Build and appearance
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Both cameras are well built, with weather-sealed, primarily metal construction. The dials on both cameras aren’t perhaps as solid-feeling as their body construction, but they both end up feeling like premium products.
They’re both good-looking cameras, too. Some people will, no doubt, see the dedicated shutter speed and ISO dials as a throwback design aesthetic gone too far (and there are time using the combined shutter/ISO dial on the X-Pro3 that we feel that ourselves), but a lot of people will see them as classically stylish and functional.
A sense of style
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Of course the X-Pro3 works a little harder on both aspects of its classic chic looks. Its design is unmistakably rangefinder-esque and, particularly in its ‘Dura’ coated finishes, its titanium construction is pretty swish.
And, just like film carton display, there are some people who will find an emotional resonance in seeing the words ‘Made in Japan’ on the base of the camera. The X-T3 doesn’t make the same claim, but it seems every bit as well built as the Japan-made X-T2. So again, it’s perhaps more of an emotional pull than an objective benefit.
Conclusion
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Does the X-Pro3 speak to you? The answer to that question is probably more valuable than any analysis we can offer.
We nearly wrote a use-case based assessment but concluded the X-T3 is more practical in just about every respect, for most kinds of photography. But that’s probably just an indication that you’re using the wrong analytical tool. Sure, the X-T3 is objectively better suited to most types of photography than the X-Pro3 (with the possible exception of street shooting), but that’s not the point.
This is a head versus heart decision, and the heart wants what the heart wants
If the X-Pro3 feels distinctive, individual or special to you, then it’ll end up meaning more to you, and may prompt you to go out shooting with it more often. Ultimately, this is a head versus heart decision, and the heart wants what the heart wants.
Articles: Digital Photography Review (dpreview.com)
A Step-by-Step Guide to Color Grading in Capture One Pro
02
Feb
The post A Step-by-Step Guide to Color Grading in Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.
One of the reasons photographers hesitate to move from Lightroom to Capture One Pro is the learning curve associated with a new piece of software. The interface and the tools in COP are very different than those of Lightroom. Color grading in Capture One is one example of a process that is radically different than those found with Adobe products.
That being said, if you already know how to retouch your photos in Lightroom or Photoshop, then it won’t take you long to get up and running with Capture One Pro, which is recognized industry-wide for its superb color grading tools.
Color grading in Capture One Pro is a huge topic, but here are some tips to get you started.
The Color Editor
The Color Editor can be found in the left-hand side of the COP workspace, indicated by an icon as shown below:
Here you’ll find an RGB Histogram, a panel for White Balance, the Color Editor, and Color Balance.
There are three tabs in the Color Editor: Basic, Advanced, and Skin Tone. COP is recognized for its ability to render beautiful and highly realistic skin tones in comparison to other RAW editors.
These tabs allow you to modify the Hue, Saturation, and Lightness of individual colors.
You can also work in Layer Masks. These work similarly to local adjustments in Lightroom and allow you to modify individual colors more precisely.
The Basic tab
There are six color ranges represented in the color wheel under the Basic tab.
To work on a particular color, you first need to define the color range.
Choose the eyedropper to the right of the color wheel and click it on the desired color in your image.
In my image of the roasted cauliflower below, I clicked on the roasted tomatoes in order to work on the red tone.
The shading in the red segment of the color wheel shows you what color/colors have been selected.
You can further define the color range by clicking on the border of the segment and adjusting the width with your mouse.
To see exactly what the range includes click on View Selected Color.
Use the Smoothness slider to control the fall-off of the selected color into neighboring colors. This is represented by the shaded colored area around the boundaries. This will prevent hard edges.
The Basic tab is great in that it allows you to work on colors in your image individually. However, for maximum control when color grading in Capture One, use the Advanced tab.
The Advanced tab
As with the Basic tab, you need to define the color range you wish to work on with the color picker.
Click on the area you wish to adjust.
Then click View Selected Color Range.
Everything that is not part of the selection will be shown on the image as black and white. The width of the selection on the color wheel shows the excluded colors.
When working in the Advanced tab, you have extra precision when controlling the depth of the selection, as shown in the image above.
Simply click on the border and move your mouse towards the center of the color wheel. You can grab the border to include other colors in your selection.
Now you can make adjustments to the Smoothness, Hue, Saturation, and Lightness.
Once you have made the desired adjustments, uncheck View Selected Color Range.
To edit certain colors and not others when color grading in Capture One, you can also work on layers.
Layers in COP work similarly to local adjustments in Lightroom.
The Color Balance Tool
The Color Balance Tool is a simple yet powerful tool for correcting color casts and also for color grading in Capture One.
It can also be found under the Color Tool tab.
Color Balance allows you to not only tweak color, but add luminosity to the highlights, midtones, and shadows individually to an image. It enables precise control over hue and saturation in your images.
It can be used to make local adjustments in conjunction with the Layers Tool.
The tool is split up into five tabs: Master, 3-Way, Shadow, Midtone, and Highlight.
The Master tab allows you to affect color throughout the image. For example, if you want to cool down or warm up your image.
3-Way allows you to conveniently see Shadow, Midtone, and Highlight all at once.
When working with the Color Balance tool, you might want to remove it from the side panel and have it float in your workspace. You can then enlarge it for more comfortable viewing to make extra fine adjustments as needed.
To do this, simply click on the panel and drag it to another area of the workspace with your mouse.
Then drag on a corner to expand it.
To use the individual color balance tools, click on the centerpoint and drag it around the circumference, towards the color you want to affect.
Moving the pointer away from the center towards the perimeter increases saturation.
The curved sliders on either side of the color wheel affect the density of the chosen color range.
To reset the slider, you can click anywhere in the middle.
After you have made your individual color adjustments, you can head over to the Master slider and tweak the overall color balance if you wish.
In the image below, I made a couple of adjustments to the exposure, contrast and brightness of my image but I wanted to improve the colors.
I used the Master tab to cool down the image overall and bring out the blue undertone in the peonies.
Then I added some blue to the shadow. To the naked eye, the plate was quite blue and I wanted to bring this out in my image.
I also added magenta to the midtones and highlights to bring out the pink.
To work on colors individually, like the green of the leaves, you can use the Color Balance tool in conjunction with the Layers tool.
To do this, click on the Layers tab and create a name for your layer so you know what it refers to. I called my “Leaves.”
Paint a mask on the selection of the image you wish to change. There is no need to be super precise.
Use the Master tab to make the adjustment to the color.
The image will be adjusted with the updated color.
Conclusion
Capture One Pro comes with a steeper price tag than Adobe products, however, their claim that they are the number one choice among professionals is not an exaggeration.
Take some time to play around with the Color Editor and Color Balance tool. You may soon find you’ll be abandoning Lightroom for color grading in Capture One Pro.
Do you have any other questions or tips for color grading in Capture One Pro? If so, please share them with us in the comments.
The post A Step-by-Step Guide to Color Grading in Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.
Learn How You Can Easily Create the Perfect Reflection Photos
02
Feb
The post Learn How You Can Easily Create the Perfect Reflection Photos appeared first on Digital Photography School. It was authored by Simon Bond.
In this article, you’ll discover how to create the perfect reflection photos. You’ll learn how to find reflection photos in locations near to you, and then how best to capitalize on these reflections in your photo. Use the correct equipment, the right angle, and you’ll be taking stunning photos in no time.
What is reflection?
First, the science behind reflection photography. Knowing why reflections form will help a lot when it comes to finding and taking these types of images.
The most obvious object you’ll come across on a day-to-day basis that reflects is a mirror. So in reflection, the angle of the incident light will be equal to the angle of the reflected light.
That means when you stand directly in front of a mirror, you’ll see yourself. However, if you stand to the side, you’ll see the scene that’s to the side of you.
When you reach the extreme edge of the mirror and look across it, you’ll see the room you’re standing in duplicated in a mirror image.
In the majority of cases, you’ll want to get down to the angle of the reflection to create this duplicate image in your photo. Repetition always works well in photography.
A strong subject like architecture can work well for reflection photography.
Which materials have a reflective surface?
Now you know what reflection is, you’ll need to know where to find it. There are lots of things that have a reflective surface – the mirror is the most extreme of these and is designed to reflect. You’re really looking for something with a smooth, shiny surface. So look for the following to get a reflection:
- Metal – Any metal surface will reflect. Surfaces with less scratches are best.
- Glass – Glass will also reflect. The shallower the angle you use, the stronger the reflection will be.
- Marble – Shiny smooth stone surfaces will reflect, but not as much as glass or metal. That said, with water on top of the marble, the reflection will be better.
- Water – Where water forms a flat surface, there will be a reflection. Puddles often do this, ponds also work, and even larger bodies of water can work when there is no wind.
The glass on this shop window becomes more reflective the shallower the angle.
How to take the perfect reflection photos.
Now you know what reflection is, and the materials that produce it, you’re ready to take the perfect reflection photos. Take a look at the following steps, and you’ll be in a position to get the best results.
Finding locations with reflection
Knowing which surfaces cause reflection is only half the story. You need to combine finding one of these surfaces in a location that has an interesting reflection. Going out and finding these is sometimes easy, and sometimes more of a challenge.
Look to the following to improve your chances:
- Clear surfaces – Windows on high streets, or glass protecting commuters from the track in subway stations, all have the potential to be good reflection surfaces.
- Bodies of water – Permanent bodies of water like ponds or lakes can be great for reflection photos. The moat around a castle can also work very well. You’ll want to choose a calm day for best results.
- Puddles – After it’s finished raining, but before the puddles drain away, it is a great time to look for reflections that would not normally be there.
After it’s finished raining get out looking for puddles that will then be reflection pools.
Create your own reflection
There are, of course, times when you’d like to photograph a reflection where one doesn’t usually form. In that case, you could experiment by taking a mirror with you to a location. It might not be practical to bring a large mirror with you, but by using a wide-angle lens, you can make the reflection look much larger than it actually is.
Another solution is to bring a bottle of water with you or even a bucket. If there is a readily available source of water nearby, like a lake or the sea, you might be able to carry buckets of water to a location where you wish to create a reflection.
This location is a popular location to photograph reflections. It’s next to the sea, so it’s possible to make your own reflections. I’m thankful to my friend for helping make the puddle.
Enhance your reflections
There are a couple of things you can do to enhance your reflection photo in-camera. These mainly involve the equipment you use. Look to do the following to create the perfect reflection photos.
- Circular polarizing filter – One of the best items you can use in reflection photography. Using this filter will greatly increase the strength of the reflection.
- Wide-angle lens – Use a wide-angle to increase the scope of the reflection within your photo. Even a small puddle can fill an entire frame if you get close enough to the puddle.
- Shallow angle – The shallower the angle, the greater the reflection will be. So get side-on to a window, or down on the ground near a puddle for best results.
This is the result of making a reflection using buckets of water.
Good subjects for reflection
Now just because a place has a reflection doesn’t mean it’s going to be the best place to take a reflection photo.
As with all photography, you need a strong main subject. That main subject might already be there in the form of architecture. If that’s not the case, you may need to wait for a moment of capture, a person walking past your reflection location, for instance.
While a mirror image reflection could hold your photo, a single person, single tree, or an iconic landmark that also reflects will dramatically improve your results.
Use post-processing for reflections
In addition to the steps you can take in-camera, there are further steps you can use in post-processing. These involve enhancing your existing photo or creating a reflection within your image.
Enhancing a photo
This involves taking a photo that already has a reflection and then making that reflection stand out more.
You’ll be looking to make local adjustments to your image. To do that, you can either use graduated filters to adjust the image or layer mask and reveal only the area of the image that you wish to effect.
Adjustments you can consider making are brightening, sharpening, and adding more contrast to the reflection in an attempt to mimic the image that the reflection is from.
This sunset had the perfect reflection pool. It could be better with a stronger main subject.
Creating a reflection
Lastly, in your bid to create the perfect reflection photos, you could turn to post-processing.
You’ll need to choose an appropriate image to do this – one that has some nice sky would work best.
Then it’s a case of increasing the canvas size of your image, duplicating the image, flipping it, resizing it, and then making the reflection look realistic by adding some imperfections. You can look to create this by using the following guide.
How will you create the perfect reflection photos?
Now you have the knowledge needed to go out and create stunning reflection photos in your neighborhood. Are there any techniques you use to enhance your results either when you take the photo or post-process it?
Here at digital photography school, we value your ideas and opinions, so please share those in the comments section. Likewise, if you have images you’ve taken that show reflections, please share those as well!
The post Learn How You Can Easily Create the Perfect Reflection Photos appeared first on Digital Photography School. It was authored by Simon Bond.
DPReview TV: Video tripods vs photo tripods
01
Feb
Video tripods with fluid heads provide distinct advantages over standard photo tripods when shooting video, but are they always better? Chris and Jordan compare both types of tripods and demonstrate the pros and cons of each.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
- Introduction
- Photo tripods
- Photo tripod limitations
- Compact video tripods
- Mid-range video tripods
- Professional video tripods
- Can any tripod do both jobs?
Want to learn more about video tripods? Read our article Introduction to video tripods for an in-depth overview of what to look for in a video tripod.
An introduction to video tripods
Articles: Digital Photography Review (dpreview.com)
How to Jump from Lightroom to Photoshop and Back Again When Editing Photos (video)
01
Feb
The post How to Jump from Lightroom to Photoshop and Back Again When Editing Photos (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this video from Phil Steele of SteeleTraining, you’ll learn how you can jump from Lightroom to Photoshop and back again when editing your photos.
In this tutorial you will learn:
- How to make the jump from within Lightroom to Photoshop so you can do more detailed editing using layers, and then bring the photo back to Lightroom.
- About making multiple jumps or nested jumps.
- How this function works with RAW files versus JPG files.
- What the different options mean in the “Edit in Photoshop” dialogue box when editing JPGs.
- A workaround to open your original, unedited RAW file in Photoshop.
- How to add text to your photo in Photoshop.
- How to Save the file and how to change the default settings of the file saving format.
- Why you should use only “Save” and not “Save As” when in Photoshop.
- The process that Lightroom uses to save and retrieve your image.
Multiple jumps (or roundtrips)
You’ll learn:
- What happens when you make multiple round trips (jumps to and from Lightroom to Photoshop and back) with the same file.
- The best format to choose after you have closed Photoshop and decide you want to keep editing your edited photo.
- What setting to choose so that you don’t loose further adjustments made in Lightroom when jumping back to Photoshop.
- The trade-off of jumping back to Photoshop for a second time after making further edits in Lightroom but with a sneaky work-around.
- How to make “virtual copies” of your image in Lightroom.
- How you synchronize settings from one image to another in Lightroom.
Nested Jumps (or roundtrips)
You’ll learn:
- How to jump from Lightroom to Photoshop and then from Photoshop to third-party software such as Luminar.
- How to merge multiple Layers into a single Smart Layer so you can open in a third party program/plugin.
You may also like:
- How to Use Camera Calibration Tool in Lightroom (video)
- RAW Photo Editing in Lightroom: How to Make Your Photos Look Real to Life
- How to Make Your Photos Pop in Lightroom (With Just 4 Quick Edits!)
- How to Make Your Photos Awesome in Lightroom or Photoshop Camera RAW
- Texture and Clarity Sliders in Lightroom Classic CC: What’s the difference?
- How to Develop Better Black and White Photos in Lightroom
The post How to Jump from Lightroom to Photoshop and Back Again When Editing Photos (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
How to Find Your Vision as a Photographer
01
Feb
The post How to Find Your Vision as a Photographer appeared first on Digital Photography School. It was authored by Mat Coker.
It’s frustrating to be a good photographer but not know what to do with your skills.
You can know your camera inside and out, be able to compose a good photo and capture a great moment, but without vision, you’ll always feel aimless as a photographer.
You’ll be stuck taking pictures that don’t inspire you and perhaps even running a photography business that brings you down.
I’ll show you how to find your vision as a photographer so that you can thrive and create a body of work that you are proud of.
“It is a terrible thing to see and have no vision.” – Helen Keller
Even though I’m a family photographer, photos like this do not fit my vision as a photographer. However, I understand that families want a nice portrait like this, so it’s part of what I offer as a family photographer.
What is “vision”?
Vision has to do with seeing, and photographers constantly practice the art of seeing.
Having vision means you know why you’re taking pictures. You know what you want to accomplish. You’re not controlled by what other photographers tell you to do. You know what you’re pursuing and why.
“Vision is the art of seeing things invisible.” – Jonathan Swift
Photos like this, a candid moment, a splash of chaos to break the order, is more in line with my vision.
Who’s vision are you living?
Without a vision of your own, you may be living out another photographer’s vision.
You see everyone else’s style of photography and feel you have to conform to that even though you don’t want to.
Somebody else has told you how to see the possibilities. Your vision isn’t your own.
But how do you find your vision as a photographer?
A photo like this fits my vision perfectly. It was cold and the little one was confused and grumpy and shivering. The only thing that mattered to her was her mom. But this photo is not really about the little one, it’s about her mom. The mom who sacrifices, and comforts. The mom who abandons everything to embrace her little one.
Look back to find your vision
Part of your work as a photographer is to explore. What you explore is completely up to you.
You often don’t realize the significance of your discoveries until you can see some thread that connects them all.
In all your exploration as a creative person, you will see clues to your vision.
Look back on these five things to help find your vision as a photographer.
1. Note your other creative pursuits
You’re probably a creative person and not just a photographer.
- Consider what books you love to read.
- Take note of what you watch.
- What type of music do you listen to?
- If you sketch or paint, what is your subject matter?
Now, connect photography with your other creative pursuits.
Here’s what it looks like for me:
I tend to read novels that explore human nature, listen to music with lyrics about the ideal life, enjoy comedy that pokes fun of everyday routines, write on themes of personal growth, and studied the humanities at university.
I love to photograph candid moments (even during headshot sessions) because it lets me explore personality and how people act.
Already, I see a connection between my photography and my other creative pursuits.
“You don’t make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.” – Ansel Adams
In each of these books, I find a clue to my vision as a photographer.
2. Collect the photos you love the most
What sort of photos are you drawn to and what are your favorite photos that you’ve taken?
What do you see in those photos and how do they connect to your other creative pursuits?
From my earliest days as a family photographer, this is one of my favorite photos. Childhood is a theme I love to explore.
Look beyond your own photography to that of others. What prints have you purchased or photography books do you own?
I’m not a photojournalist, though it’s photojournalism that seems to really inspire me as a photographer. This 25-cent yard sale magazine was one of my best purchases this year.
My favorite photographs are gritty, grainy and misfocused, but I love them.
I appreciate photographers who live for the moments and ideas in the photograph.
Moving forward, pay attention to what compels you to grab your camera and take a photo.
3. List your quirks as a person
This is a fun one. The purpose is to discover what is unique and interesting about you as a creative person.
- Do you have a strange hobby?
- Do you have any funny rituals?
- What are you most embarrassed about?
List those quirky things that make you interesting.
If a toddler cries at one of my photo sessions, you can be sure I’ll snap a picture. l also make moms and dads dance together during photo sessions. It’s always so awkward, but that’s interesting to me.
One of my quirks is that I’m afraid to dance. I figure if I’m afraid of something, then other people are too. So I make couples dance at a portrait session. It’s lots of fun and the most awkward couples end up with the most romantic portraits.
4. What are your favorite 3-5 photography quotes?
Your favorite photography quotes will help you find your vision as a photographer.
Here are a few to get you thinking.
“I realize more and more what it takes to be a really good photographer. You go in over your head, not just up to your neck.” — Dorothea Lange
“Taking pictures is savoring life intensely, every hundredth of a second.” — Marc Riboud
“For me, the camera is a sketchbook, an instrument of intuition and spontaneity.” — Henri Cartier-Bresson
“I tend to think of the act of photographing, generally speaking, as an adventure. My favorite thing is to go where I’ve never been.” — Diane Arbus
“Taking pictures is like tiptoeing into the kitchen late at night and stealing Oreo cookies.” — Diane Arbus
“My life is shaped by the urgent need to wander and observe, and my camera is my passport.” — Steve McCurry
“The most difficult thing for me is a portrait. You have to try and put your camera between the skin of a person and his shirt.” — Henri Cartier-Bresson
Do your favorite quotes have anything in common with your creative pursuits, your favorite photos, and your quirks as a person?
One day the bay we live on flooded and took over our yard. I put on my chest waders and followed my son as he paddled around. This is who I am as a photographer. Wandering into unpredictable and unexpected events to explore. I love it when our everyday life is made strange
5. Pay attention to what you say when you’re upset
Sometimes the spontaneous overflow of emotion contains the exact revelation of what your vision is.
How do you react when your photos are criticized? If you’ve never been criticized, just find a community to share your work online. Sooner or later, a person will let you know what they think of your photos. They will insult you relentlessly. Hopefully, they get under your skin, and you lash back. The words you blurt out are an expression of your vision.
I like wading into chaos and making something beautiful out of it. And if there are blemishes in the photo, so much the better. Because where there are smudges and dust and grain – that’s where things got real.
I keep my iPhone 4s to use as a camera. The grain and discoloration in the photos represent what I see in life. It’s one of my favorite cameras.
Ask, what problem does your vision solve?
By now, you should have a clue as to what you’re after as a photographer. Don’t worry, it takes some time to come up with a precise vision.
A final approach is to ask what problem your vision tackles.
I remember the day I realized what photography was all about for me. I was reading a book on the history of journalism and came across this comment:
“The mission of photography is to explain man to man and each man to himself.” — Edward Steichen
My everyday photography and work is permeated with trying to understand ourselves. That is right in line with the books I read, the comedy I laugh at, and the moments I capture.
As I photograph my kids, other people and social events, I come to understand humanity. And I find myself in places I would never get to be unless I was a photographer.
“The camera is an excuse to be someplace you otherwise don’t belong.” — Susan Meiselas
I’ve been there when brides get ready for their wedding day. That would never have happened without the camera. You get insights into a person when you spend their wedding morning with them. You get insight into humanity when you do this repeatedly over time.
Here is a question that drives me as a person and a photographer: who do you become in a crisis?
What do you become like when a session falls apart? Who do you become as a mom when your little one won’t smile pretty for the camera? Who are you when your children need you? Those questions drive me and therefore drive my vision as a photographer.
A moment between a father and son. He’s done something wrong and neither knows quite how to react or what to say. It’s a defining moment in their relationship.
Your vision ought to make you grow
People with vision foresee exactly what they’re after and why. They work toward it, overcoming obstacles and their weaknesses. To find your vision as a photographer:
- Explore your creativity.
- Ask, what problem does my vision solve?
- How does it make life deeper and better?
- Who do I need to be(come) in order to bring this vision to life?
- What do I have to do consistently in order to bring this vision to life?
- Write yourself a tag line and print it, make a mug, a t-shirt, or paint it on the wall.
Do you have anything else you’d like to add to this? If so, please share with us in the comments.
The post How to Find Your Vision as a Photographer appeared first on Digital Photography School. It was authored by Mat Coker.
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