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Sony 70-200mm F2.8 GM OSS II sample gallery

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Sony’s latest lens, the FE 70-200mm F2.8 GM OSS II, brings all new optics to one of the core products in the company’s G Master line of premium lenses. We’ve had a chance to see how Sony’s latest 70-200mm F2.8 performs in a variety of situations with some sunny Fall weather around Seattle. Take a look and see how it performs for yourself.

Articles: Digital Photography Review (dpreview.com)

October 13, 2021
9 Best Tripods for Landscape Photography in 2021
The post 9 Best Tripods for Landscape Photography in 2021 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

What’s the best tripod for landscape photography you can buy today? When considering the perfect landscape tripod, there are literally hundreds of products to choose from – the tricky part is narrowing down all the options to find one that’s right for you!

This guide will help you wade through the various tripods on the market to find the one that fits your needs. Of course, as with many aspects of photography, it’s difficult to offer a black-and-white best tripod to purchase. It depends on your goals, your gear, and whether features like budget and portability matter more than height and durability.

I would, however, caution you against getting a very inexpensive, do-it-all model like the kind you might find at a local department store or online retailer for $ 25-$ 50 USD. These tripods might seem good, and some have long lists of features, but they are often made with cheap materials that will not hold your camera steady and will break very quickly. So if you’re after a genuinely good tripod for landscape photography, scour this list; you’re certain to find a much better option that suits your needs.

Let’s get started.

Fujifilm X100F | 23mm | f/8 | 1/60s | ISO 200
There’s no way I would have gotten this shot without a tripod.

1. The Peak Design Travel Tripod (Best overall)

When Peak Design released their Travel Tripod in 2019, it sent shockwaves through the photography community. The tripod was (and is!) small, light, and incredibly versatile, which made it appealing to a wide range of photographers.

All was not sunshine and roses, and shutterbugs quickly took note of some important downsides. This new tripod was expensive, limited in certain ways, and included some highly unconventional design choices. But despite the drawbacks, the Peak Design Travel Tripod earns my recommendation as the absolute best tripod for landscape photography you can buy.

I have used this tripod extensively, from mountaintops in the southwest United States to remote hiking locales along the USA-Canada border, and there’s simply nothing else like it. Its diminutive size when fully collapsed, coupled with the extremely low weight, is a boon to landscape photographers who value quality as well as portability. The built-in ball head is flexible, the legs are stable, and with the center column extended, the entire package is nearly as tall as any other tripod on this list.

I wouldn’t recommend the Peak Design Travel Tripod for use with heavy cameras like the Canon 1D X or Nikon D6, since the thin (but very strong) construction can’t quite keep up when you start attaching pounds of gear. But for most landscape photographers, this tripod hits the sweet spot between size, features, and portability.

Pros
- Outstanding portability
- Highly flexible
- Lots of little design touches, like the cell phone holder tucked into the center column, that display a high attention to detail
Cons
- The carbon fiber version is very expensive
- Not as tall as other tripods
- Not designed for very heavy camera/lens combinations
2. MeFOTO BackPacker S Aluminum Travel Tripod (Best budget)

If you’re a landscape photographer on a budget, you can’t go wrong with the MeFOTO BackPacker S Travel Tripod. It’s not as compact or versatile as other items on this list, but it offers amazing flexibility – especially considering the price.

The legs fold up around the ball head to save on space, and you can lock them into several positions during setup. The lack of a true center column limits the overall height of this tripod, but it still suits the needs of many landscape photographers quite well.

The legs each have a series of twist-lock mechanisms to extend the sections and keep them in place. I’m personally not a big fan of this style and instead prefer the clip-lock or twist-lock systems found on other tripods, but again, the main point of this tripod is to serve a more budget-conscious audience.

One nice feature is the ability to convert it to a true monopod by removing a leg and attaching it to the center column, though that’s not highly relevant for landscape shooters. It does speak to the overall versatility of this tripod, and for photographers who want one inexpensive option for landscapes plus other situations, the MeFOTO BackPacker S is a solid choice.

Pros
- Inexpensive
- Flexible
- Can be converted to a monopod
Cons
- Not as tall as other options
- Twist-lock extension mechanisms aren’t to everyone’s liking
3. Manfrotto MT190XPRO3 with Manfrotto 496 Center Ball Head (Best semi-professional)

There’s a bit of a paradox with camera gear: the more you spend, the less you get. Whereas many less expensive tripods come with everything you need to go out and start shooting, higher-end tripods often come as two separate pieces: legs and heads. The Manfrotto MT190XPRO3 is an outstanding set of tripod legs, but it also needs a head, and for that I recommend the 496 Center Ball Head.

The Manfrotto legs aren’t small and light so they might not be the first choice for travelers, but they are strong, sturdy, and tall enough to give you unique landscape photos you can’t get with shorter tripods. The legs can be locked into several positions, and adjustments are quick and easy thanks to the clip-lock leg extensions. My favorite feature is the center column adjustment, which lets you extend the column and then reposition it horizontally to capture photos in entirely new ways.

The 496 Center Ball Head refines the design Manfrotto has used for years, and while it doesn’t offer anything particularly revolutionary, it does give you stability and impressive ease of use. Large, chunky knobs let you easily reposition the ball head and then lock it firmly in place, and it’s designed to hold over 20 pounds of gear.

Bottom line: This setup is great for landscape shooters who use professional-grade cameras and lenses and don’t to trust their gear to a flimsy support system.

Pros
- Sturdy
- Easy to adjust ball head position
- Simple but effective leg locking mechanisms
Cons
- Bulky and not ideal for backpacking
- Not as tall as other tripods
4. Gitzo GT2545T Series 2 Traveler (Best professional tripod)

For landscape photographers who want a no-compromise solution to the tripod problem, it’s hard to beat the Gitzo GT2545T Series 2 Traveler. It’s small, lightweight, extends to over five feet, and is designed to take a beating.

Gitzo has made a name for itself in the photography community as a maker of tough, reliable gear for the most demanding situations, and this tripod is no exception. While it’s not quite as small and compact as the Peak Design Travel Tripod, it folds down small enough to fit in most backpacks or suitcases, and the carbon fiber construction keeps it lightweight for hiking out to your favorite landscape photography spots.

This tripod frequently comes paired with a ball head, but you’re free to just buy the legs and choose your own head to fit your needs. However, the often included ball head is great for landscape photographers and one I strongly recommend. Its huge knobs are easy to loosen and tighten, and the head can be moved into nearly any position you need. Unlike some less expensive ball heads, this one is coated with a special material to minimize sticking – perfect for photographers who shoot in inclement weather.

Pros
- Extremely high-quality build
- Very lightweight but capable of supporting large cameras and lenses
- Folds down small for portability
Cons
- Expensive
- Not as compact as others on this list
- Height is decent when fully extended, but not outstanding
5. JOBY TelePod Pro (Best small tripod)

Large tripods that extend high up into the air are great for capturing nature and landscape shots, but sometimes you just need something small and versatile. And if you prioritize compactness over everything else, I recommend the JOBY TelePod Pro.

Designed for small setups like a consumer-grade DSLR or mirrorless camera paired with a lightweight lens, this tripod folds down smaller than a water bottle so you can literally take it anywhere. It has sturdy, rubberized feet and a fairly unique design element: an extendable center column instead of extendable legs. This comes at the cost of stability, but helps maintain the outstanding size and portability.

Of course, with the JOBY TelePod Pro, it’s important to keep expectations firmly in check. It’s almost like a selfie stick with three feet, and that makes it unappealing for a lot of longtime landscape photographers. But for those new to this type of photography, or people who don’t have big cameras and lenses, the TelePod Pro is just about perfect.

Pros
- Inexpensive
- Incredibly compact
- Highly portable
- Easy to use in a wide range of landscape situations
Cons
- Not ideal for large cameras
- Extending center column design limits overall stability
6. Feisol Elite Tripod CT-3472LV M2 (Best heavy-duty tripod)

In landscape photography, wind, snow, rain, dirt, dust, extreme heat, and cold are all par for the course – and in such conditions, it helps to have a tripod that will never let you down. That’s where the Feisol Elite Tripod comes in.

It’s a great option for those who value build quality and durability over all else, thanks in part to thick legs capable of holding over 60 pounds, which eclipses just about everything else in its class. The carbon-fiber construction results in a high price tag but a reasonable weight, which is great if you’ll be carrying this on your back or over your shoulder for long distances.

While not as versatile as some other options on this list, the Feisol Elite Tripod does have one key advantage: its size. It’s certainly no tiny, compact device like the Joby TelePod Pro. The Feisol Elite Tripod is approximately two feet long when folded, and it reaches a towering height of nearly six feet to help you get the shots that other landscape photographers can only dream about.

Pros
- Large chunky legs offer amazing stability
- Can support far more weight than other tripods
Cons
- Expensive
- Does not include a ball head
- Not ideal for photographers who value portability
7. Manfrotto MK055XPRO3-3W (Best full-size tripod)

The Manfrotto MK055XPRO3-3W tripod packs everything but the proverbial kitchen sink. Yes, it’s large and definitely not appropriate for long hikes or tromping around through the backcountry, but if you’re a landscape photographer who wants to buy one single tripod that includes everything you need for rock-solid stability, this one is it.

You won’t get a carbon fiber build, and good luck stuffing this beast in a backpack – but it is rock solid, has easy-to-use flip locks to extend the legs, and reaches a stratospheric height of more than 72 inches. It will handle any situation you can throw at it as long as you’re able to lug it to your location.

While you can customize this tripod with a different ball head, the included 3-way pan/tilt head is excellent for landscape photography. It offers a more careful, considered approach than the knob-turning of other ball heads, and the large adjustment handles connect you to the tripod in a way that I really like. As with other high-end Manfrotto tripods, the center column can be repositioned horizontally for even greater maneuverability.

Pros
- Great compromise between features, flexibility, and price
- Sturdy, supportive legs
- Can extend over six feet
Cons
- Included pan/tilt head is not suited for everyone
- Not very portable
- Load limit is good but not great considering the size
8. Vanguard Alta Pro 263AP (Most flexible tripod)

The Vanguard Alta Pro 263AP is an excellent option for landscape photographers who want advanced features at a much more reasonable price point than Gitzo or Feisol tripods. It’s relatively compact – though not as diminutive as the Peak Design Travel Tripod – and extends to a very respectable 70 inches. The center column can be positioned in a variety of ways, and the ball head can be rotated and repositioned in almost every manner imaginable.

What I really like about this tripod for landscape photography are the little touches that make your shooting experience just a little more pleasant. The feet have metal tips for maximum stability (especially out in nature). The center column can be repositioned while also adjusting its height, allowing you a near-unprecedented level of versatility.

And while some photographers would rather have a more traditional ball head, I do appreciate the large, easy-to-use handles that let you adjust pan, tilt, and rotation separately. I wouldn’t hesitate to recommend this tripod to most photographers, as it is well suited to almost any photographic situation.

Pros
- Relatively inexpensive compared to some others on this list
- Highly versatile
- Great for a variety of situations, not just landscapes
Cons
- Included tripod head is not to everyone’s liking
- Not very small when collapsed
9. Joby GorillaPod with smartphone mount (Best mobile phone tripod)

It’s often said that the best camera is the one you have with you, and for many people, that means their mobile phone. Extend that maxim just a bit, and we might say that the best tripod is the one you have with you. For landscape photographers who rely on their mobile phone to create images, this tiny Joby tripod is one that I’m always happy to recommend. Its unique wraparound legs let you capture stable images on just about any surface imaginable, and the entire tripod can be wrapped around objects, including trees, fence posts, benches, and more.

While I wouldn’t recommend a GorillaPod to anyone who shoots with a DSLR or mirrorless camera, it’s ideal for mobile phone shooters. The tripod will sit firmly in place with a phone attached, and the ball head is great for repositioning your phone to get your shot just right. It’s small, light, highly portable, and comes at a very reasonable price.

If you shoot landscapes with your mobile phone, there’s almost no reason not to get this tripod. And despite some limitations, it’s a great solution and a welcome addition to your gear kit.

Pros
- Inexpensive
- Small
- Flexible
- Highly portable
Cons
- Very short
- Not well suited for dedicated cameras
Nikon D750 | 70-200mm f/2.8G ED VR II | 70mm | f/16 | 1/60s | ISO 160

The best tripod for landscape photography: final words

While you don’t necessarily need a tripod for landscape photography, it will get you consistently better results. You can use lower ISO values, narrower apertures, and longer shutter speeds, plus you can capture shots you just can’t reach when shooting handheld.

If you’re looking for your first tripod, or if you already have a tripod and are aiming to upgrade, hopefully one of the options on this list will be just right for you!

And remember, these are my personal picks for the best tripods for landscape photography, but if you have a favorite I would love to hear about it – so leave your thoughts – and share any of your own landscape photos – in the comments below.

Landscape tripods FAQs

What is the best tripod brand for landscape photography?

Try to not think about this in objective, black-and-white terms. There are pros and cons to every tripod brand and plenty of tradeoffs. Instead of thinking about which brand is best, think about your needs, then choose a tripod that fits your budget.

Do I need to pay more for a weather-resistant tripod?

Some tripods advertise features like weatherproof knobs and dials, but I really don’t worry about this sort of thing too much. I wouldn’t recommend paying more for these features unless you have a specific use case in mind. Outside of using using your tripod in torrential rain every single day, any model will probably be fine.

Do I need a special type of camera for landscape photography?

Any camera will work for landscapes, from mobile phones to point and shoots to high-end mirrorless and DSLR models. Landscape photographers generally prefer wider lenses to capture more of the scene, but it’s also possible to get great landscape shots with a telephoto lens. Your camera is almost certainly not the limiting factor in landscape photography; no matter what camera you shoot with, a tripod will almost certainly help.

What type of head should I use on my tripod?

Some people prefer ball heads, while others prefer pan-and-tilt heads. There’s no one answer to this, but I personally gravitate towards ball heads simply for the size and convenience factor. One thing I do not recommend is using a tripod head designed for videography when shooting still photos. They generally do not allow the same level of free-form movement and positioning as a head designed for still images.

The post 9 Best Tripods for Landscape Photography in 2021 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Digital Photography School
October 12, 2021
Video: First-ever look at crystals forming in real-time at atomic resolution

Researchers at the University of Tokyo have combined novel techniques to record the first-ever atomic resolution video of salt crystals as they form in real-time. The team used the novel technique of atomic-resolution real-time video recording and the similarly novel technique of conical carbon nanotube confinement to achieve this impressive feat.

Before diving in, it’s important to give context. Salt crystals, like other crystals such as snowflakes and diamonds, comprise repetitive arrangements of molecules. While crystals can take many different forms, something they all have in common is a highly ordered microscopic structure. The process of disorganized molecules arranging into an ordered crystalline structure is called nucleation. The time it takes for the first crystal to appear in this process is called primary nucleation time. Secondary nucleation is a new crystal structure being produced by a preexisting crystal.

Nucleation has been the subject of scientific study for centuries. Scientists have been able to observe molecules at an atomic level and see what a crystal looks like. Still, until now, nobody has observed the dynamic process of crystal formation. Observing the nucleation process should shed light on the process and help expand our understanding of molecular structure and crystallization.

Credit: American Chemical Society / University of Tokyo

‘One of our master’s students, Masaya Sakakibara, used SMART-EM to study the behavior of sodium chloride (NaCl) – salt,’ said Project Assistant Professor Takayuki Nakamuro. ‘To hold samples in place, we use atom-thick carbon nanohorns, one of our previous inventions. With the stunning videos Sakakibara captured, we immediately noticed the opportunity to study the structural and statistical aspects of crystal nucleation in unprecedented detail.’

SMART-EM is a single-molecule atomic-resolution real-time electronic microscopy technique developed by students at the Department of Chemistry at the University of Tokyo. The technique captures images at 25 frames per second.

Nakamuro and his team looked at Sakakibara’s videos and, per Phys.org, ‘were the first people ever to see tiny cuboid crystals made of tens of molecules of NaCl emerging from the chaotic mixture of separate sodium and chloride ions.’ They observed a statistical pattern in the frequency of crystal emergence that followed a normal distribution. A normal distribution of crystal emergence had long been a held theory but had yet to be verified through experiment.

Credit: American Chemical Society / University of Tokyo

University Professor Eiichi Nakamura added, ‘Salt is just our first model substance to probe the fundamentals of nucleation events. Salt only crystallizes one way. But other molecules, such as carbon, can crystallize in multiple ways, leading to graphite or diamond. This is called polymorphism, and no one has seen the early stages of the nucleation that leads to it. I hope our study provides the first step in understanding the mechanism of polymorphism.’

The team hopes to better understand polymorphism, which is an important process to produce various pharmaceutical and electronic components. To read more about the ongoing study, refer to ‘Capturing the Moment of Emergence of Crystal Nucleus from Disorder,’ by Takayuki Nakamuro, Masaya Sakakibara, Hiroki Nada, Koji Harano and Eiichii Nakamura.

Articles: Digital Photography Review (dpreview.com)

October 11, 2021
10 High School Football Photography Tips
The post 10 High School Football Photography Tips appeared first on Digital Photography School. It was authored by Jeff Guyer.

Are you looking to capture top-notch, action-packed, jaw-dropping photos of high school football?

You’ve come to the right place.

I’ve been doing high school football photography for years, so I’ve picked up plenty of key tips, techniques, and secrets to capture amazing shots. And in this article, I aim to share it all with you, from essential equipment to camera settings to creative tricks and more.

So if you’re ready to elevate your football photography, then let’s dive right in, starting with equipment:

1. Use the right gear

I’m not going to spend a lot of time here discussing camera bodies. Some of the photos in this article were taken years ago using a Nikon D70, and they look great. As long as you’re photographing with a reliable DSLR or mirrorless camera, you’re going to be fine. A fast continuous shooting speed and a capable autofocus system is helpful, but if you can’t afford these features, then don’t worry too much.

For a football photographer, your big concern is lenses. Happily, it is possible to get really great shots with a few basic options. When I first started shooting sports, I used just one lens, a 70-200mm f/2.8. I was able to shoot and edit creatively enough to get a variety of images. If you can only afford one lens right now, definitely opt for a longer zoom.

Don’t just buy any long zoom, however. Make sure it’s plenty fast; in other words, it should ideally feature a maximum aperture of f/2.8. Fast lenses are going to be hugely important once the sun goes down because most high school sports have a prohibition against using flash. You’ll need that ultra-wide aperture to keep a sufficiently fast shutter speed (otherwise, your photos will all turn out blurry!).

By the way, I’d also recommend investing in a nice monopod to keep your camera steady. In good light, you can handhold, but as the day turns into night, you’ll want some form of support – and tripods tend to be annoyingly unwieldy.

As with any type of shoot, make sure you have all of the necessary backups: batteries, memory cards, etc. Also, make sure you also have a plan for when it starts raining. Note that rain will fall on occasion, so be prepared for it. The Think Tank Hydrophobia should do the trick.

Trust me. At some point it’s going to rain!

2. Consider how you’ll get in

If you’re serious about football photography, consider contacting the school/venue ahead of time and ask about media credentials. In exchange for your images, you might be able to get a free pass into the game.

Otherwise, you’ll probably have to pay to get in (just like anyone else!). The good news is that it’s usually less than $ 10. You might be able to talk your way in on the day of the game, but the money goes to a good cause, so if you’re forced to pay, it’s not that big of a deal.

3. Get to the game early

Teams take the field to warm up anywhere from one to one-and-a-half hours before game time. And warm-ups are going to give you one of the best opportunities for quality shots.

For starters, the light is better. The sun won’t have set, and you’re going to get strong, powerful natural light, particularly if you shoot with the sun at your back.

Plus, players also tend to move a little more slowly in warm-ups than in the actual game, so you’ll have an easier time capturing motion. You’ll also get more of an opportunity to isolate individual players.

In some cases, you may even be able to actually walk out onto the field to shoot. However, if you do, please be careful! There will be around 150 kids warming up, many of whom are big, fast, and not paying attention to you.

Always remember: the kids’ job is to play football, not give you a good photo op. So make sure you don’t get in the way!

Get there early and take advantage of the sun while you can.

4. Know the sport

The key to getting quality photos in football?

Have a solid understanding of the game. Know how it is played.

After all, every game has an ebb and flow of its own. If you know how the game goes, then you’ll be ready when the game hits its highs (and you’ll know when you can relax and take your finger off the shutter).

Plus, knowledge of the game will allow you to anticipate moments before they happen. Will it be a running play or a passing play? What are the odds that they’re going to fake the punt on 4th down? Do you need to be on the sideline or the end-zone for the action? The home side of the field or the visitors’?

The more you understand the subtleties of the game, the better prepared you will be.

5. Focus like a pro

In football photography, you need to master two types of focusing:
1. Mental focus
2. Camera focus
First, mental focus: These kids are big and fast and strong, and are trained to run through anything in their way. So please, please, please pay attention to the game, anticipate change, and get out of the way if players are barrelling toward you.

I once saw a photographer stand his ground on the sidelines, despite the fact that a player was being pushed out of bounds right at him. I watched as his camera, lens, and monopod all went flying in three different directions (he flew in a fourth). He was ultimately wheeled off the field with cuts to his face and a leg that had been broken in two places. No photograph is worth that. So focus on where you are and what is going on around you.

As for the other kind of focus:

You’re photographing an action sport and you want action photos. So set your camera to its continuous autofocus setting (AF-C on some cameras, AI-Servo on others).

Now, the kids will be wearing helmets, so don’t worry if you can’t focus on the players’ eyes. Sure, if you can get the eyes, that’s great. If not, your best bet is to lock on the players’ numbers, or even the ball once players start moving. Here, your camera’s tracking mode will be a big help. Of course, feel free to experiment with other AF area modes, just in case one suits your style of shooting.

The goal is speed and accuracy. And at first, you may struggle. That’s normal. But keep practicing, keep working at it, and you’ll eventually improve.

6. Use the right camera settings

Football players move fast, and if you come home with 250 blurry photos, you aren’t going to be happy. So pay careful attention to your shutter speed, because the faster your shutter speed, the better your chances of freezing the action.

I generally like to start with a shutter speed of 1/500s and adjust my aperture and ISO accordingly until I get the look I want. Since football is an outdoor sport, the lighting is going to change over the course of the game. You may start out with great natural light, but you’ll often end in the dark with less-than-ideal stadium lighting. This, in turn, may mean slowing down your shutter speed to let in more light, as well as opening up your aperture to its maximum or raising your ISO.

Mastering these settings – and knowing what to adjust during a game – takes some practice. Be prepared for some trial and error. Here, Shutter Priority mode is often your friend, as you can input your desired shutter speed and ISO, then let your camera automatically adjust the aperture. You might also consider using Auto ISO with some sort of cap (but before you go this route, test different ISO values and determine your maximum “good” ISO).

7. Carefully choose your vantage point

Beginning football photographers struggle to position themselves correctly. They often pick an empty bleacher seat near the field, set up their gear, and stay in place for the entire game.

But if you want truly excellent photos, you need to position yourself carefully – and if possible, you should move with the action.

How do you pick the best position? First and foremost, let the light guide you. It sounds dramatic, but really, you should just take advantage of the sun while you can. Especially when you’re starting out, put the sun at your back so that it’s falling onto the field and nicely illuminating the players. As you get more experienced, you can try switching things up and working with backlight (i.e., situations where the light comes from behind the players, as in the photo below) or even sidelight, but as a beginner, keep things as easy as possible.

Obviously, the closer you are to the action, the better your photos will be. So get as close to the field as possible. If you can, position yourself on the sidelines, below the bleachers. This will give you the best angles, plus it will give you room to move with the game.

Be aware that some stadiums will have restrictions on where you can and can’t stand, regardless of your press credentials. “The Box,” for example, is the area on the sideline between the 20-yard lines. This area, for a variety of reasons, is off-limits to anyone other than players, coaches, trainers, etc. A game official who is a stickler for the rules could penalize the team for your presence in the box. If that happens, start running and don’t look back!

There is a natural tendency to shoot a football game primarily from “your” team’s side of the field. If you’re a parent, this is where you know people and feel comfortable. But try going around to the other side of the field once in a while. That way, you can capture the action with your team’s colors and sidelines in the background.

8. Be creative and keep your eyes open

Sure, you’re photographing football, but that doesn’t mean you can’t be creative with your angles and compositions. If you are selling game photos on your website, getting creative will only help!

I tend to think in terms of portraits; how can I highlight a specific player in the best way possible? Changing angles resulted in getting this quarterback against a perfect background:

Don’t fall into the trap, though, of assuming that everything worth photographing is right there on the field in front of you. Spend some time in the stands. Shoot the crowd reactions. Photograph the band and the cheerleaders. Capture the traditions. There is so much more going on in a stadium than just a football game. So turn your back on the action once in a while and take a look around you. There are stories everywhere.

Most importantly, learn to keep your head on a swivel!

Pay attention. You never know who might drop in.

9. Consider using your camera’s continuous shooting mode

Beginner sports photographers tend to set their camera to its fastest shooting mode, then follow the “spray and pray” strategy where you capture a series of shots over a split-second window.

But is this advisable? Or should you use your camera’s single-shot mode?

Honestly, it really depends on you and your style. Ask five photographers, and you’ll get five different answers. When I first started shooting high school sports, I was working with a slow camera that didn’t let me “spray and pray” consistently and hope for the best. It may have been frustrating back then, but it was probably a good thing. I learned to compose my shots and choose my moments a little more carefully. Over time, I developed a pretty fast shutter finger and a better eye for sports action. So even now, with a faster camera, I tend to leave my camera set for single clicks.

Ultimately, I’d recommend you try out both settings. Work with your camera’s continuous shooting mode for a while. Then, once you’ve gotten some shots you’re satisfied with, switch over to a single-shot mode and see how it feels!

10. Listen to the coaches (and follow proper etiquette)

If you are covering a particular team over the course of a season, introduce yourself to the coaches. Your job will be easier if they know who you are and why you are there. Plus, play your cards right with the coaches and there’s no telling what kind of access you might get.

Being nice to coaches gets you all kinds of access.

If a coach or official tells you something, listen. If they ask you to move, move. You’re in their house and you have to play by their rules.

As I mentioned above, don’t use flash. It’s not allowed, plus it can seriously impact the game. It may sound silly, but you have no idea what the consequences of an unexpected flash might be. There could be college scouts in the stands, and if you blind the receiver with your flash, they might not get a scholarship or even get recruited at all.

Also, if play stops for an injury on the field, show respect and put your camera down. While injuries might make for compelling photography, you may be witnessing the end of a child’s life-long dream or even their chances of going to college. You don’t want the student or their parents to see that on your website. This is high school, not the NFL. Be sensitive and keep things in perspective.

High school football photography tips: final words

Any seasoned photographer will tell you that photographing sports is not easy, and football may be one of the hardest games to shoot.

However, with with a little practice and preparation, your images will start to improve. Remember these tips, apply them to your photography, and pretty soon, your photographs will be outstanding.

Now over to you:

Do you have any tips for football photography? Have you photographed any games? What was it like? Share your thoughts in the comments below!
Table of contents

Sports Photography

GENERAL

8 Tips On How to Photograph Sports

Tips from the Sports Photography Pros to Help You Get the Money Shots

Indoor Sports Photography

SETTINGS

How To Use Sports Mode

LIGHTING

Shooting Portraits and Action Sports with Speedlites – Workshop

GEAR

Lens Review Canon 300mm f4 Lens for Sports Photography

Aquatech CO-7 Underwater Sport Housing [REVIEW]

Shooting Motorsports with a Micro Four Thirds Camera

ADVANCED GUIDES

Tips for Photographing Football (Soccer)

How to Shoot High School Football

1. Use the right gear

2. Consider how you’ll get in

3. Get to the game early

4. Know the sport

5. Focus like a pro

6. Use the right camera settings

7. Carefully choose your vantage point

8. Be creative and keep your eyes open

9. Consider using your camera’s continuous shooting mode

10. Listen to the coaches (and follow proper etiquette)

High school football photography tips: final words

1. Use the right gear

2. Consider how you’ll get in

3. Get to the game early

4. Know the sport

5. Focus like a pro

6. Use the right camera settings

7. Carefully choose your vantage point

8. Be creative and keep your eyes open

9. Consider using your camera’s continuous shooting mode

10. Listen to the coaches (and follow proper etiquette)

High school football photography tips: final words

Play Ball! Covering Your Bases Shooting Baseball

How to Capture the Perfect Action Shot in Sports Photography

Low Light Sports Photography

3 Tips for Taking Better Motorsport Photos

Catching the Action: Photographing Youth Sports

Top 5 Tips for Extreme Sports Photography

POST-PROCESSING

Using Photoshop to Create the Illusion of Depth of Field with your Sports Photos
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The post 10 High School Football Photography Tips appeared first on Digital Photography School. It was authored by Jeff Guyer.

Digital Photography School
October 11, 2021
DPReview TV: iPhone 13 Pro review – shot on the iPhone 13 Pro!
We shot this entire review on the iPhone 13 Pro. See real world examples of Cinematic Mode, Portrait Mode, Night Mode and more. Also, find out the one thing that made Jordan declare, ‘It’s like having a fork dragged across my eyeballs.’

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
- Introduction
- 'Wide' lens
- 'Ultrawide' lens
- 'Telephoto' lens
- Portrait Mode
- Night mode
- What is Cinematic Mode?
- Jordan's thoughts on Cinematic Mode
- Cinematic Mode quality
- Cinematic Mode vs. 4K
- 4K quality
- Low light video performance
- Image stabilization
- The wrap
Articles: Digital Photography Review (dpreview.com)
October 9, 2021
Weekly Photo Challenge: Just Add Light

The post Weekly Photo Challenge: Just Add Light appeared first on Digital Photography School. It was authored by Sime.

I have been thinking about light a lot recently, adding light to images by using lots of different sources, flash, led panels, torches, bedside lamps etc, but I have to level with you, while I love experimenting with light, I’m not a master of ‘all of the settings’ and I mess up often – and that’s ok, we learn.

We thought it might be a fun idea to do another “more than one image” challenge to see what adding light, however you like, can lift an image.

Share your photo on social media and tag them #dPSWeeklyChallenge and #dPSJustAddLight

So today when I went with my 11yo and my camerabag to an often empty walking path nearby to take a couple of photographs of him hitting his Jigsaw Jump, the goal being to light him and get a dramatic photo in the spot I’d chosen, shaded by trees, almost like a tunnel of darker trees… All was well until I realised I’d forgotten my glasses and couldn’t find all the settings I needed on these new flashes, anyway! Onward!

The idea is that you have a photograph you take, and then you take it again but add a lightsource of some kind to change the image for better or for worse, and when you share them, you share the images together. You can use any lightsource, I’ve used a flash in the photo below.

Seb fighting against gravity

And in this photo of my grinder I used a torch and a small Aputure LED panel with a piece of red paper as my background.

Grinds You Down

You can either join two images into one image, or you can post two separately, whatever you would prefer! You can post in the comments below, or over in our private Facebook group.

The post Weekly Photo Challenge: Just Add Light appeared first on Digital Photography School. It was authored by Sime.

Digital Photography School

October 9, 2021
College Graduation Picture Ideas for Guys: What Works

If you are a guy nearing your college graduation day, you will be looking to capture some amazing images of this day which will happen only once in your lifetime. So it is essential to ensure that you get the best pictures to record your memories. In this guide I will describe and show the best college graduation picture ideas Continue Reading
Photodoto

October 9, 2021
Canon Unveils a Dual Fisheye Virtual Reality Lens, the RF 5.2mm f/2.8L

The post Canon Unveils a Dual Fisheye Virtual Reality Lens, the RF 5.2mm f/2.8L appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon has announced a one-of-a-kind lens for EOS R cameras: the RF 5.2mm f/2.8L Dual Fisheye lens, which looks exactly as strange as it sounds:

And check out the lens again, this time mounted to the Canon EOS R5:

So what is this bizarre new lens? What’s it’s purpose?

The RF 5.2mm f/2.8L is designed for virtual reality (VR) recording; it’s “the world’s first digital interchangeable dual fisheye lens capable of shooting stereoscopic 3D 180° VR imagery to a single image sensor.” In other words, the twin fisheye lenses offer two frames covering a huge field of view in total; when processed, this footage turns into a single, 180-degree image, and with the proper equipment (the press release mentions the Oculus Quest 2), viewers can feel truly present in the scene.

It seems that, when the RF 5.2mm f/2.8L debuts, it will be available solely for EOS R5 cameras, though this could change once the lens hits the market. Such a unique lens is bound to turn heads, and Canon has certainly been hard at work, offering a product with an outstanding form factor – for filmmakers who record on the go or who simply prefer to minimize kit size – along with weather resistance, a very nice f/2.8 maximum aperture, and most importantly, Canon’s in-built filter system. The latter allows you to use neutral density (ND) filters when recording, essential for serious videographers.

Unfortunately, processing dual fisheye images isn’t done with standard editing software. Instead, Canon is developing several (paid) programs capable of handling VR footage: a Premiere Pro plugin, and a “VR Utility.” The company explains, “With the EOS VR Plug-In for Adobe Premiere Pro, creators will be able to automatically convert footage to equirectangular, and cut, color, and add new dimension to stories with Adobe Creative Cloud apps, including Premiere Pro,” while “Canon’s EOS VR Utility will offer the ability to convert clips from dual fisheye image to equirectangular and make quick edits.”

So who should think about purchasing this new lens? It’s a good question, and one without an easy answer. Canon’s decision to bring out a dedicated VR lens suggests a growing interest in creating VR content. But the day when most video is viewed through VR technology seems a long way off, at least from where I’m sitting.

That said, if VR recording sounds interesting, you should at least check out this nifty new lens. Canon suggests a December release date with a $ 1999 USD price tag, and you can expect Canon’s VR post-processing software around the same time.

Now over to you:

Are you interested in this new lens? Do you do (or hope to do) any VR recording? Share your thoughts in the comments below!

The post Canon Unveils a Dual Fisheye Virtual Reality Lens, the RF 5.2mm f/2.8L appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

October 8, 2021
Adobe Photoshop Elements and Premiere Elements 2022 announced with new Sensei-powered technology

Adobe has announced the 2022 versions of its Photoshop Elements and Premiere Elements software. The applications are designed to make creative photo and video editing accessible and fun.

To that end, Photoshop Elements and Premiere Elements include what Adobe calls ‘Guided Edits.’ These are step-by-step interactive tutorials you can use on your photos and videos to achieve specific editing tasks. The new applications add four new Guided Edits, bringing the total to 87.

There’s a new Guided Edit in Photoshop Elements 2022 for editing pet photos. Credit: Adobe

The four new Guided Edits include a couple in Photoshop Elements, and the other two are in Premiere Elements. In Photoshop Elements, you can use a new Guided Edit to edit pet photos and extend photo backgrounds. For pet photos, you can adjust color and lighting, select and refine detailed edges like fur, remove collars and leashes and more. In the Guided Edit for extending photo backgrounds, you can use Content-Aware Fill technology to extend your image beyond its original crop, either to change an aspect ratio or just change up the framing.

Using Content-Aware Fill, you can extend the background of your photo. Credit: Adobe

In Premiere Elements, there’s a new Guided Edit to add animated overlays to your videos, such as fun butterfly animations. The other new Guided Edit shows you how to adjust shadows and highlights in your video, allowing you to bring out additional details.

Looking now at just Photoshop Elements 2022, the new software uses more Adobe Sensei AI technology than last year’s release. You can use Adobe Sensei to transform your photographs into painting-inspired images. You can select from different artistic effects inspired by famous artwork and other popular styles.

Credit: Adobe

Another Sensei-powered feature is the ability to warp photos to fit any shape. You can place one photo inside another by wrapping it around an object, like a mug, or fit the image into shapes, like the sunglasses example above.

Within Photoshop Elements 2022, you can combine still and motion photography with animated frames. You can place different moving overlays like snowflakes, hearts and sparkles to your still photos and then export the motion image as an .MP4 to share on social media.

Adobe Photoshop Elements 2022 also includes new slideshow styles, a revised Organizer that lets you view GIFs in motion, and automatic software updates.

Premiere Elements 2022 includes animated overlays. Credit: Adobe

Adobe Premiere Elements 2022 includes new aspect ratio options. Many users share videos on social media, which sometimes includes vertical video and square aspect ratios. In Premiere Elements, you can edit and export videos in social-friendly formats without losing content. You can also add motion titles, mattes and backgrounds designed for vertical videos.

Premiere Elements 2022 includes new aspect ratio options for editing and exporting. Using these ratios doesn’t affect your original video file. Credit: Adobe

Another new tool is Sensei-powered auto-reframe. This tool allows the software to automatically re-frame your subject to ‘keep the most important part of the action in the frame.’

Premiere Elements 2022 includes a slider for video compression. If you’re editing and exporting a video for social media, you probably don’t need it to be a high-quality 4K video. Instead, you can use a compression slider in Premiere Elements to reduce the size of your movies, making them more suitable for uploading to the web or social media or sending to friends and family in a message.

Auto-reframe is powered by Adobe Sensei AI technology and keeps your subject front and center in different aspect ratios. Credit: Adobe

Adobe Photoshop Elements 2022 and Premiere Elements 2022 are available now. The applications are available for macOS and Windows and can be purchased standalone or in a bundle. Standalone versions are $ 99.99 for new users and $ 79.99 to upgrade. The bundle is $ 149.99 or $ 119.99 for eligible upgrades. Education pricing is also available. For the full details and to purchase the software, click here.

Articles: Digital Photography Review (dpreview.com)

October 7, 2021
Shallow Depth of Field: How to Get It in Your Photos (5 Easy Ways)
The post Shallow Depth of Field: How to Get It in Your Photos (5 Easy Ways) appeared first on Digital Photography School. It was authored by Darren Rowse.

What is shallow depth of field photography? And how can you create it for beautiful, pro-level effects?

In this article, I’ll share everything you need to know about shallow depth of field, including:
- What shallow depth of field actually is
- Why shallow depth of field is useful in photography
- Five easy ways to create that gorgeous shallow depth of field effect
In fact, here’s my guarantee: By the time you leave, you’ll be a shallow DOF expert.

Sound good? Let’s dive right in, starting with a simple definition:

What is a shallow depth of field in photography?

A shallow depth of field refers to an effect where very little of the image is in focus.

For instance, an image might include an in-focus subject, but have a blurred-out background. This is common in portrait photography (and if you look through this article, you’ll notice that my shallow depth of field examples are all portraits for this very reason!).

A shallow depth of field contrasts with a deep depth of field, where the entire shot, from foreground to background, remains in focus. Deep depth of field effects are common in landscape photography, where detail is a key compositional element.

Why is a shallow depth of field effect important?

Plenty of photographers love shallow depth of field effects – for two big reasons:
1. A shallow depth of field separates the subject from the background, helping the subject stand out.
2. A shallow depth of field generally blurs the background, which looks really gorgeous (when done right, that is!).
Often, a shallow depth of field is a stylistic choice, one that certain photographers tend to prefer and other photographers like to avoid.

Here’s a list of genres that gravitate toward shallow DOF effects:
- Portrait photography
- Wildlife photography
- Street photography (sometimes)
- Fashion photography
- Product photography (sometimes)
Of course, this list isn’t exhaustive, and regardless, don’t feel hemmed in. If you prefer shallow depth of field but you shoot landscapes, that’s okay – do what you like!

How to get a shallow depth of field effect: 5 techniques

Now let’s take a look at how you can create shallow depth of field effects in your photos:

1. Increase the subject-background distance

It’s one of the easiest ways to achieve a shallow depth of field effect:

Position your subject as far away from any background objects as possible.

If your subject is standing right in front of a wall, it’ll be in focus no matter what you do. But if they’re standing 100 meters in front of that same wall, it’s going to be a lot more blurry. Think of it as giving your background more room to blur.

Quick note: Technically, increasing the distance between the subject and the background doesn’t make the depth of field more shallow. The depth of field remains the same regardless (it depends on other factors that I discuss below).

But bringing your subject forward increases the appearance of a shallow depth of field and gives you a near-equivalent effect.

2. Use your camera’s Portrait mode

These days, most beginner cameras include a little wheel on top with lots of little icons on it – the Mode dial.

And on certain beginner models, the Mode dial will feature Scene modes, such as Landscape, Night, Sports, etc.

Generally, one of these modes is Portrait. And if you’re uncomfortable using more advanced modes (such as Aperture Priority or Manual mode), Portrait mode is a good way to decrease the depth of field; it sets a large aperture (discussed in the next section!), which will make the depth of field smaller.

Now, Portrait mode doesn’t offer any control over your depth of field effect, so I only recommend you use it if you feel completely lost or have no intention of learning basic camera settings.

And if you do want to gain more control, check out the next method of creating shallow depth of field:

3. Widen your lens’s aperture

Every lens includes an aperture – essentially a hole – that widens or narrows depending on your camera’s aperture setting.

And the wider the aperture, the shallower the depth of field.

Portrait mode will automatically widen your aperture. But if you want a greater level of control, I’d recommend using either Aperture Priority mode or Manual mode, which allow you to dial in your preferred aperture (then watch as the background is blurred).

If you’ve never set the aperture before, know that small numbers, such as f/1.8 and f/2.8, correspond to a wide aperture (and hence a shallow depth of field). Large numbers, such as f/16 and f/22, correspond to a narrow aperture (and a deep depth of field).

For ultra-shallow depth of field effects, stick to f/2.8 and wider if possible, though your aperture capabilities will depend on your lens (because all lenses have an aperture maximum).

In fact, if you like the idea of adjusting the aperture to achieve the perfect depth of field effect, I highly recommend you put your camera on Aperture Priority mode, find a subject, and test out a handful of different apertures. Then review each photo carefully, paying attention to how the aperture setting affects the depth of field.

4. Use a long lens (and get close to your subject)

The closer you get to your subject, both optically – by using a long lens – and physically – by moving toward your subject – the shallower the depth of field and the better the background blur.

That’s why the best shallow depth of field portraits tend to be taken on an 85mm lens or a 70-200mm lens, not a 50mm or 35mm lens. The longer focal length makes it easier to get close, which in turn decreases the depth of field. Make sense?

However, if you only own a 35mm lens, don’t worry; you can still create a shallow DOF. You simply need to get close to your subject. Yes, it might be a bit uncomfortable if you’re photographing people – you’ll be shooting from right in front of their face! – but the results will be worth it.

By the way, longer lenses have another advantage over shorter lenses:

They compress the background. The actual effect is difficult to explain, but it leads to a smoother background blur and the appearance of a shallow depth of field.

So if possible, shoot your images from up close – and use a long lens, too. (Don’t get crazy with your focal length, though, especially if you’re photographing people; if you go over 200mm or so, you’ll be forced to back up ridiculously far, which can become unmanageable, plus you’ll lose a level of photographer-subject intimacy.)

5. Get a wide-aperture lens

Previously, I explained that a wide aperture leads to outstanding shallow depth of field effects. I also mentioned that some lenses feature a maximum aperture.

So if you’re serious about achieving a shallow depth of field, a lens with a wide aperture (known as a fast lens) is your friend.

Unfortunately, fast lenses tend to be expensive, but they can also be worth the investment. Plus, there are a few fast primes – such as a 50mm f/1.8 – that are optically impressive, capable of beautiful background blur, and are also quite cheap.

(Fast lenses also let you shoot in low light, which is a major bonus.)

By the way, some lenses offer better background blur than others. So before purchasing, I recommend reading reviews of possible lenses (or at least viewing sample images). Good reviewers will discuss background blur (also known as bokeh), and you can determine whether the lens is right for you.

Shallow depth of field: final words

Now that you’ve finished this article, you know all about shallow depth of field and how to create it.

So head out with your camera. See if you can get some beautiful depth of field effects. Try out the methods I’ve suggested.

And have fun!

Now over to you:

Which of these methods is your favorite? Do you have any tips that I missed? Share your thoughts in the comments below!

The post Shallow Depth of Field: How to Get It in Your Photos (5 Easy Ways) appeared first on Digital Photography School. It was authored by Darren Rowse.

Digital Photography School
October 7, 2021