RSS
 

Tools for Doing In-Person Photography Sales to Boost Your Income Stream

21 Oct

The post Tools for Doing In-Person Photography Sales to Boost Your Income Stream appeared first on Digital Photography School. It was authored by Jackie Lamas.

in-person-photography-sales

It seems now many clients only want digital files, however, there are still photographers doing in-person photography sales and making more from their art than the shoot and burn photographer. You don’t need a lot to get started with in-person photography sales. You can add products, samples, and such as your sales increase. Learn the tips you need to get started by reading below!

Image: Photo: John Schnobrich

Photo: John Schnobrich

What are in-person photography sales?

In-person photography sales are where you set an appointment with your clients to give them a personalized viewing of their photos and conduct a sales meeting with them at the same time.

You can set the date for the in-person photography sales appointment before the actual session or when the photos are ready to view. It all depends on how you handle and schedule your calendar.

Image: Photo: Annie Spratt

Photo: Annie Spratt

An in-person photography sales appointment is for photographers who wish to sell products like prints, frames, and other specialty items. These have a set profit margin so you can make the most out of a portrait session or wedding.

Why have in-person photography sales to begin with?

When a photographer gives away their photos in digital format, the client is allowed to print outside of the photographer’s studio, resulting in a loss in money for the photographer. With in-person sales, you are able to offer your clients their most valuable photos of their family, or event, and get top-quality products in return.

Image: You can use a gallery mock-up like this to sell wall galleries, frames, or other products dur...

You can use a gallery mock-up like this to sell wall galleries, frames, or other products during the in-person photography sales appointment. It helps your clients visualize the final product.

In-person photography sales give your clients more personalized attention. It also allows them to get their photos off digital format and onto their walls.

Giving your clients this personalized attention will also make your clients feel taken care of in the most intimate way. This rounds out the whole portrait photography experience. You’ll have them come to you next time they need that personal experience again.

What do you need to get started with in-person photography sales?

To begin with, you need an action plan. You’ll need to determine how you’ll be conducting the sales appointment. Choose a location with minimal distraction and noise, so that you can tailor your sales appointment to have the atmosphere you want. It can be a shared space, a rented location, or even in your home or the client’s home.

Image: Photo: Brooke Cagle

Photo: Brooke Cagle

You’ll also need some sort of device to showcase the photos from the session. This can be a laptop, iPad/tablet, or even a screen projector to showcase the photos large. If you have a studio space, you can choose a room or location inside that has a TV or computer to show their images.

Sign up with a professional lab

Next, you’ll need to make a catalog of the products you’ll be offering. Make sure to use a top photographic lab and not your friendly neighborhood Costco. While there’s nothing wrong with Costco for personal printing, they are not a professional lab with professional printers and top quality control.

Image: WHCC offers a program you can use on your iPad called Studio to create mockups of products yo...

WHCC offers a program you can use on your iPad called Studio to create mockups of products your clients want to buy.

White House Custom Color, Bay Photo Lab, Black River Imaging are a few of the leading professional photography labs, among many, many more. Find one that you like best and give them a try. All of them offer a variety of products ranging from loose prints to specialty items like tree ornaments, bookmarks, and even mugs with photos on them.

After you figure out what products you want to sell to your clients, figure out the pricing. Factor in shipping and the cost of the product. Only then can you determine how much of a profit margin you want. Depending on your market, you might be at a 40% profit margin or perhaps more.

Image: A digital catalog can help you showcase your products and pricing to clients without having t...

A digital catalog can help you showcase your products and pricing to clients without having to order samples. Some labs offer free product guides without branding or prices.

If you have capital, get samples of the products that you think will be top sells, and loose prints in various sizes. If you’ll be offering to frame, get the sample corners.

Each photographer has their own set of top sellers. With time, you can accumulate samples of those products. However, if you don’t have money to invest in samples, create a sales catalog in Illustrator or Photoshop. That way, your clients can see the products.

Image: Having sample albums in smaller sizes can help your clients visualize the final product.

Having sample albums in smaller sizes can help your clients visualize the final product.

WHCC has a site without any branding that you can use to get your clients excited about products. Many professional labs also offer samples at a discount so that you can afford some of the products to help you sell.

Payments

Sign up with a merchant account of some sort so that you can take credit card and debit card payments. You can get a card reader with some services like Square and PayPal to make processing credit cards and debit cards much easier. These also allow you to email receipts to your client.

Image: Photo: Thomas Drouault

Photo: Thomas Drouault

Some gallery services like Instaproofs offer merchant services and invoicing to photographers right from the gallery. They can also provide direct printing straight from the gallery.

Figure out what works for you and which service offers a better plan for you. It’s really helpful when more and more people use these types of services.

To recap, you’ll need the following:

  1. Figure out your plan. Where will you have the in-person photography sales appointments?
  2. Sign up with a professional photography lab.
  3. Figure out the products and pricing you’ll be selling.
  4. Invest in samples or create a catalog of products to show clients.
  5. Get a merchant account, Square, or PayPal for payments with cards.
  6. Stick to your plan!

What are the benefits of having in-person photography sales?

The benefits are many in that you are giving your clients something that they won’t get anywhere else – your personalized attention throughout the whole photographic experience.

Tools for Doing In-Person Photography Sales to Boost Your Income Stream

By having an in-person photography sales appointment with your clients, you are showing them their beautiful portraits via slideshow or even just in the gallery one by one. You are helping them choose their favorites, and setting them up with products that they’ll treasure for many years to come.

When you hand over digitals via an online gallery, you are missing out on the emotion behind the whole experience. They download, print, and buy somewhere else – leaving you with a loss.

Image: Showing your clients what their photos can look like in their home is also a good way to sell...

Showing your clients what their photos can look like in their home is also a good way to sell products.

Even if you offer digital products, having an in-person photography sales appointment with clients is the best way to show them that you not only take great photographs but care about your clients. It shows then that you are there with your knowledge and expertise to find the right product, photo, and gift to make their photos stand out.

In-person sales appointments are a great way to end the whole experience and create a deeper bond with your clients that an online gallery or digital photos never will.

What if my clients can’t meet or live out of town?

Although it’s better to be physically face-to-face with your clients, sometimes you can’t, and that’s okay. Luckily, there are other ways to hold an in-person photography sales appointment.

Image: Even digital mockups of products can help you sell more to your clients. Show them on your la...

Even digital mockups of products can help you sell more to your clients. Show them on your laptop or tablet after you show your clients their gallery.

If they can’t meet with you in person, offer a video chat style of sales appointment that best fits into their busy schedule. It’s understandable that clients can get busy with their families, life, work, and travel, however, make it a point to have some type of face-to-face appointment with them.

Use Skype so that you can share your screen with them and show them the slideshow of photos you’ve prepared. You’ll see their reactions and emotions to the beautiful photos and can then begin the process of selling your products.

Image: On the left is a catalog unbranded from a professional lab. On the right is a digital mockup...

On the left is a catalog unbranded from a professional lab. On the right is a digital mockup of various products using my own photos.

Make sure to send your product guide/catalog to them before the meeting so that they are aware of what type of products you offer and at what price points they begin.

Make the most out of in-person photography sales appointments

If you offer digitals with your packages, don’t make them readily available to your clients before your sales appointment. Chances are, they’ll walk away with the digitals and forget to make or go to the appointment since they’ve gotten their digitals.

It’s best to schedule the sales appointment before you have the actual session. That way, you can set a time and day that works best for everyone ahead of time. Families especially need careful planning so that they can attend the sales meeting.

Image: Photo: S O C I A L . C U T

Photo: S O C I A L . C U T

Set the tone for the in-person photography sales appointment. Even if you don’t have physical products yet, bring copies of your catalog. Perhaps offer drinks or snacks during the appointment and have the slide show and gallery ready to view. Make sure there is no need for an internet connection in all of your prep, just in case you meet at a place that doesn’t have wifi.

Give your clients an incentive for purchasing their photos. You could offer a gift print with purchases over a certain amount. Or if it’s part of your business plan, include a digital print of the photos that they get in prints or products so that they can keep that as well.

Image: Photo: Brooke Cagle

Photo: Brooke Cagle

Offer a payment plan to your clients. Put their credit card on file with a payment date so that you can automatically charge their cards when the payment is due. This allows them to have the products that they want most. Sometimes, payment plans can increase your sales because they offer more flexibility to your clients.

Set about two minutes worth of favorite images to music and create a slideshow. After, have your order form, catalog or samples, and begin showing the rest of the gallery to your clients. This creates excitement around seeing the rest of the images.

In conclusion

Having an in-person photography sales appointment doesn’t mean you have to have a studio or even samples.  You can get started right away with a catalog of products and prices. You can use a rented or shared space, or even have the in-person sales appointment in your clients’ home or via video chat.

Image: Photo: John Schnobrich

Photo: John Schnobrich

Either way, giving your clients this personal and handheld experience to get the most out of their photos will mean more income for you and wall portraits for them. This makes the whole photographic experience more meaningful!

Do you make in-person photography sales? What tips can you offer other photographers? Share in the comments!

The post Tools for Doing In-Person Photography Sales to Boost Your Income Stream appeared first on Digital Photography School. It was authored by Jackie Lamas.


Digital Photography School

 
Comments Off on Tools for Doing In-Person Photography Sales to Boost Your Income Stream

Posted in Photography

 

Laowa opens pre-orders for new 17mm F1.8 MFT lens, set to ship later this month

21 Oct

Venus Optics has announced the Laowa 17mm F1.8 for Micro Four Thirds (MFT) camera systems is currently available to pre-order and will ship later this month.

The manual lens, which costs $ 149, is constructed of nine elements in seven groups, features a seven-blade aperture diaphragm, has a 15cm minimum focusing distance and a 46mm front filter thread. The 34mm full-frame-equivalent focal length offers a 65-degree angle of view and the lens weighs in at just 172g (6oz).

Venus Optics also notes the lens is ‘drone-friendly,’ due to the versatile MFT mount, lightweight design and its Frog Eye Coating (FEC), which allegedly repels water and dirt off the front lens element.

Below is a sample gallery of images Venus Optics has provided:

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2632147527″,”galleryId”:”2632147527″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

You can pre-order the Laowa 17mm F1.8 MFT now on Laowa’s website for $ 149. The first units are expected to ship out in ‘late October,’ according to Laowa.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Laowa opens pre-orders for new 17mm F1.8 MFT lens, set to ship later this month

Posted in Uncategorized

 

DPReview TV: Olympus OM-D E-M5 III hands-on preview

21 Oct

Olympus just announced the E-M5 III, the newest in its E-M5 line of enthusiast Micro Four Thirds cameras. In this hands-on preview, Chris and Jordan ask, “Who’s it for?”

Also, subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Autumn photography in Canada
  • Similarities to the E-M1 II
  • Handling
  • Design
  • Displays
  • Compared to the E-M1 X
  • High resolution mode
  • Image stabilization
  • Video features
  • Compared to the E-M1 II
  • Compared to the Panasonic G9
  • Who is it for?

Sample gallery from this episode

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6440081833″,”galleryId”:”6440081833″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
Articles: Digital Photography Review (dpreview.com)

 
Comments Off on DPReview TV: Olympus OM-D E-M5 III hands-on preview

Posted in Uncategorized

 

Flickr triples maximum display resolution to 6K for Flickr Pro members

21 Oct

Flickr has announced it’s dramatically increasing the maximum supported display size for its Flickr Pro members, effectively tripling the current maximum resolution.

Until now, Flickr images were limited to being displayed at 2048px on the longest side. Now, the maximum display size is getting increased to 6144px (6K) on the longest side for Flickr Pro members.

According to the announcement post in Flickr’s help forum, ‘All new and previously uploaded photos from Flickr Pros with an original size larger than 6K will automatically be displayed in the largest size possible on Flickr, or the largest size set in your preferences […] Smaller photos will be displayed in the largest size possible for the original media.’

The increased maximum display resolution is already available to all Flickr Pro members. In the event you don’t want your images to be shown at the new 6K resolution, there’s a dedicated option to set the maximum display size. Those who aren’t Flickr Pro members will be limited to 2K resolution.

You can find a number of high-resolution example photos in the announcement post.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Flickr triples maximum display resolution to 6K for Flickr Pro members

Posted in Uncategorized

 

Landscape photography with a drone: disadvantages and limitations part 1

20 Oct

So far, I’ve offered nothing but praise for the drone. It’s a remarkably cheap and widely available tool. You can fly it anywhere, get infinite perspectives and unique compositions. It can easily hover in place to shoot long exposures or wait for the right time to shoot. It will venture where no human will, be it through toxic gases or scorching lava. And it is so much fun.

But the drone has its disadvantages and limitations, and that is the subject for today. Discussing these limitations is important in order to understand where and when one should choose to use a drone and when not to. It’s an important aspect to planning a shoot in a new location or circumstance, and it will help you understand that a drone isn’t a magical tool, as amazing as it is. Let’s review some of these limitations, starting with the easier ones to discuss.

Dependence on batteries

All of today’s drones fly using state of the art Lithium Polymer (LiPo) and lithium polymer high voltage (LiHV) batteries. These batteries are compact, and they last a surprisingly long time, but even the longest-flying drones cannot fly for more than about half an hour. This number is further shortened if the drone is flown “aggressively” (made to perform maneuvers, accelerate, decelerate and change direction often), when flying in sports mode and also if there is strong wind pushing against it.

Half an hour is a whole lot in some situations, but it’s not enough in others. I have had to land a drone in the middle of a shoot in harsh winds, even though the light was amazing, simply because the battery had run out. When the actual shooting location is relatively far away from the launch location, just getting to it and back can eat up half of the battery, leaving a measly ten minutes of shooting time before having to head back and change batteries, even if the sky had just opened up and the conditions became optimal.

Afternoon light on the magnificent cliffs of Suðuroy. I flew the drone in the harsh winds typical to the Faroes, and as a result, the battery drained so fast I only had 10 or 15 minutes to shoot.
DJI Mavic II Pro, 1/80 sec, F5.6, ISO 200. Suðuroy, the Faroe Islands

Dependence is not only on the amount of power one battery can give, it’s also on the number of batteries one has or can carry. In situations where the user cannot charge the batteries (for example, camping trips), there’s simply nothing left to do once the battery capacity has been used. Each battery has significant weight – Phantom batteries are 450 grams each, and even the tiny Mavic batteries weigh almost 300 grams each. When you have to carry those batteries, the drone, plus your regular camera equipment (and camping gear if you’re camping), each item matters, and those 3-4 batteries alone will make your backpack more than a kilogram heavier.

I carried three Phantom batteries for 8 km on solidified lava to shoot these surface flows in Kilauea Volcano. The batteries alone weighed almost 1.5 kilograms, not to mention the drone itself, my DSLR gear, tripod and 2 liters of water. While worth it, the backpack was very heavy and the hike wasn’t much fun. Even so, I would in retrospect bring two more batteries, to be able to use them more sparingly on a rare shoot such as this one.
DJI Phantom 4 Pro, 1/15 sec, F6.3, ISO 400. Taken outside of Volcanoes NP, Island of Hawaii.

Limited range

Drones not only have limited flight time, they also have limited range. The range is not only limited by battery power, but by two other factors: connectivity between the drone and the remote, and legal aspects.

When shooting the 2014 Holuhraun volcanic eruption from a helicopter, I spent more than an hour shooting a mind-blowing sunset over the lava, and stayed well into darkness. A drone wouldn’t have been able to remain airborne for long enough to get these conditions (not to mention get there!).
Canon 5D Mark II, Tamron 24-70mm F2.8 VC, 1/200 sec, f/4, ISO 1600. The Central Highlands of Iceland

In modern camera drones, radio connection between the drone and its remote is usually excellent when flight distance isn’t too long (I would give a numeric example but it really depends on many factors). But fly further away and the connection might break. If you use drones, I’m sure you know the horror one feels once the screen turns black and white and the app announces that connection had been lost. Even though the drone will attempt to return home and regain connection 99.9% of the times, there’s always the chance that it has just crashed. If, like yours truly, you have crashed a drone in the past, you will forever dread this feeling.

Connection may be compromised not only when flying too far, but when the drone is positioned so it loses direct line of sight to the remote, which can be a bit risky as the drone is left to navigate its way until regaining connection. Harsh weather such as heavy snow or rain my also break the connection, but this is usually intermittent.

Say what you may about manned aircraft, their range is far longer than that of any drone, and lost connection is not an issue.

My drone lost connection for a few moments when this iceberg’s peaks came between it and the moving boat. There was little to worry about, however, as I knew connection would be regained in a matter of seconds. DJI Mavic II Pro, 1/30 sec, f/5.6, ISO 200. Disko Bay, Greenland.

In any case, today’s modern drones have been known to miraculously find their way home even after having lost connection. Equipped with GPS and with an array of sensors to avoid hitting obstacles, I’ve heard stories of drones reappearing after having been deemed lost, even after long minutes of disconnection. I’ll discuss this further in a future article.

Legal requirements in most countries dictate that the drone remain in line-of-sight. What that means could be debatable, but a stricter interpretation might be that the drone needs to be clearly visible to the operator. This means further limitation of the range.

Limited flight altitude

Another limitation to the drone is its inability to fly higher than a certain altitude limit. Again, this limit can be the result of different factors, technical and legal. Technically, drone manufacturers limit the maximum altitude a drone can fly in. In DJI drones this limit is 500 meters above the home point. Higher altitude flights may only be possible after hacking the drone’s firmware, which is sometimes possible but seriously discouraged.

A much stricter altitude limit is dictated by drone laws in most countries. 100, 120 and 150 meters are the common numbers here, with the vast majority of countries not allowing flight above 120m. My home country of Israel officially limits drones to 50 meters (hmmm…). Even though an altitude limit makes a lot of sense, there’s no doubt that it greatly impacts compositional possibilities. Light planes, for example, are usually allowed to climb up to 2-3 kilometers before intruding the airspace of commercial jets.

The gigantic dunes of the Namib Desert can rise 300 meters high – no chance of shooting them with a drone, even if droning were allowed in the accessible parts of Sossusvlei, which it isn’t. I took this image from a helicopter at a height of more than a kilometer in the air.
Canon 5D Mark III, Tamron 24-70 f/2.8 VC, 1/1250 sec, F10, ISO 800. Sossusvlei, Namibia

Limited flight speed

Finally, drones are limited in their flight speed, which is usually not an issue, but can sometimes be a hindrance to getting the shot. Aerial photography often covers vast distances, and when light breaks faraway, you want to get there fast. A DJI Mavic can fly at 72 km/h (about 45 mph), and even that is on sports mode which quickly drains battery and can sometimes mess with the gimbal.

After DJI lowered its top speed due to stability problems, the faster, much more expensive Inspire 2 now tops at 94 km/h (58mph). Compare that with the 240 km/h of a Robinson 44 helicopter or with over 300 km/h of a Cessna, and the disadvantage is clear.

When seeing this light breaking between the mountains at a distance (and after picking my jaw up from the floor), I asked the pilot to “step on it” to get there as quickly as possible and avoid missing the shot. He asked me to close the window, easily pulled the throttle, taking us to 300 km/h and covering the distance to this composition in less than a minute, before slowing back down to allow me to open the window and shoot for several minutes. A drone would have undoubtedly missed the shot.
Canon 5D Mark III, Tamron 24-70mm F2.8 VC, 1/2000 sec, f/4, ISO 800.
The Lofoten Islands, Arctic Norway

To sum up, a drone is dependent on relatively heavy, power-limited batteries and the ability to carry and charge them. It has limited range, limited speed and limited flight altitude compared to manned aircraft, all of which limit the photographer’s ability to get to a location, spend enough time shooting it and getting good composition and light. While these problems don’t make the drone any less amazing, they have to be considered when planning an aerial shoot and when selecting the right tool to perform it.

In the next article I will continue the discussion of the drone’s disadvantages.


Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez’s work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you’d like to experience and shoot some of the world’s most fascinating landscapes with Erez as your guide, take a look at his unique photography workshops in The Lofoten Islands, Greenland, Namibia, the Argentinean Puna, the Faroe Islands and Ethiopia.

Erez offers video tutorials discussing his images and explaining how he achieved them.

More in this series:

  • Landscape photography with a drone: Gear basics
  • Landscape photography with a drone: the advantages – part 1
  • Landscape photography with a drone: the advantages – part 2
  • Landscape photography with a drone: the advantages – part 3

Selected articles by Erez Marom:

  • Parallelism in Landscape Photography
  • Winds of Change: Shooting changing landscapes
  • Behind the Shot: Dark Matter
  • On the Importance of Naming Images
  • On Causality in Landscape Photography
  • Shooting K?lauea Volcano, Part 1: How to melt a drone
  • The Art of the Unforeground
  • Whatever it Doesn’t Take
  • Almost human: photographing critically endangered mountain gorillas

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Landscape photography with a drone: disadvantages and limitations part 1

Posted in Uncategorized

 

How to Find and Photograph Wild Landscapes for Epic Images

20 Oct

The post How to Find and Photograph Wild Landscapes for Epic Images appeared first on Digital Photography School. It was authored by Jeremy Flint.

epic-wild-landscapes-photography

Wild Landscapes can be described as “unspoiled areas of land including hills, mountains, and rivers where wild animals, trees, and plants live or grow in natural surroundings and are not looked after by people.”

Venturing into the wild with your camera can be a great adventure that provides a unique opportunity and rewarding exploration to photograph untouched and pristine landscapes. Embarking on such a trip requires careful planning before you go.

How-to-Find-and-Photograph-Wild-Landscapes-and-Create-Epic-Images-01

Sinai Mountains, Egypt

The first thing you will need to do is choose a wild landscape location to visit. How to go about finding these places is simply a matter of looking for potential destinations. Certain areas around the world are famous for their wild landscapes and rugged beauty including the majestic mountains of Scotland, the highlands of Iceland, the Grand Canyon in the USA, the Canadian Rockies, the deserts of Namibia, Patagonia in South America and many more.

Closer to home, you can find wild landscapes within national parks, areas of outstanding natural beauty and amongst local nature.

Two UK-based photographers worth following who like to photograph wild landscapes include, Thomas Heaton and Alex Nail. Both produce great visuals of wild landscapes, outdoor photography and nature, and are very inspiring.

Once you have found a suitable location, there are several things to consider before going out to photograph wild landscapes.

Go prepared

How-to-Find-and-Photograph-Wild-Landscapes-and-Create-Epic-Images-02

Brecon Beacons, England

When going on a shoot, make a packing list and be prepared from wearing the right gear to having plenty of food and drink supplies to keep your energy levels up.

Take the right clothing

The clothing you take will determine how comfortable you will be. For example, appropriate rain gear is essential if this is the forecast. In sunny weather, you may be uncomfortable in too much clothing, and in colder weather, you will be chilly if you don’t wear enough layers. So you will need to wear appropriate clothing.

Footwear

Choose the appropriate footwear for the terrain you will be walking on. A sturdy pair of waterproof walking boots with good grips on the souls are essential for long walks over rough grounds with rain forecast.

Supplies

Supplies of food and water are important to keep you fuelled and hydrated. Take more than you estimate for your journey in case of any difficulties, such as burning more calories than expected on a long hike to your destination.

Consider wild camping

How-to-Find-and-Photograph-Wild-Landscapes-and-Create-Epic-Images-03

Torres del Paine, Chile

Consider taking a lightweight tent and camping out overnight somewhere to photograph an epic scene of the wilderness. There are advantages to wild camping beside a great view. They include being able to capture the sunset and sunrise, and not having to walk to the destination twice.

The right camera gear

Travel light, especially if you are going to stay out overnight somewhere. Cut back on the camera equipment you take as much as you can. Make room to carry other essentials such as food and drink supplies. Only take the lenses you think you will need, such as a wide-angle lens.

Other equipment

Be sure to take a map with you as a precaution. Also, take a fully-charged phone with a GPS app or an ordinance survey map for directions.

Let people know where you are going

It may seem obvious, but it is essential to tell people where you are heading, and for how long, as a safety precaution. This helps in the unlikely event that you experience any unforeseen circumstances. This could include bad weather (for example, thick fog on a mountain top) or sustaining an injury where you are unable to return at the anticipated time.

You will feel more comfortable in the knowledge that someone knows where you are if you require assistance.

Time your visit

Wild Landscapes 04

The Rockies, Canada

When shooting a wild landscape, it is important to consider the weather conditions.

Time your visit to go and shoot when the weather is good or dramatic. It depends on the kind of image you want to achieve.

There is no such thing as ‘bad weather’ for photography, as in different conditions, you’ll gain different results. For example, a wild stormy sky is great for a powerful and energetic image. Calm and still conditions can give you a minimalist outcome. Each has its own appeal.

You can even shoot landscape images in the midday sun if you prefer to visit during the day.

Choose a viewpoint and composition

When it comes to photographing an epic wild landscape, you will want to choose a viewpoint and composition that captures the location well. Seek out strong compositions that show the majesty of the place, such as a striking mountain range or some intriguing details.

Tripod

It is worth setting your camera on a tripod, especially to help shoot in low light or blustery weather where the conditions can adversely affect the outcome of your images. This will assist in providing more stability and essentially sharper pictures.

Light

Wild Landscapes 05

Sossusvlei, Namibia

When photographing wild landscapes, consider the light to create great images. You can photograph spectacular scenes by using light creatively. Capture sidelight (when the sun lights the landscape from the side, often creating interesting shadows and textures), backlight (shooting in the direction of the sun where your subject can be silhouetted or have bright edges) or front light (where the sun is coming from behind you and straight onto your subject). You can also include the sun in your shot to make images with different tones and brightness.

Conclusion

Photographing wild landscapes can be a great adventure and an opportunity to explore pristine and untouched landscapes. You can find wild landscapes within national parks, areas of outstanding natural beauty and amongst local nature. Remember to consider clothing, footwear, food and water, camera equipment and a map and be sure to let people know where you are going. Choose an interesting viewpoint, use a tripod and be creative with light. Share your pictures of Wild Landscapes with us below.

The post How to Find and Photograph Wild Landscapes for Epic Images appeared first on Digital Photography School. It was authored by Jeremy Flint.


Digital Photography School

 
Comments Off on How to Find and Photograph Wild Landscapes for Epic Images

Posted in Photography

 

Canon PowerShot G7 X Mark III sample gallery updated

20 Oct

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6393635016″,”galleryId”:”6393635016″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Our testing of the Canon G7 X III continues, which means we’ve brought along on plenty of day trips and adventures to get a feel for its performance in a number of situations. Take a look at some of the resulting images while we finish up our testing.

See our updated Canon PowerShot G7 X Mark III sample gallery

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Canon PowerShot G7 X Mark III sample gallery updated

Posted in Uncategorized

 

10 of the Most Useful Photoshop CC Shortcuts

20 Oct

The post 10 of the Most Useful Photoshop CC Shortcuts appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

photoshop-cc-shortcuts-list

Learning photography well requires a lot of study and practice. Figuring out what the dials and buttons on your camera do takes time and focus. Choosing what to photograph and how you want it to look is challenging for many photographers.

Once you’ve taken some photos, another challenge to face is how to get them looking their best. This is where you need to learn a whole new set of computer skills. The more particular you are about the way your photos end up, the better post processor you need to become.

photoshop-cc-shortcuts-list

Adobe makes two of the most popular photography post-processing programs. Lightroom and Photoshop have been industry standards for many years. As the software develops, it becomes more and more complex. There are many built-in tools to make the user experience more fun. But to make use of them you will need to study and practice.

Photoshop CC Shortcuts

Making the most of your keyboard is about the best way to ensure not only greater speed, but more enjoyment when using Photoshop. The software has many cool shortcut keys that speed up your workflow. They also help you maintain unbroken concentration when you are working on a photograph.

With so many shortcuts, it’s not practical to sit down and learn them all at once. Looking at them in the software does little to inspire. This is why I’ve come up with a list of ten Photoshop CC shortcuts that I think you will find helpful.

From time to time, I make a point of learning a few more. I’ll search for five to ten shortcuts and make a list. I place this next to my computer monitor and refer to it when Photoshopping.

If you’re not used to using keyboard shortcuts with Photoshop, they might seem a bit fiddly at first. Like learning to touch type, the more you practice, the easier it becomes, and the less you have to think about where you are putting your fingers. Learning to use shortcut keys in Photoshop is a similar experience, but you can easily break it down and learn a few at a time.

1. Clone Stamp Tweaks

The clone stamp is one of the most used tools in Photoshop. It’s powerful and flexible to do everything from removing small blemishes to recreating whole portions of a composition. Here’s a couple of keyboard shortcuts that make it even more useful.

Use Alt+Shift+arrows (Opt+Shift+arrows on Mac) to offset the selection area.

Alt+Shift+<> (Opt+Shift+<> on Mac) rotates the selection

Using [] scales the source.

These shortcuts only work when you have a North American keyboard selected in your operating system.

photoshop-cc-shortcuts-list

2. Last-Used Filter

When you’re processing batches of images, you’ll often want to repeatedly use the same filter. To apply the previously used filter, use Ctrl+F (Cmd+F on Mac). Reapply the last filter used, but display dialog box to alter settings use Ctrl–Alt–F (Cmd+Opt+F on Mac)

photoshop-cc-shortcuts-list

3. Lock Transparent Pixels

In Photoshop, using the / key locks transparent pixels. This is helpful when painting or compositing. Working on a layer with transparent pixels, you will avoid affecting them using the keyboard shortcut.

10 of the Most Useful Photoshop CC Shortcuts

4. Color Fills

Use Shift+Alt+Backspace (Shift+Opt+Backspace on Mac). This fills opaque pixels on a layer with the foreground color. Shift+Ctrl+Backspace (Shift+Cmd+Backspace on Mac) fills with the background color.

photoshop-cc-shortcuts-list

5. Marquee Tool Tweak

Drawing a marquee by default happens from the edge. To draw a marquee selection from center Alt+drag (Opt+drag on Mac)selection.

10 of the Most Useful Photoshop CC Shortcuts

6. Selection Help

To bring back a selection you deselected, use Ctrl+Shift+D (Cmd+Shift+D on Mac). This will restore the last active selection. It is super helpful if you deselect and then notice something else you need to alter.

photoshop-cc-shortcuts-list

7. Layer Mask Speed

Ctrl+\ (Cmd+\ on Mac) switches between Layer and Layer Mask Ctrl+2 (Cmd+2 on Mac) to switch back. This is a pure workflow time saver. It allows you to keep your mouse active on the image rather than dragging it back and forth to the layers panel.

10 of the Most Useful Photoshop CC Shortcuts

8. Brush Tool Cursor

With the Brush Tool selected hitting the Caps Lock shows only the cross-hair cursor. This allows you to position your cursor more precisely. It’s also a good shortcut to know how to undo. If you’ve inadvertently turned caps lock on while using the Brush Tool, you may wonder why you can only see a crosshair. Hit the caps lock again, and your normal cursor will reappear.

photoshop-cc-shortcuts-list

9. Revert to Last Saved

F12 reverts the file to the last saved instance of it. This is a quick and easy way to review changes you are making to an image.

10 of the Most Useful Photoshop CC Shortcuts

10. Screen Space Savers

F keys to show/Hide panels. Memorizing these keyboard shortcuts will give you so much more screen space to use. If you are confined to a single monitor, making use of these shortcuts can change the way you use Photoshop.

F5 – Show/Hide Brushes panel

F6 – Show/Hide Color panel

F7 – Show/Hide Layers panel

F8 – Show/Hide Info panel

Alt–F9 – Show/Hide Actions panel

10 of the Most Useful Photoshop CC Shortcuts

Conclusion

I suggest you use this list as a starting point. Not all these shortcuts will be helpful for everyone. Think about the actions you use repetitively when using Photoshop and search to discover if there are keyboard shortcuts to make your life simpler.

Making a note and keeping it near your computer will help you commit these shortcuts to memory. Once you have them, do some more research and make another list of shortcuts you’d like to learn. Making a concerted effort and being consistent with using these shortcuts, you will learn them quickly.

There are over 500 keyboard shortcuts for Photoshop. Master these, and then you can also customize your own.

If you’ve got a few favorite shortcuts you think others may not be aware of, please share them in the comments below.

 

The post 10 of the Most Useful Photoshop CC Shortcuts appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


Digital Photography School

 
Comments Off on 10 of the Most Useful Photoshop CC Shortcuts

Posted in Photography

 

Sandmarc launches hybrid polarized ND filters for DSLR and mirrorless cameras

20 Oct

Back in August photographic filter maker Sandmarc launched a line of hybrid polarized ND filters for smartphone cameras. Now the same type of filter has been released for DSLRs and mirrorless cameras.

Like the smartphone equivalent, the Hybrid Pro filter series combines the filter attributes of neutral density (ND) and polarizers into one single filter. Like a ND filter they help improve dynamic range of a shot in bright light, can help add motion blur to moving objects by allowing for slower shutter speeds, and offer more control over exposure and shutter speeds for film makers. Like a polarizer, they also help reduce reflections, protect highlights and boost color.

Sandmarc’s Hybrid Pro filters are made from multi-coated and anti-reflective glass for accurate color transmission. The company says the aluminum frame material makes the filters both durable and lightweight.

A set of filters includes ND16/PL, ND32/PL and ND64/PL variants to cover shooting in a range of light conditions. The filters are available in 58, 67, 77 and 82mm diameters and can be pre-ordered on the Sandmarc website now. Pricing starts at $ 169.99 for the 58mm version.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sandmarc launches hybrid polarized ND filters for DSLR and mirrorless cameras

Posted in Uncategorized

 

Photographer finds fully-functional Fujifilm lens 4 months after losing it in the desert

20 Oct

Modern camera lenses are durable, but a little anecdote from Steve Boykin, writing for 35mmc, shows just how far weather-sealing has come in the past few years.

Four months ago, in June of this year, Boykin managed to lose his Fujifilm XF 23mm F2 R WR lens while on a hike in the wilderness. This week, he managed to stumble across the lens while out on another trek and after a bit of cleaning up, he says the lens is in seemingly perfect condition, even after withstanding the summer heat, countless thunderstorms and freezing temperatures.

The location where Boykin found the lens

Boykin says he was walking along a path he’s walked ’30 or 40 times over the last few months’ when he looked down and noticed the lens ‘sitting on the ground a few inches from my foot.’ Naturally, Boykin assumed the lens wouldn’t work, due to the harsh conditions it incurred, but after getting home and removing the front B+W filter and rear lens cap, Boykin mounted the lens to his Fujifilm X-Pro1 and ‘it came to life like nothing had happened.’

Despite there being some ‘slight discoloration’ on one side of the lens barrel (likely the side that was laying in the dirt) Boykin says the autofocus works ‘like nothing ever happened’ and both the aperture and focus rings rotate smoothly. Boykin credits much of the survival to the fact the front filter and rear lens cap were still attached, but even then it’s an impressive feat for the lens to survive a third of a year in the desert with essentially zero protection.

To read the full story, which includes a pair of photos captured with the lost lens, head on over to 35mmc (and check out their other coverage on all things film photography related).


Image credits: Photos by Steve Boykin, used with kind permission from 35mmc

Update (October 16, 2019): Updated the first sentence of the article as to better explain the current state of lens weather-sealing.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Photographer finds fully-functional Fujifilm lens 4 months after losing it in the desert

Posted in Uncategorized