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  • Shutterstock AR feature lets customers preview stock images as wall artwork

    Shutterstock has announced the launch of its first augmented reality feature. The new tool ‘View in Room’ has been added to the company’s iOS app; customers can use it to preview stock images as virtual artwork on their office or home walls before deciding whether to make the purchase.

    The ‘View in Room’ feature can be used with any of the millions of images available on Shutterstock, according to the company, which powers the tool with its own computer vision technology and the iOS ARKit framework. The feature first arrived as a hack to the future employee hackathon project.

    According to Shutterstock, a growing number of its customers are purchasing images to use as artwork or decor. The augmented reality feature enables them to preview exactly what the final product would look like on their wall, eliminating the need to visualize it using less precise methods.

    The Shutterstock iOS app can be downloaded from the App Store here.

    Articles: Digital Photography Review (dpreview.com)

  • Mitakon Speedmaster 50mm F0.95 III lens launches with improved optics

    Zhong Yi Optics has launched the new Mitakon Speedmaster 50mm F0.95 III lens with Sony FE, Canon RF, and Nikon Z-mount options. The new Mitakon lens features an F0.95 to F16 aperture range alongside 10 elements in seven groups, including four extra-low dispersion elements and one ultra-high refraction element, and an 11-blade aperture diaphragm.

    This compact prime lens is designed for low-light scenes, according to ZY Optics, which has utilized a new optics design with improved flare resistance for version III. The 50mm F0.95 lens features a metal body, 50cm minimum focusing distance, 67mm front filter thread, and 1.58lb / 720g weight.

    Below is a gallery of sample images taken with the Mitakon Speedmaster 50mm F0.95 III lens:

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    ZY Optics currently lists the Mitakon Speedmaster 50mm F0.95 III lens on its website for $ 799 USD. The older Mark II version of the lens is still available to purchase at $ 519 USD from select online retailers.

    Articles: Digital Photography Review (dpreview.com)

  • Before and After: Students Becoming Better Photographers After 31 Days Course

    The post Before and After: Students Becoming Better Photographers After 31 Days Course appeared first on Digital Photography School. It was authored by Darren Rowse.

    Remember when you first started taking photos? Feelings of excitement and hope being replaced by disappointment and confusion when you couldn’t figure out why you and your camera didn’t seem to be seeing the same thing? Or maybe that’s you right now?

    We just had to share these ‘before and after’ photos taken by students of our course, 31 Days to Becoming a Better Photographer, just to remind you of where we all start, and what is possible. If you’re a seasoned photographer, please jump in the comments and give these photographers the encouragement they deserve to continue their photography journey.

    If you’re a beginner, take some inspiration by what is possible with the right support and guidance. We’re very proud of all of our students and thank the few below who have allowed us to share their progress with you.

    Current course intake coming to a close soon

    We open the doors to our most popular course just a few times a year so that instructor Jim Hamel can focus on his students and guide them through the course. He is the most attentive mentor we’ve seen, and our students love him. Doors close for the current class midnight (PDT) on the 18th of April so be quick and check out the details here.

    Our students’ before and after photos

    A big shoutout to our students below for letting us share these photos of their progress, and to all of our students who have taken up this course. We’re very proud of how far you’ve come!

    Rebecca Garnett

    Rebecca says, “I enjoy taking photos at the beach and was not happy with the way my photos were turning out.” The before photo was taken in 2017 at Pismo Beach when she had taken the camera off auto and used aperture and shutter speed priority.

    Rebecca Garnett Beach Before the 31 Days Photography Course

    Rebecca Garnett’s beach photo before taking 31 Days to Becoming a Better Photographer Course

     

    Rebecca Garnett Beach Photo After the 31 Days Photography course

    Rebecca Garnett’s beach photo after taking the 31 Days to Becoming a Better Photographer Course.

    The after photo was taken in December 2018 at the same place but shot in Manual Mode.

    “I never thought I would ever use manual mode as it was too confusing, until Jim’s course. The course was awesome! It helped me get to know more about my camera and improved the way I take photos and editing. The class was enjoyable, and it was great interacting with the other classmates on Facebook. Well worth it!!”

    ~ Rebecca Garnett

    George Conant

    George shares, “Before taking this course, I appreciated really good photos from others but found most of mine weren’t that good. This course improved my photography a lot.”

    George Conant's landscape photo before taking Jim's course

    George Conant’s landscape photo before taking Jim’s course

    “This photo was taken (I think) in auto mode. Although the clouds look good there is no major point of focus, nor rule of thirds. I had no thought at the time of working on focus. The result is that the distance is not in focus, and the in-focus foreground is not very interesting,” says George.

    George'a landscape after taking the 31 Days to Becoming a Better Photographer course.

    George’a landscape after taking the 31 Days to Becoming a Better Photographer course.

    In addition to the huge improvement in his photo, George’s commentary on his ‘after’ photo clearly demonstrates what he has learned from the course.

    “This photo was better than the last for several reasons.

    1. There is a leading line with the road.
    2. The sun is at an angle coming from the left.
    3. There is interesting color contrast, particularly with the red in the bushes to the side of the road.
    4. While the foreground is not in great focus, much of the photo is from a point part way down the road, extending to the mountain.
    5. The composition is more interesting with the bushes forming a bit of a V with the mountain in the distance.”

    “Jim is an excellent teacher. He provides both really good videos and documents that include what he discussed in the videos as well as providing homework for each day. He motivated us class members to post our ongoing work in a Facebook group for our class, where he and other class members provided praise as well as constructive criticism. He was very good at answering posted questions. Finally, even though the course I took finished in early 2018, Jim still participates in our group. I don’t know of any other course this good for people like me.”

    Lorayne Hudson

    “Prior to this course I took few photographs and when I did, the camera was always on Auto. My main issues were with my landscapes never looking like they’re in focus, and not being able to get close to flowers,” says Lorayne.

    Check out her before and after photos which illustrate her continued improvement.

    Lorayne Hudson's 'before' photo at the river

    Lorayne Hudson’s ‘before’ photo was taken in 2010 at Fingle’s Glen, Dartmoor with no post-processing as she didn’t know it was possible.

     

    Lorayne's 'after' photo at the river

    Lorayne’s ‘after’ photo was taken this year one early morning whilst out for a walk. The sun was just coming up and there was a light mist on the ground.

     

    Lorayne Hudson's photo of a flower before 31 Days course

    Lorayne Hudson’s photo of a flower before taking the course

    “This is a standard photo of a flower that I have very many of… it’s flat with no light. Taken in Auto, I had no idea about depth of field, but was quite impressed with the blur but didn’t think much further. I now strive for similar effects knowing how it’s done,” explains Lorayne.

    Lorayne Hudson's flower photo after taking the 31 Days Course

    Now Lorayne’s flower photos look like this, with minor adjustments to the highlights, shadows and clarity in Lightroom.

    Lorayne shares what she has learned from the course:

    1. To use my camera with confidence and not be afraid of it or the subject.
    2. The right light can make such a difference to the subject.
    3. Rules are made to be broken.
    4. Don’t just stand, move around, up and down, change your perspective.
    5. Using post-processing tools is not cheating – they are your friend.
    6. Having a good group of like-minded people to share your photographic achievements – and woes with – makes photography more enjoyable.

    Bob Truran

    An example of Bob Truran's beach photos before the course

    An example of Bob Truran’s beach photos before the course

     

    Bob Truran's beach photos after the course

    Bob Truran’s beach photos after the course

    Bob is pleased with the many compliments he has received for his ‘after’ photo.

    “I have seen a marked improvement in my photography and have even received many new followers on Instagram as well as added comments from my friends on Facebook. This course is great for beginners as well as those that may require a brush-up.”

    Marie Costanza

    Marie gets the unofficial dPS prize for best ‘duck transformation’!

    Marie Costanza Duck Before

    Marie Constanza’s ‘before’ photo of a duck

     

    Marie Constanza's after photo of a duck

    Marie’s photo of a duck after taking 31 Days to Becoming a Better Photographer Course

    “When I began the course, I was a novice photographer who used Auto mode for all my images. I occasionally tried Aperture Priority, but I was totally intimidated by Manual. A year later, thanks to this course, I completely use and understand how to use Manual, but more importantly, I understand several techniques for composing an effective image.

    Thanks to Jim’s excellent teaching style, and the effective resources that he provides, I now feel like a competent photographer. I have actually won several competitions, was asked to display an image in a local photography gallery and have been asked to show 8 images in an upcoming gallery show. A year ago, I never would have believed that I could do all of this. The pace of Jim’s course, his calm teaching style, the practice assignments, and the regular feedback provided by Jim make this the most effective photography course I have ever taken.”

    ~ Marie Costanza

    Rick Willingham

    Meet the once overwhelmed Rick – “How in the heck am I supposed to figure out how to use this thing?” His first ‘selfie’ image was taken in 2012 from his then brand new Canon T3i.

    Rick Willingham's 'before' selfie

    Rick Willingham’s Selfie on his new camera, before taking the course.

    Rick Willingham's 'after' selfie

    Rick’s ‘selfie’ after taking the 31 Days to Becoming a Better Photographer course – ISO 100 or 100 proof?

    The latter was shot almost one year after purchasing the 31-days course, with a Canon T3i and a nifty-fifty EF 50mm f/1.8 lens.
    Rick's before shot of the ocean in 2012

    Rick’s before shot of the ocean in 2012

    Rick Willingham Beach photo after the 31 Days Course

    Rick’s ‘after’ beach photo shot shot with a recently purchased refurbished Canon 6D and 24-105 f/4L II lens.

    So, what does Rick see as changes or improvements to his photography?
    1. Shooting earlier/later in the day
    2. Using post-processing to get the visual “mood” I want
    3. Getting lower to get the shot
    4. Using lighting to my advantage
    5. Composing shots more carefully than before
    6. Controlling the depth of field to match the composition
    7. Conscientiously selecting the shooting position and focal length to match the desired composition

    Shaun Bentley

    Shaun Bentley's river photo before he took the 31 Days course

    Shaun Bentley’s river photo before he took the course

     

    Shaun Bentley's 'after' shot of the river

    Shaun Bentley went back to the river to take this shot using what he had learned from the course

    The first photo was taken back in 2017 as a standard jpg. Shaun returned earlier this year and got a similar shot but this time applied the camera and post techniques he learned from Jim Hamel.

    Of the course he says, “Simple yet comprehensive instructional videos combined with sharing and learning groups made the course easy and enjoyable. I now have the knowledge and confidence to take my photography further.”

    Kay Koufalakis

    Kay says, “Apart from post processing, the biggest improvement I have made is looking at things from a different perspective and planning – when to go to get the best shots, for example. I still have a way to go, but I can see progress and it is getting easier.”

    Kay Koufalakis' waterfall before the course

    Kay Koufalakis’ waterfall before the course

    Whilst she captured the water the way she wanted in this photo, she really wanted sky too and left side of the waterfall is overblown.

    “I’ve learned that this is a difficult shot to get in one and now know how to take it bracketed,” says Kay. The following ‘after’ shot of a waterfall demonstrates her understanding of taking a different perspective. “Same waterfall, different perspective. I climbed higher which negated the overblown and shadows problem,” explains Kay.

    Kay Koufalakis waterfall photo after the course

    Same waterfall, different perspective!

    Can you become a better photographer in 31 days?

    Well, these students have proven that, yes, you can make some amazing progress in a short time. But the teaching (and learning) doesn’t just stop after 31 days! Access to the class Facebook group is for 3 months and many of our students then transfer to our Graduates group. Here they continue to learn and support each other with challenges and constructive feedback, and the instructor Jim Hamel still pops in to see how they’re all doing.

    If you’d like to be in our next graduate group with your own before and after photos to share, sign up today before you miss the cutoff!

    The post Before and After: Students Becoming Better Photographers After 31 Days Course appeared first on Digital Photography School. It was authored by Darren Rowse.


    Digital Photography School

  • Fujifilm releases 3.0 firmware for X-T3, brings improved AF for both stills and video

    Fujifilm has released firmware version 3.00 for its X-T3 camera system, bringing with it improved face/eye detection, improved autofocus (AF) performance and basic bug fixes.

    Firmware version 3.00, preceded by version 2.10, has an improved AF algorithm for both video and stills that detects distant faces more accurately than before. Fujifilm says the feature has been ‘enhanced by approximately 30%’ but doesn’t clarify whether that improvement is in accuracy, speed or some combination of the two. AF tracking is also more accurate, especially when objects come between the camera and the subject, and a new Face Select function has been added to provide priority autofocus on particular subjects when there are multiple faces in the frame.

    Fujifilm has also added a new Double Tap Setting and Touch Function that can be turned on within the Touch Screen Setting menu. Other improvements include a new focus frame when the eye detection setting is turned on, improvement of AF/AE are tracking when using the EVF, an update to how the Flicker Reduction mode is labelled and multiple bug fixes.

    For more information and to download the firmware, head over to Fujifilm’s website.

    Articles: Digital Photography Review (dpreview.com)

  • 5 Tips for Photographing Portfolio-Worthy Costume Portraits

    The post 5 Tips for Photographing Portfolio-Worthy Costume Portraits appeared first on Digital Photography School. It was authored by Charlie Moss.

    There’s been an explosion of interest in photographing costume portraits over the last few years. From movie cosplays to historically-inspired portraits – there’s no end to the kind of costumes that could make their way into your portrait portfolio.

    Shooting someone who is playing a role can bring a whole new dimension to your images. It can add depth and vibrancy to your portfolio. People often lose their inhibitions about being in front of the camera if they are pretending to be someone else!

    With that in mind, here are my top five tips for creating portfolio-worthy costume portraits.

    1 - 5 Tips for Photographing Portfolio-Worthy Costume Portraits - charlie moss

    1. Be inspired by history

    Fabulous costume portraits have been created throughout history, both in photography and in other kinds of art. Julia Margaret Cameron, for example, was a British photographer born in 1815 who used to shoot people dressed up as characters from Shakespeare. Her contemporary, David Wilkie Wynfield, would photograph his friends wearing fancy dress in the style of the great 16th-Century Venetian artist, Titian.

    And don’t just stop at taking inspiration from photographer either – there are thousands of years of portraits to take inspiration from. In the portrait above, I took inspiration from a painting called La belle ferronnière by Leonardo da Vinci. Other times I’ve been inspired by different historical artists – Rembrandt lighting is a popular technique amongst photographers too and a great place to start!

    Never be afraid to try self-portraiture when you’re experimenting with different lighting and looks inspired by historical portraits. It can take a bit of practice to get it right, and you will almost certainly be your most patient model! The shot above is the result of an hour locked in my studio experimenting with light and self-portraiture. I cannot recommend the Fujifilm camera system and app highly enough for shooting self portraits. You can focus and shoot at the touch of your phone screen!

    Costume portraits are a great excuse to step away from the kind of lighting that you would usually use and try something different. If you always use studio lights then how about trying some available light? That’s how artists would have mostly worked in the past, and if it worked for them then it must be worth trying! Equally, if you usually work with available light then perhaps this is an excellent opportunity to step outside your comfort zone and try something tight and controlled with studio lights?

    2 - 5 Tips for Photographing Portfolio-Worthy Costume Portraits - charlie moss

    2. Check the costume faithfulness

    I’m not suggesting for one moment that you should become a victim to historical or film accuracy in your costume portraits. But it does pay to just think through all of the elements that your subject is wearing or surrounded by.

    In a costume portrait, even more so than a regular portrait, every aspect of the costume and any props contribute to the story being told by the final image. Ideally, nothing should appear in the final image that wasn’t intentionally put there to be a part of the story.

    So if you are shooting a portrait inspired by a period of history, or perhaps inspired by a film or comic book, just take a little time to research your inspiration before scheduling a shoot. Check that your costume, accessories, and props aren’t going to be jarring to the story you are trying to tell.

    This is where it might be worthwhile working with costume designers if you are new to styling costume portraits. Their expertise and advice on putting together and styling different kinds of costumes could save you an awful lot of time and heartache in the long run! Of course, there are always opportunities to hire costumes from theatres too – it can be a surprisingly cost-effective option.

    3 - 5 Tips for Photographing Portfolio-Worthy Costume Portraits - charlie moss

    3. Set the scene

    Think about the scene that you want your character to inhabit. Are they royalty sitting atop a beautiful throne, or are they a post-apocalyptic warrior tracking danger through the forest? Scouting out a location and sourcing props to suit can be half of the fun when it comes to staging a costume portrait!

    You can find great locations in the most surprising places. I have shot in front of huge roller shutter doors on industrial estates, in a scrubby bit of forest that looked like a dreamy estate in the final images, and against an old stone wall in my back garden. With the right lighting, lens selection, framing choices, and post-processing the most unexpected locations can look great in portraits.

    But, of course, there’s always the option to head into the studio! Taking a subject into the studio and placing them against a plain backdrop can serve to really highlight the story you are telling through their costume and appearance. It puts the focus squarely onto the subject. This style of studio shooting can be a double-edged sword. There’s less room for mistakes in this kind of controlled studio portrait, but the payoff can be more than worth it when it comes to portfolio-worthy images.

    4 - 5 Tips for Photographing Portfolio-Worthy Costume Portraits - charlie moss

    4. Give your subject a character

    When people usually sit for portraits they are playing themselves. So when you have someone sit for a costume portrait, it is helpful if you can have them play a role. It can help them to get into character more quickly and easily.

    Before you do the shoot – while you’re pulling together your styling and location – think about the character that you’re looking to capture and write down a few thoughts as part of a shoot plan.

    Are they a brooding young Victorian poet who lost their love? Perhaps they’re an underground rebel trying to uncover a government conspiracy four decades in the future? This is the driving force behind the entire shoot, so gear everything towards bringing this character to life.

    Once you have your subject dressed up and with makeup done, equipped with props, and in the location you have chosen, all these elements should come together to help them portray the character. It’s their portrayal of the character that will shine through, tell the story, and truly make your shots portfolio-worthy.

    5 - 5 Tips for Photographing Portfolio-Worthy Costume Portraits - charlie moss

    5. Don’t forget the post-processing

    You’ve styled an amazing shoot in a fantastically atmospheric location with a great team, and you’ve collaboratively told a compelling story. So what is next? Post-processing – that’s what.

    The choices you make on the computer or in the darkroom after the shoot really help you focus the storytelling. Good post-processing can help elevate a portrait to something extraordinary.

    You can make stylistic choices in post-processing that you may not otherwise make if you were shooting regular headshots or family portraits. For instance, when I shoot images with an apocalyptic theme, I tend to add lots of layers over the top to create a grungy look to the piece. If I am shooting something inspired by a sci-fi movie, then I often choose to push the colors quite hard to resemble the film grading used by cinematographers. Moreover, if I shoot something medieval- or viking-ish, I usually dull all the colors down and make the finished shots look “dusty” and worn.

    With practice, you’ll find your style for post-processing costume portraits. Don’t be afraid to step outside of your comfort zone and do something different from your usual approach. Everything about these images is already completely different from how most people would approach a regular portrait. It’s a chance to experiment!

    6 - 5 Tips for Photographing Portfolio-Worthy Costume Portraits - charlie moss

    Now that you’re armed with my top tips for shooting costume portraits, it’s time to try it out yourself! Remember to create a character, set the scene, and think about every element that you’re placing in the image. That way, you’ll tell a compelling and consistent story that shines through in the final image.

    I’d love to see your attempts at shooting costume portraits. Post an image in the comments for everyone to see!

    The post 5 Tips for Photographing Portfolio-Worthy Costume Portraits appeared first on Digital Photography School. It was authored by Charlie Moss.


    Digital Photography School

  • Drone footage shows the extent of damage from the Notre Dame Cathedral fire

    The Notre Dame Cathedral, located on a small island on the Seine River in Paris, has withstood the French Revolution, two world wars and the horrors of Nazi occupation. A devastating fire ripped through the 850-year-old landmark this past Monday, decimating its vaulting, roof and spire. The above drone footage, courtesy of Ruptly, shows the extent of the damage. A panorama from Gigarama offers up additional context.

    Up to 500 firefighters battled the flames into the late evening on Monday. According to a recent article in The Guardian, the cathedral was 15 to 30 minutes away from complete destruction if efforts to prevent the fire from reaching the bell towers had not succeeded. The two towers did not incur any structural damage.

    Some credit for this small triumph can be attributed to the use of DJI drones, a Mavic Pro and Matrice M210. Remote pilots were able to track the movement of the flames and inform firefighters on where they should aim the fire hoses. ‘The drones allowed us to correctly use what we had at our disposal,’ said fire brigade spokesman Gabriel Plus in comments translated from French.

    French President Emanuel Macron has vowed to completely restore the structure in five years time, an ambitious goal considering that the Notre Dame Cathedral took several hundred years to build. Police say the fire was likely an accident caused in the wake of renovations, though a full investigation is currently underway.

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm X-T30 review

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    Sample photoSample photoSample photoSample photoSample photo
    Gold Award

    84%
    Overall score

    Fujifilm’s X-T30 brings the same 26MP sensor, processor and much of the feature set of the high-end X-T3 at a more reasonable price. If that sounds familiar, it’s because the relationship between the X-T20 and X-T2 was the same.

    With the X-T30 you get Fujifilm’s latest AF system, along with plenty of direct controls and a tilting touchscreen, all in a smaller body. The X-T30 also comes at a significantly lower price than the X-T3, with the body priced at $ 899, versus $ 1499 for the X-T3. We’ll discuss what features were cut in order to make the X-T30 the less expensive of the two options a bit later in the review.

    Key specifications

    • 26.1MP APS-C X-Trans BSI-CMOS 4 sensor
    • X-Processor 4
    • Hybrid AF system has 425 phase-detect points spread across the entire frame
    • Burst shooting at 30 fps with no blackout (but 1.25X) crop using electronic shutter; 20 fps without crop
    • 2.36M-dot OLED viewfinder w/0.62x equiv. magnification and 100 fps refresh rate in boost mode
    • 3″ tilting touchscreen display
    • Dedicated drive, shutter speed and exposure compensation dials
    • Joystick for AF point selection
    • Eterna Film Simulation mode
    • DCI and UHD 4K/30p capture using full width of sensor
    • 4:2:0 8-bit internal recording or 4:2:2 10-bit HDMI output
    • USB-C socket with headphone support
    • Single SD card slot (UHS-I only)

    That’s a lot of camera for under $ 900, body-only. If you’d like to add a lens, you can get the camera and the 15-45mm F3.5-5.6 OIS Power Zoom lens for $ 999, or with the excellent 18-55 F2.8-4 lens for $ 1299. The camera is available in silver, black and the graphite silver version shown in this review.


    What’s new and how it compares

    The X-T30 borrows the sensor and processor from the more expensive X-T3, and that’s great news.

    Read more

    Body and handling

    For a $ 900 camera, the X-T30 is surprisingly well-built. It has a tilting touchscreen LCD, nice EVF and direct controls that make it a pleasure to use (most of the time).

    Operation and controls

    In addition to four customizable buttons you can also ‘swipe’ the X-T30’s LCD in one of four directions to adjust settings. The camera offers two different customizable menus so you can set it up the way you’d like.

    Read more

    First impressions

    Shooting with the X-T30 is a mixed bag. The results are great, but the ergonomics need work.

    Read more

    Image quality

    The X-T30’s 26MP sensor offers great out-of-camera JPEGs and flexible Raw files.

    Read more

    Autofocus

    While not class-leading, the X-T30’s AF system is speedy and reliable in most (but not all) situations.

    Read more

    Video

    Put simply, you won’t find a better video camera in this price range than the X-T30.

    Read more

    Is the Fujifilm X-T30 right for you?

    Whether you’re a hardcore videographer, landscape photographer or a soccer mom, we’ve spelled out what the X-T30 is best suited for.

    Read more

    Conclusion

    Find out if the X-T30 is the midrange stills/video hybrid to beat.

    Read more

    Sample gallery

    View real-world photos taken with the Fujifilm X-T30.

    Read more

    Articles: Digital Photography Review (dpreview.com)

  • 12 Photography Errors You’ll Make When You’re New to Photography

    The post 12 Photography Errors You’ll Make When You’re New to Photography appeared first on Digital Photography School. It was authored by Simon Bond.

    It’s a universal truth that everyone has to start somewhere. It’s also true that when you start something new, you’ll make mistakes. All the expert writers on this site will have gone through this process – myself included. In this article, you’ll learn about 12 common photography errors that are typically made, and how you can quickly correct those mistakes. So read on if you want to avoid some of the pitfalls of photography, and fast forward to creating amazing photos!

    To demonstrate that everyone has to start somewhere, the photos used here are among my earliest photos. Taken with an SLR camera, and of course in the days of film. There are plenty of mistakes in the set of images in this article. At this point, I certainly knew my way around an SLR camera, but clearly there were still things for me to learn.

    1. Crop in the wrong place in pursuit of minimalism

    You’ll have heard photography is the art of subtraction. That is, removing unwanted elements from your frame will give you better photos. You’ve arrived at a popular location to take photos, only to find crowds of people there. The solution is to begin your photo, where the head of the tallest person in that crowd ends.

    In other words, crop your photo halfway up the side of a building. While this does remove that unwanted element, it leads to a poorly composed photo in the pursuit of minimalism. This could arise from other objects like parked cars, or wires in the wrong place in your image. So what can you do instead of this overly tight composition?

    • Arrive early – One of the best ways to avoid crowds of people or cars is to arrive early. Wake up for sunrise, and get that great angle before the crowds get in the way of it.
    • Multiple photos – Set you camera up on a tripod, and take a sequence of photos of the same scene. Ensure people are moving around. Then stack the photos in Photoshop, and use the median function to remove people from the photo.
    • Cloning – You can use clone stamping to remove elements in the photo you don’t wish to be there. This requires some skill, but can be used to remove wires, people and sometimes larger objects.

    This is a photo that would benefit from more foreground being visible. There is too much dead space at the top of the image.

    2. Photograph into the light

    Not taking the time to plan when you’ll visit a location will lead to this mistake. Perhaps you’re on a walking tour, and your next location is a famous landmark. It just happens to have the sun behind it, with all the interesting detail of the object obscured by bad light. The same is also true when you photograph a person towards the light, unless you’re reflecting light back onto them or using external flash then the portrait is likely to be lacking. So what solutions are there for this problem?

    • Know the light – Do your research on the location you’re visiting, and make sure to arrive when the sun is in the right direction. You can use suncalc for this purpose, it shows the direction of the sun in relation to time of day and geographic location.
    • Change sides – In some cases, you can move to the other side of a building, where you’ll be able to photograph a person from the other direction. This is a relatively simple solution that can improve your results.
    • Light modifiers – The use of reflector discs and or off-camera flash can make portrait photography towards the light possible.
    • Digital blending – Photographing towards the light, when the main subject is larger than you’d be able to light with external flash? You can instead bracket your photos, and use digital blending with your image. This is an effective solution when you want to photograph towards a sunset.

    A photo that’s reasonably composed but that would have benefited from being taken at another time of the day. This type of photo would work well during blue hour.

    3. Never change your point of view

    If all your photos are taken from a standing position, or perhaps seated position when you’re eating, then you’re missing a trick. A change in perspective is a great way to produce much more interesting photos.

    That’s not to say there aren’t great photos to be taken in a standing position. A lot of street photography and portrait photography uses this perspective to great effect. There are plenty of other angles to use though, and adding variety to your photography through these angles is a great idea.

    Changing your angle might be as simple as kneeling down, or as challenging as finding access to a high vantage point from a nearby building. The worm’s eye view and bird’s eye views can be used to great effect.

    You don’t need to photograph straight up or straight down though. Photographing from lower down might emphasize a leading line on the road that much more, or allow plants and flowers to become a more important element within your frame.

    Clearly the focus of the image is the roof tiling and the eagles. Area’s to the top and bottom of this image are not needed, and different framing should have been used.

    4. Over reliance on post-processing

    One of the common photography errors you can make is an over-reliance on post-processing. The aim as much as possible should be to get your result in-camera.

    Your camera is, after all, an incredibly powerful creative tool. Of course, it’s important to learn post-processing. If you don’t do so, you’ll be at a disadvantage. It’s a good idea to learn how to use your camera and post-processing in conjunction with each other.

    What can happen if you allow your skill in post-processing to outstrip your knowledge of the camera?

    • Fix the photo – Instead of getting the photo right in camera, the idea is to correct mistakes in post-processing. This will stall your progression as a photographer, and it makes you a lazy photographer.
    • New photography techniques – Post-processing can add that “x factor” to your image. So much so, that you may progress more slowly in learning new camera techniques.
    • Transformations – It’s possible to make some quite radical changes to your photo. Compositing images is certainly something you should learn. It’s also possible to just change the sky in a landscape scene to something more dramatic. In doing this, are you as motivated to return to a location many times, until you get a dramatic sky in real life?
    • Filters – Post-processing is all about subtle changes. Overcooking your photo by using a filter at too strong a strength might make your photo stand out, but perhaps not in a good way.

    This photo needed to be taken at another time of the day when the sun lights up the building. The lamp to the left also adds nothing and should be removed by changing the angle.

    5. Not learning your camera settings

    Your camera is fulling of settings that affect your image. A lot of these settings are connected to one another as well. The relationship between aperture, shutter speed, and ISO is fundamental to photography. You need to take the time to learn each of these settings on their own, and how changing one of them can impact another setting. The first and most important thing to do here is to stop using your camera on automatic.

    One setting at a time

    You won’t learn everything at once, but you want to get to the point that you subconsciously know the correct settings to use. It’s a good idea to spend time getting to know one particular camera setting at a time and what it does.

    A good setting to focus on is aperture.

    Learn how aperture can be used to control the depth of field, blur the background, and perhaps produce a starburst in your photos. Having learnt how this setting works, move onto a new setting and learn that one.

    This detail photo would have been improved by using a larger aperture. At the time this sort of lens wasn’t available to me.

    6. Not using selective focus

    Getting sharp images is an important part of photography. To get the sharpest images you’ll need to learn how to use the focus settings on your camera correctly. One of the most important of these settings is selective auto-focus.

    Another of the common photography errors is to let your camera decide where to focus for you.

    Instead, you should be in control of this process.

    It’s not always the case that you’ll want to have your focus point in the center of the image. Use selective focus, so your camera focuses where you want it to focus. Your camera will have a grid array that can be seen through the viewfinder. Use your camera’s direction controls to move the focus point to the appropriate position, and you’ll be ready to photograph.

    The photo uses the rule of thirds, so composition is okay. The tree on the left is somewhat distracting though.

    7. Going it alone

    Photography is a great past time to practice on your own. It dovetails very well with nice long walks by yourself in the country or city. Indeed you can learn a lot about your craft through self-exploration, and perhaps reading articles on sites such as this one. To only do this would be a mistake though. There are a lot of good reasons to seek out and befriend other photographers. Here are a few things you’ll gain from teaming up with other people.

    • Feedback – One of the best ways to improve as a photographer is feedback. Some of the best feedback you’ll receive is from fellow photographers.
    • Collaborations – Not all photography is easy to achieve on your own. Once you start using off-camera flash to photograph models, working as a team makes sense.
    • Learning – Tapping into the knowledge base of other photographers is invaluable. Different people learn about different things in photography, so being able to share that knowledge helps a lot.

    The horizon line isn’t straight, showing this photo was taken too quickly. Another indicator of this is not waiting for the man to move out-of-frame. A rushed photo, and a poor result.

    8. Not developing your own style

    This is true not just in photography, but in many art forms. It’s easy to look to famous photographers, or perhaps local established ones, and look to emulate their photography. It’s a good idea to learn about how photographers take their images on a technical level. Once you know how other photographers work though, it’s then time to interpret these techniques in your own way.

    There are, as mentioned, many benefits to joining a group of photographers, but one potential pitfall is developing their style of photography. Learn what makes their photography work, then spend a bit of time of your own developing a style that suits your work.

    A photo that is spoiled by the wire at the top of the frame. Simply moving forward and using the same composition would have removed this wire from the photo.

    9. Not learning new techniques

    As you progress and become comfortable in your skin, you’ll come to one of the next big photography errors. You’ve developed a style, but then stopped progressing. It’s an easy trap to fall into, especially if you’re getting attention for the photography you’re now producing.

    Photography is always evolving and to stay at the vanguard of the field you need to be learning new techniques. They might not necessarily become your signature style, but learning new ideas allows you to freshen up those styles that are your signature techniques. This might lead to you combining two photography techniques. You might learn a different way of post-processing your images that allows you to improve all the photos you take in the future.

    This was once a photo I liked. Today, I know that it really needed a graduated neutral density filter for the sky. This aspect of photography was something I’d not learnt at this point.

    10. No main subject

    How do you elevate a good photograph into a great one? To do that you’ll need a narrative to your photo, and that means a main subject.

    It’s possible to take nice photos of a landscape or abstract detail photos that are very eye-catching. A silhouetted person on the brow of a hill instantly adds more story to your scene, making it a stronger composition. A detail photo with one part of the image that’s different? Now you have a photo with a subject.

    Sometimes the main subject will be readily available, like a single tree in a landscape scene. At other times you may need to wait patiently for a person to walk into your scene, thereby giving your scene its subject.

    This is an awkward photo that lacks a main subject, and leaves a lot of dead space on the right.

    11. Too many distracting elements

    In photography, you want to keep it simple. Once you’ve settled on a strong main subject, you need to frame it correctly.

    Another regular in the photography errors list is a busy photo. This is often because the background has too many elements, but distracting elements can also extend to the foreground. How can you eliminate extra elements from your scene such as unwanted wires? It’s true that you could use post-processing. On the other hand, you can develop your photographer’s craft. So what options are there?

    • Angle – That means changing the angle, perhaps as dramatically as walking to the other side of your main subject.
    • Focal length – You can also use different focal lengths, longer focal lengths will compress your scene which might allow you to remove things you don’t want from the frame.
    • Aperture – Get stuck on automatic mode and you won’t learn about this. A great way of removing a busy background is to blur it out. You can do this by using a large aperture, the resultant shallow depth of field will blur the background but keep your main subject sharp.
    • Closer – Walking closer to your subject, when that’s possible, means you’ll remove elements from your frame. They’ll now be behind you, but you might need to use a wider focal length to take the photo.

    The water makes some nice patterns, but the photo lacks interest. In addition to this, the bottom is overexpose. A well-placed GND filter could have fixed that problem.

    12. Bad composition

    There are some basic rules of composition, and it’s worth knowing what they are. These are things like the rule of thirds, leading lines, and framing. It’s also true that not every photo benefits by doggedly sticking to the rule of thirds, those photos that use minimalism for instance might not work so well. It is a good idea to know what composition techniques work though, and to look at how you can apply them to your photography. When you don’t do this you’ll begin your photographic journey with awkward composition mistakes.

    Chloe, I miss you. This is quite a nice photo of this dog. The foot should not have been cut off though, and the angle is clearly from a standing position. Kneeling down might have worked better here.

    Cut down on your photography errors!

    As you’ll see, there are lots of photography errors you can make. Are there any on this list you’ve made? Perhaps there are other photography errors you’ve made while learning, and you can share them with the community here? As we all know, making mistakes is a part of the learning process.

    So now it’s time to pick up the camera, and having read this article, hopefully you’ll know more of the photography errors to avoid!

     

    The post 12 Photography Errors You’ll Make When You’re New to Photography appeared first on Digital Photography School. It was authored by Simon Bond.


    Digital Photography School

  • Capturing volcanoes in Guatemala with the Nikon Z6

    The Nikon Z6 is a 24MP full-frame mirrorless interchangeable lens camera which offers excellent stills and video image quality in a tough and lightweight body. Photographer Diego Rizzo took a Z6 to Guatemala recently to shoot the Volcán de Fuego – the most active volcano in Latin America.

    Shooting on the slopes of a volcano is rife with hazards, from the obvious risks of explosions and pyroclastic flows, to dust and abrasive grit. Watch our video to see how the Nikon Z6 fared in one of the toughest environments imaginable.


    This is sponsored content, created with the support of Amazon and Nikon. What does this mean?

    Articles: Digital Photography Review (dpreview.com)

  • Choosing a camera Part 1: should I worry about pixel size?

    Pixels are the fundamental building blocks of digital photography: they are the individual elements that capture the light to make up your image. Higher pixel-count cameras promise better resolution but it’s often said that their smaller pixels result in noisier, less-clean images.

    So does this mean you should look for fewer, bigger pixels when you buy your next camera?

    Probably not. That’s because the idea that small pixels are noisier is only really true when you examine your images at pixel level. We’ve long passed the point where you only had enough pixels to fill your monitor. And even people making large prints will find that a 24MP camera provides far more resolution than needed for printing at A3 (11.7 x 16.3″).

    Looking at the bigger picture

    At which point, taking a more holistic, whole-image-level perspective on picture quality probably makes at least as much sense as worrying about the noisiness of your individual pixels.

    Smaller pixels each receive less light than large ones, so will always individually be noisier (because for most photography, most of the noise comes from the amount of light you sample). But as soon as we have to scale our images to view or print them, this difference becomes much less significant or disappears entirely.

    Key takeaways:

    • Larger pixels get more light during any given exposure, so are less noisy when viewed 1:1
    • Combining multiple small pixels cancels out most (or all) of this difference when viewed at the same size
    • For most applications you’ll end up downsizing your images, so there’s usually a resolution advantage but little (if any) downside to having more pixels

    The effect of pixel size:

    The Nikon D850 and the Sony a7S are both relatively modern full frame sensors, but they have very different pixel counts. Because they have the same sized sensor, this means the individual pixels on the 12MP a7S are much larger than the D850, which has a sensor made up of 48 million pixels.

    The a7S is often described as being great in low light, but this is only true if you pixel peep.

    Let’s see how they compare when scaled to the same size:

    ISO 6400
    D850 Full size
    [Raw File]
    a7S
    [Raw File]
    D850 (resized: 12MP)
    [Raw File]
    ISO 12800
    D850 Full size
    [Raw File]
    a7S
    [Raw File]
    D850 (resized: 12MP)
    [Raw File]
    ISO 25600
    D850 Full size
    [Raw File]
    a7S
    [Raw File]
    D850 (resized: 12MP)
    [Raw File]
    ISO 51200
    D850 Full size
    [Raw File]
    a7S
    [Raw File]
    D850 (resized: 12MP)
    [Raw File]

    At the pixel level the a7S is much less noisy, as you’d expect with its larger pixels. But, at all but the very highest ISO settings, that advantage disappears when you compare them both at the same scale. The difference is that you usually retain some of the additional detail that the D850 captured.

    We see this same pattern across almost all cameras. The only times we have seen any disadvantage to small pixels is in the very smallest pixels used in smartphones (and those often use multi-shot modes to overcome this) or in sensors that use unconventional sensor technologies.

    The thing that’s much more likely to make a difference to your image quality is sensor size. We’ll look at this in the next part of this article series…

    Articles: Digital Photography Review (dpreview.com)