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How to Take Better Beach Portraits at Anytime of the Day

30 Jul

The post How to Take Better Beach Portraits at Anytime of the Day appeared first on Digital Photography School. It was authored by Jackie Lamas.

Golden hour is famous for being the most ideal lighting for portraits, especially at a beach location. Unfortunately, sometimes, the golden hour isn’t an option. Therefore, it’s essential to know how to photograph portraits at any time of the day. That way, you can always create beautiful photos for clients.

Know where the sun is at all times

First, you’ll need to know where the sun is at all times. The easiest way to do this is to use an ephemeris (I personally use this one). This is a tool that can help you see where the sun will be at any time during the day.

Here you can see where the sun will rise from, set, and the times when these will be happening during the day.

Before, or even while you’re scheduling your session, you can quickly check this tool to see the sunrise, midday, and sunset times.

An ephemeris can give you the details on the direction the light is coming from at a particular point in the world. Simply plug in the location of your session, and you can see all of the important details.

Here we can see where the sun will be on this particular day at the same time on the opposite coast in Mexico from the previous photos.

This is really helpful since no beach is alike and the direction of light differs from one side of the world to another. For example, in California, the sun sets behind the beach. Whereas on the east coast, the sun sets in the opposite direction.

Here we can see where the sun will be on this particular day at the same time on the opposite coast in Mexico from the previous photos.

Also, different beaches may face differently and therefore it’s good to know where the sun will be during your session.

Morning light

Morning light on a beach is magical. It has a whole different color temperature than that of the golden hour and can provide a nice soft glow if you have your session early enough.

The light is a little bluer, and depending on the beach where your session is taking place, the sun can rise overlooking the ocean or peaking through the trees. For example, a beach on the east coast like Cancun can mean during your session in the morning you’ll catch the sunrise behind the beach.

Alternatively, on a beach in California, you’ll catch the sun hitting the water from the land side. This will give you that beautiful yellowish-blue glow if your session is before 9 o’clock in the morning.

On the left we see the sun rising behind the bay and at right is after the sun is nearing midday.

Use a simple reflector to bounce light back onto your subject if you feel the sunrise light causes shadows. This is especially useful if sunrise is behind the water at the beach.

Midday light

Midday light at a beach is pretty harsh and therefore it’s good to have some kind of additional lighting equipment to help with shadows. You can use an external flash, popup flash, or a reflector.

Seeing the shadows in front of your clients means the sun is behind them. This family is lit with an external flash mounted on-camera pointed directly at them.

You can also go without an additional light source. However, it’s good to underexpose your photos a bit so you can bring up the shadows in your editing software. Otherwise, you’ll end up with really blown out skies. Of course, this all depends on your style of photography.

Using the sand as a natural reflector helps to bounce light back onto your clients as we can see in both of these photos.

When the sun is at it’s highest point during the day, it might be a good time to take your clients under the shade of some trees nearby or opt to have more playful photos of the family. Have your client’s walk, run, splash in the water, build sandcastles, or just have a bit of fun together.

The sun is at it’s highest at different times around the world, so make sure to check the ephemeris for your exact location to know the time.

Same session, same beach, one photo with flash and one photo without.

Once the sun passes the highest point, it will be at a bit of an angle as it starts to go down for sunset. This is the sweet spot of photographing during midday sun at the beach!

Flash was used to correctly expose the photo and fill in shadows caused by the sun.

When the sun is at a bit of an angle, you can pose your clients with the sun behind them to alleviate having the sun in their eyes. This means you’ll be in the sun, but it’s better than having your clients facing the sun. This avoids causing shadows, uneven lighting, and squinting. The sand can also work as a natural reflector, bouncing light back into their faces.

After midday light

After midday light can be different in the winter than in the summer given that daylight savings can change the amount of light you have left. Either way, the sun sits lower to be at an angle behind your clients. All while still hitting the sand to reflect some light into your client’s faces.

During this time, depending on the angle of light, you can get some really interesting light. It gets more golden by the hour as you approach sunset.

Still, if you find yourself at a beach where the light is still harsh during this time, try and angle your clients away from the sun. You can also try and use your external lighting to help fill in some light.

Golden Hour (Sunset)

Actual sunset only lasts about 5-10 minutes. However, golden hour is just that – about an hour before the sun dips behind the horizon, which means the angle of the light is pretty low and directional. It can mean flooding your photos with lots of that pretty golden light. However, it also makes it difficult to capture your clients evenly lit against the background.

This is especially troublesome if the sun sets behind the water. It can be difficult capturing the beautiful colors of the sunset while also lighting your clients.

Using a flash or external light source pointed directly at your clients can help light them while capturing the sunset behind. You can also underexpose your photo a bit to bring up the shadows later without compromising the sunset.

Try silhouetting your clients behind with the sunset light to offer a different look to the final images.

Golden hour is also a perfect time to turn your clients toward the setting sun to get that beautiful golden color cast on their skin tones and in the overall look of the photo.

Blue hour (After sunset)

Blue hour is the 20-30 minutes (sometimes less time) after the sun has completely gone from view. Blue hour is nice to photograph in because of the beautiful sunset colors like blue, orange, pink, and purples that come out after sunset. The lighting is a bit darker, so you might need a tripod.

During the blue hour, you can get some additional light on your clients by facing them where the sun has set.

During this time you can attempt some slow shutter speed photos while your clients hold still. Getting the movement in water can create a more fine art approach to beach photos!

During any time of day try these ideas:

Cloudy days are perfect for photographing at any time during the day. However, you might not get the sunset as bright as on a clear day.

It doesn’t matter the time of day, it’s good to get variety in your portraits during beach sessions. For that try some of these ideas:

  • Rock formations/caves as backgrounds and also shelter from harsh light.
  • Trees can provide shade as well if the light is harsh and the day is particularly hot.
  • Around town can also serve as a nice background for photos while you’re waiting for the midday sun to angle a bit.
  • Up high can also serve as a nice way to keep clients out of harsh sunlight. For example, a balcony in their hotel room, a higher terrace with some shade that overlooks the ocean, etc.
  • Photographing more lifestyle-type photos with the family playing, getting in the water, and just having a “beach day”.

If you are waiting for the sun to go down a bit, you can take some portraits near trees that aren’t directly on the beach. This also adds variety to the final images.

Conclusion

Photographing at the beach during golden hour isn’t the only time that you can create one-of-a-kind and amazingly beautiful images for your clients.

Taking cover in caves or using rock formations as backgrounds can also help keep your client out of direct sunlight.

It is incredibly beneficial to learn to photograph at the beach at any time of the day. Moreover, it can mean the difference between a client choosing you and another photographer.

 

better-beach-portraits

The post How to Take Better Beach Portraits at Anytime of the Day appeared first on Digital Photography School. It was authored by Jackie Lamas.


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Should You Purchase Lightroom Presets?

29 Jul

The post Should You Purchase Lightroom Presets? appeared first on Digital Photography School. It was authored by Charlie Moss.

The discussion of using presets or not comes up time and time again on various photography groups and websites. Some people are for them and others are against. Just like camera brands, it seems there is no clear answer, and everyone believes that their way is correct! For or against, it’s undeniable that presets are here and they’re not going anywhere. Many people find them useful in their workflow and so they will keep using them. So, should you purchase Lightroom presets?

The case for buying presets

A quick search online will give you hundreds of places you can buy presets and they will all have varying quality. Before you make your purchase, be sure to read some reviews to see if others are happy with their purchase. Remember that your style of images will heavily affect the way presets look when applied, so expect some trial and error!

But why would you buy presets rather than make them yourself from scratch? Here are some reasons to help you decide if buying presets is for you.

It will save you time

There’s no doubt about it, buying presets will save you time in your workflow. You won’t have to spend time coming up with looks that you like. Instead, someone else has completed the initial hard work for you.

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In reality, using presets in this way is no different from choosing what film stock and developer you’d like to use if you’re shooting analog. You’re using someone else’s color toning ideas to achieve the images you want to produce.

Being able to quickly apply lots of different looks to your photo can help you quickly make decisions about how it will look. And then you can set about refining it and doing the fun part of processing.

It gets you away from the computer

Not everyone loves the digital darkroom. During the summer, I’d rather be taking advantage of the good weather than sitting at my computer developing images. Having a set of presets available to me that someone else has created means each shot takes less time to process. That way, I’m spending more time doing the things I love.

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I can share stylish images that I’m proud of within minutes of loading my images into Lightroom thanks to my preset library. That’s a big draw for me, and that’s why I love having a bank of presets ready for me to choose from.

You can borrow the best of other peoples ideas

Everybody sees the world differently. You might never have thought to put a pop of pink in the shadows or add just enough grain to make your black and white conversion look like it was shot on fast film.

By purchasing a library of presets, you can see how other people might have chosen to process your images. And that might give you a few ideas for a new direction that you want to head in. Purchasing Lightroom presets really can boost your creativity and help you see new possibilities for your images.

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Some people would say this is ‘cheating’ somehow, but I think of it as gathering inspiration. It’s like an artist going to her friend’s studio, finding the most beautiful custom blue paint and then asking if she can have the recipe to use the color in her own work. The two artists won’t be producing the same artwork even if they use the same color paint!

Your photos will still have your own touch and your own style even if you use other peoples ideas to help you shoot or post-process your images.

Some people are just better at post-processing and color grading than you

Face it – you can’t be amazing at everything. Even the best photographers often employ other people to help create their vision. Buying presets is like a real cheap version of having your own digital tech assistant available for your shoots. If you have a vision of light and airy photos but your post-processing skills aren’t quite up to it, then presets can help you get there – just like a digital tech assistant would on a high-end shoot.

Over time, you can learn more about this side of photography. But you can start getting great results now by taking advantage of other peoples knowledge and creativity.

The case for making presets yourself

Of course, if you love working in the digital darkroom, then the idea of buying presets to save time or get ideas might seem completely alien to you. Moreover, if you like spending the time to make your own presets, then that’s great! You should absolutely continue to do what makes you happy.

There are other reasons too that you might want to make your own presets. The most obvious one is that presets available to purchase may not be exactly what you’re looking for. When you make your own, you can have exactly what you want rather than just getting close.

You might have other considerations too. For instance, some camera clubs do not allow you to enter images into competitions where you have used purchased presets in their post-processing. Or you may feel that ethically a picture cannot be truly called your own unless you created every single part of the image.

Perhaps try a combination?

Personally, I use a combination of both. I have a large library of presets that I’ve purchased. I use this library to quickly see what images could look like with different color grading applied to them.

When I’ve found a look that I love, I tweak it slightly to suit the mood of my images even more. If I think I’ll use the preset again, I then save my new custom preset in a folder with the others that I’ve tweaked to suit my style!

Should-You-Purchase-Lightroom-Presets

I like this way of working because I enjoy getting inspiration from other peoples presets, and then finishing the images off to achieve something that is genuinely my own.

What do you think about buying presets? Should you purchase Lightroom presets? Perhaps you have a library of your own that you’ve already purchased? Or do you prefer to make all of yours from scratch? Maybe you don’t use presets at all, instead preferring to start each time with a blank slate when it comes to post-processing images?

 

should-you-purchase-lightroom-presets

The post Should You Purchase Lightroom Presets? appeared first on Digital Photography School. It was authored by Charlie Moss.


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Canon and Nikon Will Release DSLRs With In-Body Image Stabilization

29 Jul

The post Canon and Nikon Will Release DSLRs With In-Body Image Stabilization appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

canon-nikon-IBIS

In-body image stabilization (IBIS) has long been resisted by the two DSLR giants, Nikon and Canon.

But recent rumors indicate that both Canon and Nikon will be breaking into new territory, with IBIS technology added to upcoming DSLRs for both brands.

Up until now, in-body image stabilization has been confined to Nikon’s mirrorless lineup. And while reports indicate that the followup to the (mirrorless) Canon EOS R will include IBIS, there was no definitive information about DSLR in-body stabilization.

Then, in April, rumors indicated that Nikon would be introducing in-body image stabilization to the D6, Nikon’s future flagship DSLR (with a possible release date in the first half of 2020). This was followed by further reports that the D6 was delayed due to the decision to add in-body image stabilization.

And just last week, Canon Rumors reported that “Canon will ‘definitely’ bring IBIS to ‘select’ DSLRs in the near future.”

Canon Rumors was uncertain “which camera(s) would be getting IBIS,” but explained that “the EOS 90D, which is coming in the next couple of months,” is a strong possibility.

Sources have also discussed the possibility that the Canon 1DX Mark III will have in-body image stabilization, so it can go toe-to-toe with the upcoming Nikon D6. Both the Canon 1DX bodies and the Nikon D6 bodies are direct competitors, catering to professional photographers who require high frame rates and exceptional durability.

Now, Nikon and Canon have always maintained that lens stabilization is superior to in-body image stabilization, due to increased flexibility in the lens as compared to the camera body. This may well be true, but many phenomenal Canon and Nikon lenses don’t include image stabilization. So photographers of all levels will undoubtedly appreciate this move to in-body stabilization.

It will certainly be a boon to those who tend to shoot handheld in low light.

So let me ask you:

Are you excited about the possibility of IBIS in new Canon and Nikon DSLRs?

And would you like to see IBIS in the upcoming Canon 90D?

Let me know in the comments!

The post Canon and Nikon Will Release DSLRs With In-Body Image Stabilization appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Fujifilm GFX100 Camera Review [video]

27 Jul

The post Fujifilm GFX100 Camera Review appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video by Georges CamerasTV, Andrew reviews the Fujifilm GFX100 camera.

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Overview of the Fujifilm GFX100

This camera is Fujifilm’s large format size camera, designed for studio, landscape, architecture and any other form of photography to be printed in large format.

On top of the camera:

  • Large 5.76million dot EVF
  • Drive mode dial
  • Three modes on the top dial: Still, Multi and Movie Modes.
  • Top Settings LCD – Back-illuminated and graphical. Easy to use at night.

On the back:

  • A large LCD flip screen. Very well illuminated so that it can be seen well in bright daylight sun.
  • Bottom Settings LCD Screen to see your settings so you can see your settings if the camera is mounted upon a tripod.
  • Has one small joystick to let you navigate through the menu.
  • A feature that the camera is missing is a 4-way joystick that many cameras have, which some photographers may take some getting used to.
  • Has a touch screen for navigation.

Battery Grip:

  • Inbuilt battery grip house two batteries with a total of 800 shots.
  • It has a secondary shutter button so you can use the camera in portrait mode.
  • There is access to a second joystick to navigate through your focus points and your quick menu so you can change your white balance and any other settings.
  • There is no rubberized grip when using it in the portrait mode, so it isn’t as comfortable to hold and may slip out of your hands if your hands are sweaty.

Body Size

  • Quite large – comparable to a Canon 5D Mk IV but feels quite lightweight because of its magnesium alloy construction.
  • Fully weather sealed and gives operating temperatures from -10 degrees to 40 degrees celsius.
  • On the left side of the camera, there are two SD slots and a remote port.
  • The right-hand side has all your video recording inputs and outputs including a 3.5-millimeter audio jack and a 3.5-millimeter headphone jack.
  • Below that is a USB-C port for tethering and an HDMI port for output and a 15-volt direct power supply.

Inside the camera

  • Large Format 102MP sensor backed up with an X processor
  • ISO range from 100 to 12,800 or an expandable range of 50 to 102, 400.
  • Shoot continuously up to 5fps
  • 3.76million dot face detection autofocus system which gives you autofocusing capabilities as low a -3EV

Video specifications

  • 4k DCI up to 30fps or full HD up to 60fps
  • Films with a 10-bit color depth
  • If recording to an external device via HDMI, you can get a 10-bit 422 color depth.
  • Shoots in F-log giving you a nice flat color profile to later color grade in post.
  • If filming handheld, the GFX100 has 5-axis in-body image stabilization which is not in the other GFX models. This is also beneficial if shooting with longer telephoto lenses or for general handheld photography.
  • It has wifi and Bluetooth, allowing you to connect straight to your smartphone or smart device to use it as a camera remote or to transfer your photos across to your smart device.

Performance

  • Because it is lightweight, the Fujifilm GFX100 doesn’t feel like you are holding a large-format camera.
  • The speed of the autofocus is ridiculously fast – identical to the XT3, if not slightly slower.
    The continuous autofocus works really well.
  • It feels like you are shooting with a standard mirrorless camera or digital SLR because the focus is accurate and lightning quick.

Features

  • Voice memo feature allows you to record a voice memo when you take a picture, and you can download that to your computer when downloading the photos. This is a great reference point for how you took the photo, where, settings etc.

User Experience

  • Andrew predominately uses Panasonic and Nikon cameras and found the transition to be quite easy.
  • Navigating through the menu system feels familiar and easy. Similar to the XT3 and the XT30.
  • If you are a passionate Fuji user, you will notice some things missing from the GFX100.
  • There no shutter speed dial, exposure compensation dial or ISO dial.
  • For exposure compensation, there is a button you can access and press or you can program any function button. It’s the same with your ISO as well.
  • To change your shutter, you have to roll your dial to change that.

Image quality

  • The sample images were shot using the Fujifilm GFX100 with the 110mm and 45mm lenses.
  • The images out of the GFX100 are superb. The detail out of the 102MP sensor is full of color, depth, and detail.
  • The dynamic range on the camera is amazing, and Andrew was able to recover blown-out highlights and shadows without losing detail.
  • The crop value on the photos is excellent. It handled all cropping and post-processing well.
  • All images were edited in Lightroom and not Capture One, which may or may not give better results.

Video Mode

  • In video mode, Andrew found that the GF prime lenses weren’t the best lenses to use in manual focus due to its focus by wire construction. However, they were told that there are a range of senior lenses to come in the future that should improve that experience.
  • The continuous autofocus in video mode is great. One thing to note, however, the IBIS does blip out when panning a bit rough, so keep the camera steady.
  • The image quality and actual video result and flexibility are amazing. All the footage was shot on the Eterna Film Simulation Mode, which gives more room to work within post.
  • They wished it could shoot in 4k in 50fps or give more flexibility in slow motion; however, as far as large-format goes, it is incredible.
  • The Fujifilm GFX100 could be a viable option for cinema users down the track.

Conclusion

The GFX100 is super-impressive in both photo and video mode. It won’t be for everyone because it is quite expensive at $ 10,000 USD. (They have a cheaper alternative in the Fujifilm GFX50S at $ 5000 USD with a 51.4MP sensor.)

However, in comparison to other large-format cameras, the Fujifilm GFX100 is well-priced, particularly for the autofocus features, the sensor size, and the potential for it to be a game-changer for cinema users in the future.

It would suit people shooting advertising, cinema or an enthusiast wanting to get large format landscapes without paying for a medium format camera.

~

Would you like to own this camera?  I know I would! Share with me in the comments below.

You may also like:

  • The Best Fujifilm X-Series Kits for Travel Photography
  • Fujifilm X-T3 versus Fujifilm X-H1: The Best Mirrorless Camera for You?
  • Thoughts and Field Test of the Fujifilm X-H1 Camera
  • Camera Comparison – The Fujifilm X-H1 Versus the Sony a7R III
  • Mamiya Announces New Medium Format DSLRs

The post Fujifilm GFX100 Camera Review appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Weekly Photography Challenge – Water

27 Jul

The post Weekly Photography Challenge – Water appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is WATER!

Photo by Rick Ohnsman

Go out and capture absolutely anything that includes water. It could be waterfalls, seascapes, puddles, water splashes, people playing in water, etc. They can be color, black and white, moody or bright. Just so long as they include water! You get the picture! Have fun, and I look forward to seeing what you come up with!

Photo by Simon Bond

Photo by Jeremy Flint ©

 

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting WATER

8 Ways to Use Water in Photography to Add Impact

Making the Shot: Your Guide to Creating Stunning High-Speed Splash Photos Without Flash

How to Create Silky Smooth Water Effects

How to Photograph Water Droplets on Glass

5 Fun Tips for Photographing Water

How to Create Colorful Artistic Images Using Oil and Water

 

Weekly Photography Challenge – WATER

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

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

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSwater to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Water appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Canon to Announce the 90D or the EOS M5 Mark II Next Month

27 Jul

The post Canon to Announce the 90D or the EOS M5 Mark II Next Month appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

canon-camera-announcement

August is bound to be an exciting month for Canon fans.

Rumors indicate that either the Canon 90D or the Canon EOS M5 Mark II will be announced next month, though it is also possible that we’ll get an announcement for both.

The Canon 90D would likely be the replacement for the Canon 80D, a mid-level Canon DSLR aimed at enthusiasts. The Canon EOS M5 Mark II, meanwhile, replaces the Canon EOS M5, an APS-C mirrorless camera.

The Canon 80D debuted back in February of 2016, and a lot has changed since then in the camera world. For one, the 80D lacks 4K video, and Canon fans expect to see this featured in a new 90D. Recent speculation suggests that the 90D may also be the first Canon DSLR to contain in-body image stabilization (IBIS).

Here are several rumored Canon 90D specifications:

  • A 31.2 (or a 32.5) megapixel APS-C sensor
  • 10 frames-per-second continuous shooting
  • 4K video
  • Dual card slots
  • Bluetooth
  • Wi-Fi
  • An articulating 3.2-inch LCD
  • 45 autofocus points
  • $ 1399 USD price

Note the 30+ megapixel sensor, which will take Canon APS-C cameras to a new level. And the dual card slots point to this being a slightly higher-end body than the Canon 80D.

The Canon 90D may not be replacing only the Canon 80D, however. Canon 7D Mark II fans have long awaited a 7D Mark III, but may have to settle with a Canon 80D/Canon 7D Mark II replacement hybrid, which will combine both APS-C camera lines into one.

The Canon M5 Mark II, on the other hand, would be an upgraded APS-C mirrorless body. It’s rumored to have an electronic viewfinder like the Canon RP, and enhanced video capabilities, including 4K and high frame-rate slow motion.

Note that the Canon EOS M6, another Canon APS-C mirrorless body, may also see a replacement announced sometime late next month.

Now I’d like to ask you:

Note: There is a poll embedded within this post, please visit the site to participate in this post’s poll.

Let me know why in the comments!

The post Canon to Announce the 90D or the EOS M5 Mark II Next Month appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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How to Achieve Great Black and White Photos in Editing

26 Jul

The post How to Achieve Great Black and White Photos in Editing appeared first on Digital Photography School. It was authored by Nisha Ramroop.

achieve-great-black-and-white-photos

While every image has the potential to convert to black and white, it is no secret that some translate better. Whether you shoot in color (and convert) or shoot monochromatic, black and white photography is an art form from capture to post-processing. If you see black and white/monochromatic photography as a creative choice though, here are a few tips to consider to achieve great black and white photos.

Before delving into some of the simpler ways to edit black and white images, three things to consider when capturing (and processing) are contrast, texture, and composition.

Note: While the terms “black and white” and “monochrome” are used interchangeably they are not identical. Monochrome means a single color, so may contain a tint (of one color). True black and white imagery have no coloring at all, thus is essentially black, white and gray.

1. Contrast

Thinking with the end result of black and white in mind means thinking in contrasts. Thus look out for high contrast scenes when capturing your image. The interrelation between the light and dark areas allows you to create and emphasize shapes, edges, and forms. These include strong or interesting shadows and extremes between areas of brightness and shadow within your frame.

2. Texture

When you choose monochrome, texture is that element that takes your image to the next level. It gives your image added dimension by providing a variance in the tonal range. Texture lends more realistic detail to your frame when it evokes a sense of touch. Some textures that work well in black and white images include dirt, stone, metals, and wood. Trees, water and aged skin also translate well.

3. Composition

Oftentimes you may find it difficult to pre-visualize your scene without color. Your camera (DSLR or DSLM) most likely allows you the option of shooting both RAW and JPEG images simultaneously. By choosing the setting on your camera for black and white (also called monochrome), the images on your camera’s LCD will appear black and white, so you can revise your composition while shooting. In this scenario, you still maintain your color RAW file for processing later on, but can “see” what you will be working with.

As you work more with black and white imagery, you start to see differently. When color is absent, the other compositional elements of the image become more important. Some of these include lines, shapes, framing, and perspective.

achieve-great-black-and-white-photos

The river as a leading line

One of the strongest compositional elements is leading lines that pull your eyes into the frame. Any line or elements that make up a line, that recedes towards the horizon is called a leading line. There are numerous examples of these and they include rivers, streets, coastlines, railway tracks, and even buildings.

Sometimes when you convert an image to black and white, this compositional element becomes even stronger, which makes you reconsider your final crop or presentation of the image.

Black and white editing

When shooting color images to later convert to black and white, you have many options. The simplest is desaturating all the color and ending up with varying shades of gray. This is sometimes the ending point for high contrasts scenes as it may need nothing more.

Do not be so quick to desaturate everything though! Depending on what you want to achieve, these captured color ranges can be used to your advantage.

A high contrast rainy day image is a good candidate for a black & white

HSL (Hue, Saturation, Luminosity)

The HSL Panel can be found in Adobe Lightroom and Camera Raw and comparable to using a Black and White Adjustment layer in Photoshop. It is widely used and thus highly probable to find these three adjustments in other editing software as well. These adjustments are worth learning and are not as daunting as they first appear.

The first step in ACR is to check the Convert to Grayscale box

As the name implies, HSL adjusts the hue, saturation, and luminosity of the color in your image. There are individual color sliders for red, orange, yellow, green, cyan, blue and magenta. So why exactly is this a factor when the topic is black and white processing?

With the HSL panel, when you convert to black and white, you still have access to the color information of the image. You are now able to adjust these using the sliders and can end up with a drastically different image. You can control how light or dark each color is and achieve greater separation in your tones.

Using the color sliders, and pushing the blue on the HSL panel

Tonal contrast

Where complementary and analogous colors bring the image to life in a color photo; in a black and white photo, tonal contrast can take that image to the next level.

Unlike color photography, black and white has traditionally been a “contrasty” medium. Contrast is the difference between the light and dark areas in your image. Tonal contrast is the difference in the brightness (light intensity) among the various elements in an image. Thus in a black and white image, it is the difference in the range of white to gray to black.

achieve-great-black-and-white-photos

Tonal contrast is one of the main benefits of shooting black and white HDR (high dynamic range) images. HDR refers to the difference between the brightest and darkest areas of your image, thus it is only fitting that it will translate well as a black and white image.

You can easily take control of your contrast though using the various tools available in your editing software. There are a number of sliders and tools to adjust contrast available in the more popular ones like Adobe Lightroom and Photoshop. In Lightroom, these include the contrast slider, which adjusts the global contrast of the image. There are also black and white specific sliders and the HSL panel above. In Photoshop, you can use either the Levels or Curves tool.

Conclusion

The thought process of what will help you achieve great black and white photos, to capture and processing them is a great journey to take. Look for contrast and texture and try to visualize your end result. If you captured your image in color, you can maximize the color range for your black and white post-processing.

Feel free to share some of your monochromatic takes below.

 

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The post How to Achieve Great Black and White Photos in Editing appeared first on Digital Photography School. It was authored by Nisha Ramroop.


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8 Micro Habits That Will Completely Change Your Photography in a Year

25 Jul

The post 8 Micro Habits That Will Completely Change Your Photography in a Year appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Do you want to become a master photographer…

…in only a year?

That’s what this article is all about.

8-Micro-Habits-That-Will-Completely-Change-Your-Photography-in-a-Year

Because in it, I’m going to give you 8 micro habits that will completely change your photography in a year. These micro habits are small adjustments in how you go about taking photos. They take very little effort.

But if you make a real effort to follow them, you’ll be a photography master within a year.

Sound good?

Let’s get started.

1. Check your settings every time you turn on your camera

This is such an easy way to improve your photos.

And yet photographers always forget about it!

All you have to do…

…is check your camera settings before you begin a shoot. And make sure you have the settings you need for the current situation.

Because here’s the thing:

Every photography outing is different. And you absolutely do not want to find yourself using the same settings from shoot to shoot. That’s a recipe for disaster.

But if you don’t check your camera before you start shooting, that’s exactly what will happen. Because you’ll forget about your previous settings, and you won’t realize that you’ve seriously messed up until halfway through a photo shoot.

(How do I know? Because I used to do this all the time! Until I started checking my settings, that is.)

So here’s what you do:

Get in the habit of choosing new settings every time you turn on your camera.

First, make sure you’re shooting in RAW, or RAW+JPEG. This is absolutely key. If you don’t do this, you’re sacrificing a ton of post-processing potential in your images. Fortunately, this can be a ‘set it and forget it’ feature, but it pays to be alert.

Next, think about your camera mode. Do you want to shoot in Aperture Priority mode? Do you want to shoot in full Manual mode? This depends on your shooting situation, but Aperture Priority is a good go-to.

Third, think about your ISO setting. It should sit at a default of around ISO 200, but feel free to raise it if the light is limited.

Fourth, choose your metering mode. I recommend leaving your camera set to evaluative metering mode (also known as matrix or multi-segment metering, depending on the brand). Evaluative metering takes into account the entire scene and determines the best overall exposure.

Finally, think about your focus mode. AF-S (One Shot) focusing is a good default because it locks focus when you press your shutter button halfway.

Checking your camera settings is easy. It takes 60 seconds, tops.

So you’ve just got to get in the habit of remembering to do it!

2. Check the surroundings before you take each photo

You’ve framed up your shot. Your finger is on the shutter button. You’re itching to capture a photo.

But you wait.

Why?

Because if you want to make sure your photo is a stunner, then you must check the surroundings.

In other words, you need to look all around the viewfinder, so you can be absolutely sure there are no distractions.

Notice how clean this photo is; it’s a flower, a stem, and nothing else. That’s what you want.

8-Micro-Habits-That-Will-Completely-Change-Your-Photography-in-a-Year-2

But if you don’t get in the habit of checking the whole scene before taking a photo, you’ll find that all sorts of distractions creep into the frame.

You’ll get stray leaves, branches, and other elements around the edges.

And you’ll get telephone poles, wires, and street signs sprouting out of your subject’s head.

These things are so easy to miss if you’re not looking for them. You get so excited about your subject, so fixated on it, that you miss what’s going on in the surrounding area.

Now, you don’t have to do a long check. It doesn’t have to take more than a couple of seconds. But just flick your eyes over the scene. And make sure there are absolutely no distractions.

Then you can take your shot.

3. Only get out to shoot during the best light

One of the easiest mistakes to make in photography?

Shooting during bad light.

In fact, bad light is probably the number one culprit of lackluster images. Because bad light can break a photo so easily. It can take a beautiful composition and make it into a muddy mess.

That’s why you should get in the habit of shooting only during the best light.

But what counts as the best light?

It depends somewhat on your genre of photography. But it’s pretty hard to go wrong with golden-hour lighting.

You find golden-hour light early and late in the day when the sun is low in the sky. The low sun casts a golden glow over the entire scene, giving you light that’s soft, warm, and just all-around beautiful.

This photo was shot with classic golden-hour lighting:

Golden hour is usually seen as the two hours after sunrise and the two hours before sunset. But there’s no hard-and-fast rule. Instead, just start shooting when the light becomes golden, and you’ll do just fine.

Now, there are a few other types of light that are worth pursuing.

First, just after sunset (and just before sunrise), you get something known as the blue hour, when the sun moves lower and lower over the horizon. This can be great for landscape photos, as long as you remember to bring your tripod!

Second, cloudy light is good for bringing out colors. That’s why macro and flower photographers love clouds; it allows them to capture deeper, richer colors in their subjects.

It took cloudy light to get these stunning red tones:

Here’s the bottom line:

If you can restrain yourself from shooting bad light, and get out to shoot during good light…

…well, your photography will move to the next level, instantly.

4. Shoot every scene from 5 different angles

It’s easy to get stuck in a creative rut.

One where you approach a scene and shoot it head-on, without ever trying different angles.

By doing this, you’re missing out on so many potential shots. So many possibilities for creativity!

That’s where this micro habit comes in.

Here’s how it works:

When you approach a scene, go ahead and take the standard, head-on shot. This can sometimes look good, after all!

But then get into unusual angles. Try finding a vantage point and shooting from overhead. Try getting down low down to the ground and shooting up.

Move around your subject, taking care to capture at least five unique angles, every single time you do a shoot.

And you’ll soon be taking unique photos everywhere you go.

5. Use the rule of thirds to begin every composition

The rule of thirds is a basic composition guideline.

It states that the best compositions put the main elements a third of the way into the frame, somewhere along these gridlines:

In particular, you should try to put your main subject at the power points, which are the four intersection points on the grid.

Here’s an example of a photo that uses the rule of thirds:

I was careful to put the two flowers along the gridlines, and the overall shot came out looking well-balanced (which is exactly what you want!).

Now, the rule of thirds isn’t a hard-and-fast law of composition. You can break the rule of thirds. And sometimes you can create truly unique photos by being willing to break the rule of thirds.

But the rule of thirds is an excellent starting point for all of your compositions.

So here’s what I recommend:

Get in the habit of using the rule of thirds to start off your compositions. Think to yourself: How can I align elements of this photo with the rule of thirds gridlines?

If you ultimately don’t use the rule of thirds for that photo, that’s okay. But if you at least consider the rule of thirds before breaking it, your compositions will improve fast.

6. Post-process all of your good photos

Here’s the thing about photography:

If you take photos, and you don’t do anything with them, they’ll look decent.

But if you do even a bit of post-processing…

Well, you can make them look amazing. Because a little post-processing can go a long way.

Which is why I suggest that you post-process every single one of your good photos, even if you’d rather be out shooting.

8-Micro-Habits-That-Will-Completely-Change-Your-Photography-in-a-Year-3

Now, you don’t actually have to do much to your photos. Take all of the photos from your recent shoot, and go through them quickly, selecting the ‘decent to good’ photos out of the mix.

Then go through these and do a quick processing job.

What should this entail?

You should at least do two very basic things.

First, you should adjust the contrast. Most photos can benefit from a significant contrast boost, so test it out on your photos to see how it looks.

Second, you should adjust the colors. Lightroom has a slider called Vibrance, and it’s amazing. It simply increases the saturation of colors that aren’t yet saturated, so it’s sort of a ‘smart saturation’ option. And it’ll really make your colors pop!

After this, you can go on to make other changes, do noise reduction and sharpening, etc. But you don’t have to. Just a bit of contrast and a bit of Vibrance can do a long way.

7. Take one image every day to increase your photography skills

Do you currently take one photo every day?

For a long time, I didn’t. I went out once a week, took a series of photos, then went home.

And then I decided to take photos every day for a month.

By the time the month was up, I had resolved to continue to take photos every single day, no matter what – because it improved my photography so much.

I started to see compositions where I previously saw none. I started to get a sense of the light that I had never had before.

And this didn’t require any extra learning. It was just from being…aware. From keeping my photography brain awake.

So I urge you:

Start taking photos every day. Even if you can only take one photo, even if you can only take it with a smartphone, you should still do it.

You’ll be amazed by how quickly your photography improves.

8. Look at beautiful photos every single day

Here’s the final micro habit that will drastically improve your photography:

Look at beautiful photos.

Every day.

You see, the more you look at good photos, the more you develop your sense of color, composition, and lighting. You’ll start to notice the way other photographers use the rule of thirds. You’ll start to notice how photographers use contrasting colors to great effect. You’ll start to notice how different angles give different looks.

And then you’ll start noticing how you can use these techniques in your own photography.

Plus, in this day and age, it’s not difficult to look at stunning photos. You can subscribe to the Instagram feeds of great photographers. You can subscribe to high-quality Facebook groups. Or you can join the email lists of top photography websites (such as this one!).

The key is to make sure you look at amazing photos every day, no matter what.

8 Micro Habits That Will Completely Change Your Photography in a Year: Conclusion

Now that you know about these game-changing micro habits…

…all that’s left is to start implementing them in your daily life so you can completely change your photography in a year.

None of them are hard. They take a few minutes, at most.

But look back in a year, and you’ll be so glad you started them.

8-Micro-Habits-That-Will-Completely-Change-Your-Photography-in-a-Year-4

Also, if you found these micro habits useful, then you should check out our course, 31 Days to Become a Better Photographer. Registrations close on 31st July, so make sure you don’t delay!

The course is full of useful tips and suggestions like the ones I’ve given here. And it’s guaranteed to improve your photography, fast.

So if you’re looking to take your photography to the next level, the course is exactly what you need.

View it here:

31 Days to Become a Better Photographer.

 

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5 Different Approaches to Photographing Wildlife

25 Jul

The post 5 Different Approaches to Photographing Wildlife appeared first on Digital Photography School. It was authored by Jeremy Flint.

Wildlife 01

Brown bear, Yellowstone National Park, USA © Jeremy Flint

Wildlife photography is a popular genre of photography that documents various forms of wildlife in their natural habitat. Seeing and photographing animals in the wild has to be one of the most awe-inspiring experiences imaginable. Nothing compares to sighting a lion running across the Serengeti plains of Africa or a bison family roaming the lands of Yellowstone in the USA. Photographing your pets or animals in zoos can also be just as rewarding. Whether you are new to this genre of photography or have had some practice, here are 5 different approaches to photographing wildlife:

1. Shoot from the vehicle

Wildlife 01

Tourist taking pictures, Yellowstone national park, USA © Jeremy Flint

When viewing and photographing animals in the wild you will want to keep a safe distance. They are wild for a reason and should not be approached. The best way to photograph them is generally from the comfort of your own vehicle.

Encountering animals can be a wonderful thrill, and although there may be an urge to get out of your vehicle for a better look, it is better not to take the risk. You can’t predict the behavior of animals very easily, so it is always safer just to stay in your vehicle and avoid any potential conflict.

Whether you have your own transport or are in a vehicle on a guided tour, they make great places to take pictures from. You can potentially position yourself nearer to the animals than if you were on foot and you can take pictures from a closer range compared with standing out in the open far away from the animal.

Photographing animals from a closer vantage point, and from the safety of your own vehicle, enables the use of a wide-angle lens. This can help to give your images more variety and a different angle to those images generally shot with a telephoto lens.

2. Aim for the skies

Wildlife 03

Bald eagle in flight, Yellowstone national park, USA © Jeremy Flint

Another way to photograph wildlife is to keep an eye out for animals above you. Look upwards and aim for the skies. Photographing majestic birds in flight or circling above you are wonderful subjects to capture.

The beauty of birds in motion can be mesmerizing, especially when the light catches their body and lights up their feathers and wings. With so many different species of birds around the world, photographing birds can be inspiring. Birds move swiftly so be sure to select a fast shutter speed to capture the action.

3. Get on their level

photographing-Wildlife 04

Elk, Yellowstone National Park, USA © Jeremy Flint

One of the best options for photographing wildlife is to get on their level. To add interesting shots of animals, crouch down and get yourself on the same elevation as the animal. Whilst taking pictures from the same height as the animal may be more demanding in the wild, it can result in cute pictures of pets, especially if they are looking right back at you.

4. Shoot from an elevated view

Wildlife 05

Beaver, Yellowstone National Park, USA © Jeremy Flint

Wildlife can be notoriously challenging to photograph, and some wild animals, such as leopards, are renowned for being particularly elusive. Taking shots from an elevated view such as from a tower, the air or from a building can help to improve the sightings of these animals that may be hiding in the long grass.

Also, if you are on higher ground, you are more likely to be at the same height as birds flying past you. Taking photos of birds is surprisingly addictive, and capturing them flying by can produce great results.

5. Shoot from an enclosure

photographing-Wildlife 06

Coyote, Yellowstone national park, USA © Jeremy Flint

When photographing animals in captivity, you will likely have restrictions in terms of where you can take photographs from. For example, visiting zoos, an enclosure, viewing area, or platform are great places to shoot from to capture the animals inside. By practicing shooting animals in your neighborhood or at your local zoo, it will help you to improve your wildlife photography and become more comfortable when shooting in the wild.

Conclusion

Photographing wildlife in their natural habitat can be a great photographic adventure for any aspiring photographer. Different ways to photograph wildlife include shooting from a vehicle, from the same height as the animal, from an elevated view, and an enclosure. Pointing your camera upwards is another great way to give a different perspective to taking pictures from inside your vehicle.

On your next adventure outdoors, whether that is a walk in the countryside, a visit to your local zoo or a trip of a lifetime to see majestic wildlife, don’t forget to take your camera.

Share your pictures with us below!

 

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Basic Photo Retouching in GIMP

25 Jul

The post Basic Photo Retouching in GIMP appeared first on Digital Photography School. It was authored by Ana Mireles.

Do you feel your photos are good but not great? Do you think something is missing in your images? You may just need a little post-production to give your images the punch they need to become eye-catching. Keep reading to learn some basic photo retouching in GIMP – a free software – that will make your photos pop.

Basic Photo Retouching in GIMP

GIMP is an image manipulation software you can download for free. If you’re not familiar with it, check my previous article, A Brief Introduction to GIMP. There are many things you can do with it. To start you up, I decided to do a quick overview of the most common adjustments for photo editing.

Rotate

Most times you take a photograph without a tripod, you’re bound to have the horizon line leaning towards one side. You can easily fix this common problem by using the rotation tool. First, you may want to turn on the visibility of the grid. For this go to View -> Show Grid. If you want to make it wider or narrower, go to Image -> Configure Grid.

GIMP. Configure the grid

Now, to straighten the image, click on the rotation button from the toolbox to open the tool’s setting window. Then you can either drag the slider or type the degree of the angle you want. The last two options are there to re-position the rotation center point if you want. You can also do this by dragging the image itself.

Basic Photo Retouching in Gimp. Rotate Tool

Crop

After the rotation or other transforming methods like perspective, some parts of the canvas remain empty, and you need to crop them out. For this, click the Crop tool from the toolbox and drag around the part you want to keep. The part that will be cropped out becomes shaded. To fine-tune the selection click, and drag the edges. When you’re satisfied click on the image to apply the crop.

Crop Tool

To keep an eye on the composition while cropping, you can put some guides to use as points of reference. For example, to play with symmetry put a guideline at 50%. Alternatively, put one at 33% and another at 66% if you want to follow the rule of thirds. You can do this by right-clicking the image window to open the main menu. From there, you need to go to Image -> Guides -> New Guide by percent.

Guides by Percent

Layers

For retouching, it’s always best to work on layers. That way, you can always go back if you don’t like how things are going. First, make sure the layers dock is visible. If it’s not, open it from Windows -> Dockables.

From there you can add a new empty layer from the blank page icon. Duplicate the current layer with the symbol of 2 squares, or delete it by dragging it into the paper shredder one.

Basic Photo Retouching. Create and manage layers

By the way, if you don’t want to cancel the entire process you’ve done on a layer, you can go to the tab, Undo, and do it step by step. The Undo tab keeps a history dialogue allocated as a dock containing your latest actions. If the dock is not there, you can open it from Windows -> Dockables.

Basic Photo Retouching. Undo

Color Adjustments

If your image is not well exposed, you can find the Adjustment tools to fix it in the Color menu. To access it, right-click on the image window and choose Colors. Then choose the tool that best suits the adjustment you need to do. To see these options more in-depth check the article Make your Photos Sparkle with GIMP. For now, I’ll just show you the Levels tool, which I find to be one of the most versatile.

Basic Photo Retouching in GIMP. Color Adjustment tools

Levels

With Levels, you can fix the color balance and tonal range of your image. GIMP gives you different choices to modify the Levels from the same window. You can move the sliders, enter the values underneath, use the eyedroppers to set the brightest, darkest and middle tones, and even use the auto-mode. They all make similar changes, but they can be more or less precise.

Remember to have the preview box checked so you can see the changes take effect before you apply them.

Basic Photo Retouching. Levels

Filters

You can also apply a great variety of filters; from correcting ones like sharpening an image, to special ones like coffee stains. You can find all these options in the Main Menu -> Filters.

Feel free to experiment with them.

Basic Photo Retouching in GIMP using filters

Finally, you can switch to the Multiple Windows Mode (in case you weren’t using it) by going to the menu Windows -> Single Window Mode and uncheck it. Then open the original file and a second window will open with the image so you can compare the side-by-side before and after images.

GIMP. Before and After

I hope you learned some useful tips to fix or boost your images.

If you’re interested in doing some more in-depth work on GIMP Check out the tutorials:

  • How to Replace a Sky in GIMP
  • Content-Aware Resizing in GIMP

Have you used GIMP? What are your thoughts? Do you have any other tips to share in the comments? We’d love to hear from you.

 

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