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Real Estate Photography: Get Better Results with the Right Equipment
Real estate photography throws many challenges your way, just like any type of photography.

You deal with perspective issues and light and shadow extremes that confound even the best cameras. You also need to be critically aware of your surroundings and probably have very limited time to do the job.

The good news is, creating pleasing photos of interior rooms no longer requires a great deal of investment and experience. Nowadays, it only requires a few specific items, a few pointers, and a little practice.

In this article, you’ll learn how to get better results with the right equipment to take your real estate photography to the next level.

Which camera to choose for Real Estate Photography

Smart Phones

While the main choices for real estate photography are between DSLR or mirrorless cameras, you may hear an argument in favor of modern smartphones too.

While smartphone cameras are useful for some scenarios, they are not well suited to real estate photography.

Some of the main downfalls of smartphones include:
- Smartphone Apps process the image for you, resulting in a processed JPG image that you have little or no control over. The ‘lossy’ nature of JPG discards much of the original information, limiting what you can do in post-processing.
- The sensors are tiny, with the pixels packed in tight, reducing the dynamic range and causing more noise.
- Lenses are tiny and generally made of plastic. They lack the precision of milled glass lenses, and are easily scuffed or scratched. Lens quality plays a big part in achieving good quality images, so it’s unrealistic to expect the same performance that you’d get from a camera lens.
Smartphones perform well under ideal lighting conditions; however, interior real estate photography presents some of the most challenging light you’ll find in photography.

Use your smartphone as a tool to find great compositional angles, but not as your main photographic equipment.

See other ways a smartphone can be used here.

DSLR and Mirrorless Cameras

Whether your preference is a DSLR or mirrorless camera, your primary choice is format: Full Frame, Crop-sensor or Micro 4/3.

Each format changes the field of view (FOV) of a given lens. You can think of the FOV as the ‘zoom’ of the lens.

Full-frame equates to the standard 35mm film view of analog cameras and is the standard measurement still used today.

Crop-sensor cameras have smaller sensors, creating a ‘zoom’ effect of 1.5X or 1.6X. Micro four-thirds (M4/3) cameras increase the ‘zoom’ by 2X.

In practical terms, a 50mm lens on a full frame camera produces almost the same field of view as a 35mm lens on a crop-sensor camera. That same field of view results from a 25mm lens on a Micro 3/4 camera.

It’s vital to understand that different sensor sizes impact the focal length of a lens.

When reading advice on which lens to use, always remind yourself it’s the ‘equivalent’ focal length, then do the calculations as described above for your own camera’s sensor size.

The good news is that if you already own a recent model DSLR or mirrorless camera, you likely don’t need a new one.

It’s true that “recent” is a bit vague here, but in my experience, mirrorless cameras up to five years old, and DSLRs made during the last ten years should be more than capable.

Lens choices

Many photographers say prime lenses (non-zooms) produce a better quality image than zoom lenses. A good zoom lens, however, may be more convenient for real estate photography.

A decent quality zoom that starts from a wide angle (say between 12mm to 24mm) provides more compositional flexibility than a fixed lens.

Small rooms inside houses may be a little cramped, restricting the space available to set up a tripod and camera. Using a wide-angle lens of around 12-24mm may be necessary to give the required field of view to capture a small room.

In larger rooms, and when photographing outside, 35mm may give a better view of the property. There’s no definitive ‘right’ answer to field-of-view as it all depends on the surroundings and how much space you need.

If you find yourself with distorted lines and dark areas around the edge of your image shot with a wide-angle lens, these may be fixed in post-production.

Cheaper lenses, especially zooms, have more optical weaknesses, so if you’re going to invest in new gear, you might get more benefit from upgrading your lens instead of your camera body.

One indication of lens quality is a low aperture number such as f/2.8. A lower number aperture opens the lens wider than lenses with high numbers like f/5.6.

While this allows more light to enter the sensor, the focus plane becomes narrower, causing some of the room to be out of focus, which is not ideal for real estate photography. Use an aperture of f/8 or f/11 to allow more of your room to be in focus.

Chromatic aberration (CA) is caused by light dispersion as it travels through the lens. In plain English, it’s that pink/green color fringe you sometimes see around the edges of objects, most noticeably in areas of high contrast like window frames. Cheaper lenses have more problems with CA.

Using a better quality lens shows less CA, but the laws of optics means fringing can still happen occasionally. Most photo software includes functions to reduce or remove this, although it’s great to avoid it as much as possible in the first place.

Camera features to look for

Camera features to look for buried in just about every modern camera menu are the five features and functions that can seriously help for real estate photography images.

The first four of these features help you overcome the problems posed when photographing scenes with a high dynamic range (HDR). In these situations, all cameras struggle because they can’t match our eye’s adaptive responses.

The fifth, the digital level, helps with the challenge of perspective. Inside and out, houses have vertical and horizontal lines. If they’re just a little off-center, the whole photo looks lopsided and uncomfortable to the viewer.

1. AEB (Automatic Exposure Bracketing)

Automatic Exposure Bracketing is a specific setting that instructs the camera to take multiple shots of the scene while changing the shutter speed of each shot – all with one press of the shutter release button.

You can change the shutter speed for each shot manually, but it is faster (and potentially more precise) to let the camera’s onboard technology do it under your guiding hand.

2. EV Range (Exposure Value Range)

The reason to take this automatic series of shots is to capture all details, from bright windows to darker interior areas, although some cameras have more limited AEB capabilities than others.

Here are the two camera features to consider:
- The number of bracketed shots: This is the number of exposures the camera takes when you press the shutter release in AEB mode.
- Exposure Compensation: This is the spacing of exposure compensation between each bracketed exposure taken in AEB mode. These two factors combine to determine the total exposure range possible.
You need to look at both features to determine whether the camera’s EV range capability is sufficient for your needs. For real estate photography, look for AEB settings that let you choose five shots in 2-steps or nine shots in 1-step.

3. Continuous shooting

It is important that your camera can shoot continuously to minimize the number of times you release the shutter manually. Doing so avoids accidental camera movement or shake.

4. Luminosity histogram

The histogram offers clear information to ensure we cover the full dynamic range. While it may seem confusing at first, it’s straightforward once you know what it’s showing us.

Having an EVF (electronic viewfinder) somewhat reduces the need for a histogram but not entirely. Even with an EVF, it’s hard to determine highlight or shadow clipping by eye. Capture all the bright and dark areas correctly by using histograms.

5. Digital level

If your camera has a digital level, it’s quite handy. Not all camera models do, so you may need to look in the manual to find it. Once activated, a horizontal line runs across the scene in your viewfinder.

You can instantly see if the camera is at an angle and if so, make the needed adjustments to avoid a sloping room.

While you’re checking the horizontal lines, don’t forget the verticals. Tilting the camera up or down causes vertical lines, like walls, to look slanted.

Pro tips on using the digital level
- Take time to inspect the scene in live view, making manual corrections if necessary even if they contradict the digital level.
- Use a tripod so you can step away from the camera while seeing the live view screen and the room.
- Double-check your composition for framing, height, and perspective.
- Shoot from below eye level. An excellent place to start is between your chest and hip height, but there may be times to raise the camera. You might, for instance, want to show a particular view or other details you wish to highlight.
Flash and Lighting Equipment

Speedlights

The built-in flash on your camera is unlikely to be strong enough to balance interior and exterior light levels because of the high dynamic range present in most real estate interiors.

The built-in flash may create unwanted, deep shadows in the room. You’ll get a better effect by mounting a Speedlight flash on the hot shoe, then bouncing the light off the walls or ceilings.

With some practice, it becomes easier to find the right bounce position for each room.

Another technique for using Speedlights is taking them off camera via a wireless connection. This way, you can position the lights just where you need them.

Studio lights

Finally, there are studio lights.

While these are effective and give results that look professional, pro lighting equipment is expensive. The lights are also bulky and heavy and often need a power supply. Moreover, using them correctly requires considerable practice and skill.

The exposure bracketing technique, where you use the camera’s AEB features listed in the previous section, offers a less demanding way of achieving light balance for an interior scene.

Taking bracketed exposures becomes a natural part of your photography workflow, and you don’t have to worry about carrying heavy lighting equipment, or learning how to use it.

The bracketed exposures are then merged to HDR in post-processing to get a correctly exposed image. While Photoshop and Lightroom offer HDR merge, many real estate photographers prefer using Photomatix Pro.

This specialized HDR software offers natural-looking presets optimized for property interiors.

A tripod

If you get good, sharp results from handheld shots, using a tripod may seem unnecessary. However, no one can hold a camera steady for the slower shutter speeds used for interior real estate photography.

The minimum shutter speed for handheld shots is normally1/60 second as a rule-of-thumb, while interior scenes require much longer exposures.

What to look for in a tripod:
- Ball heads – These let you quickly change angles and orientations without having to fiddle too much with either camera or tripod.
- Rubber feet – When you’re working on slippery, polished floors there’s less chance of the tripod sliding out of position. Rubber feet also protect fragile surfaces.
- Lightweight and sturdy – Look for solid construction with tight joints and rigid legs. Top-of-the-range tripods (such as carbon-fiber models) carry a higher price tag, but less expensive aluminum versions do the job equally well with a little care. Any tripod is better than no tripod at all.
A good tripod gives you more compositional freedom, as you can position them just about anywhere. Attempting to keep the camera perfectly still without a tripod limits you to existing stable surfaces.

A remote shutter release

A remote shutter release untethers you from the camera, providing freedom of movement.

While the most obvious function of the remote release is preventing camera shake when you press the shutter button, there are other, less apparent advantages too:
- The tripod stays steady, even on a soft surface.
- You can step aside to avoid casting shadows, or to remove your reflection from windows or shiny surfaces.
- Your hands are free to hold distractions out of the frame, such as cables or plant fronds.
- You can move around to assess composition from different angles or spot potential distractions.
- You may need to monitor the road so you can shoot during a gap in traffic.
As an alternative to a remote shutter release, you can use a cable release or the camera’s automatic timer.

Some other helpful equipment

Beyond the main equipment needed for real estate photography, there are a few other items to make your job easier and more efficient:

A traditional bubble level – While the digital level is handy, some people may prefer external units that slot into the hot shoe or some tripods that have bubble levels built-in.

Gaffer tape – Use it for quick cleanups such as removing pet hair or holding back a curtain or cable. Use tape to mark the position of your tripod once you find a good composition.

Avoid using duct tape as the adhesive is too strong and it doesn’t peel off cleanly. Gaffer tape leaves no residue on most surfaces.

Cleaning cloths – You need a cloth for your lens, but also one to remove dust specks from surfaces or to polish water marks off bathroom fittings.

A lens hood – Use a short hood on your wide-angle lens to cut down the flare from windows or other bright lights.

Conclusion

Despite its challenges, anyone can learn to take great real estate photography photos by starting with the right equipment. Using the right equipment also sets you up for success, and with just a little bit of practice, you can discover what works best for you.

If you have any questions to ask me about equipment for real estate photography, please ask me in a comment below.

HDRsoft is a paid partner of dPS.

The post Real Estate Photography: Get Better Results with the Right Equipment appeared first on Digital Photography School.

Digital Photography School
October 25, 2018
Google promises software fix for Pixel 3 image saving issues

It’s not unusual to see one or two software bugs on a newly released smartphone, but it looks like some Google Pixel 3 and 3 XL units are infected with a particularly nasty camera-related problem. Many early adopters have reported a bug that occasionally prevents photos from saving after capture in the camera app.

The technical details behind the problem are not quite clear, but looking at discussions on Reddit appears older Pixel phones, and even Nexus devices, have had similar issues in the past.

The good news is that Google is now reacting and addressing the issue. A spokesperson talked to Android Police and provided the following statement:

“We will be rolling out a software update in the coming weeks to address the rare case of a photo not properly saving.”

The company has also confirmed that the bug will not only be fixed on the latest Pixel 3 devices but also on older Google Pixel 1 and 2 generation phones that are affected.

Even if it only happens rarely, a lost photo in an important moment is every photographer’s nightmare. So it’s good to see Google’s is taking steps to fix the issue across all affected models.

Articles: Digital Photography Review (dpreview.com)

October 25, 2018
‘White Stripes’ Jack White opens film lab in Nashville

Jack White, the lead singer of the band The White Stripes, has opened a lab in his Nashville recording studio to process and print film. The building that houses Third Man Records, White’s record label, now has the facilities to process black and white, color negative and transparency film, as well as hand-printing services.

According to the price list, Third Man Photo handles 35mm, 120 and 220 roll film as well as 110 cassettes. Photographic prints are also available in sizes up to 20x24in. The lab also makes negatives from digital files, scans film, and offers cross-processing.

Customers can drop off film in person or mail it to the lab. Workshops can be booked for customers who are feeling a little more adventurous and fancy processing their own film.

For more information see the Third Man Photo website.

Articles: Digital Photography Review (dpreview.com)

October 25, 2018
Ricoh WG-60 rugged camera adds FlashAir card compatibility

The Ricoh WG-60 is a waterproof camera with solid rugged credentials. It’s waterproof to 14m (45ft), shockproof from 1.8m (11ft) and freezeproof to -10°C (14°F). It has a 16MP BSI-CMOS sensor, 28-140mm equivalent lens, 2.7″ LCD and a built-in LED ring light.

The WG-60 is the replacement to the WG-50 and, from what we can tell, is nearly identical. The only difference appears to be support for FlashAir Wi-Fi SD cards, which is the camera’s only way to connect to mobile devices. If we discover other differences between the WG-60 and its predecessor, we’ll update this article.

The WG-60 will be available next month for £250 and will come in red or black. The camera will not be sold in the U.S.

Press Release:

Digital compact camera for underwater photography down to 14 metres, with waterproof, shockproof performance; available in two colours

London, 24 October 2018 ?RICOH IMAGING EUROPE S.A.S. is pleased to announce the launch of the RICOH WG-60 digital camera. This new model features a compact, lightweight body design, with exceptional waterproof and shockproof performance.

The superb waterproof design of the WG-60 means the user can easily take pictures outdoors with confidence. Despite a compact lightweight body, the outstanding specifications of the WG-60 means that it outperforms ordinary digital cameras and smartphones in demanding outdoor conditions. It is waterproof to a depth of 14 metres, shockproof against a fall from a height of 1.6 metres and freeze-proof down to temperatures as low as -10°C. It also comes equipped with an outdoor-friendly LCD monitor so you can instantly adjust its brightness to the lighting level in a particular shooting situation.

Main Features

1. Heavy-duty construction for underwater shooting down to 14 metres, for up to two hours.
Featuring a solid, airtight body waterproof down to a depth of 14 metres for up to two hours of continuous operation (equivalent to IPX 8 or JIS Class 8). Shockproof against falls from a height of 1.6 metres,* dustproof (equivalent to IPX 6 or JIS Class 6), freeze-proof to temperatures as low as -10°C, and crush-proof against weights up to 100kgf (kilogram force). ** Its heavy-duty construction ensures that the WG-60 performs superbly and dependably even in harsh, demanding outdoor conditions.
* Measured under RICOH IMAGING-original testing standards — from a height of 1.6 metres, onto a surface of 5cm-thick plywood — conforming to Method 516.5-Shock of the MIL-Standard 810F.
** Measured under RICOH IMAGING-original testing standards.

2. Exceptional image quality
The WG-60 comes equipped with a back-illuminated CMOS image sensor, which delivers excellent high-sensitivity and low-noise characteristics and high-speed read-out of image data signals. Coupled with a high-performance imaging engine, this image sensor delivers a top sensitivity of ISO 6400 and super-high-resolution images with approximately 16.0 effective megapixels. This model also provides advanced image processing functions, made possible by the latest super-resolution technology for sharp, clear, high-resolution images. It also offers such innovative features as Handheld Night Snap mode, which automatically captures several images of the same nighttime scene to produce a single, blur-free composite image.

3. 5X optical zoom lens with a 28mm wide-angle coverage
The WG-60 features a high-performance, five-times optical zoom lens with a focal-length coverage from 5mm to 25mm (equivalent to approx. 28mm to 140mm in the 35mm format) to accommodate a wide range of scenes and subjects, including landscapes. It also provides other convenient shooting functions, such as macro mode to capture dramatic close-up images from a minimum focusing distance of a mere one centimetre. An Intelligent Zoom function extends the zoom range to approximately 36 times (equivalent to 1008mm in the 35mm format) without compromising image quality, for superior telephoto photography and an interval-shooting mode, which comes in handy for fixed-point observation.

4. Six Macro Lights to assist close-up shooting, and a Self-Portrait Assist mode
By selecting the Digital Microscope mode, six LED Macro Lights ideally positioned around the circumference of the lens barrel for macro shooting, allow the WG-60 to provide bright, uniform illumination on a subject. ***The Macro Lights enable the user to clearly see a magnified view of the microscopic world undetectable by the naked eye on the camera’s LCD monitor, and effortlessly capture eye-catching close-up images. In order to minimize camera and subject shake, the Instant Illumination Enhance function allows the use of a higher shutter speed by automatically raising the discharge level of the Macro Lights at the moment of shutter release. The Macro Lights also provide other useful functions, such as a Self-Portrait Assist mode, which uses the blink of an LED lamp to check if the subject’s face is captured within the picture frame, and the LED Lighting mode, which uses the Macro Lights as a lighting device in the dark.
*** When this mode is selected, the image size is fixed at 2.0 megapixels (at 16:9 proportions).

5. Underwater shooting mode
Specifically designed for underwater photography, the Underwater and Underwater Movie shooting modes optimize colour and contrast, based on the data of images actually captured under the water. These modes deliver sharp, true-to-life images by enhancing shades of red, which are lost in underwater photography, while effectively compensating for the loss of contrast caused by the diffusion of light in water. During Underwater mode, the Flash Off + Flash On option, allows the user to capture two images consecutively — with a single shutter release — one without flash and another with flash.

6. Full HD movie recording for extended shooting of high-quality movies
The WG-60 provides Full HD movie recording employing the H.264 recording format. Users can capture high quality extended movie clips (1920 x 1080 pixels, 16:9 proportions) at a frame rate of 30 frames per second. To add some creative touches to movie recording, it also features a high-speed camera function**** for slow motion playback of captured movie clips and an interval movie function. A micro-HDMI terminal (Type D) is also on the camera body for simultaneous output of Full HD movie clips and sound to external audio-visual devices.
**** When this function is selected, the recorded size is fixed at 1280 x 720 pixels.

7. Triple anti-shake protection to prevent blurred images in all applications
(1) Pixel Track SR mechanism
When recording still images, this advanced shake-reduction mechanism effectively compensates for camera shake by digitally processing affected images.

(2) Digital SR mode
When the camera detects low-lighting conditions in still-image shooting, this mode automatically raises the sensitivity up to as high as ISO 6400, making it possible to use a higher shutter speed and effectively minimize the adverse effects of camera shake and subject shake when dealing with poor lighting conditions.

(3) Movie SR mode
During movie recording, this mode effectively compensates for the misalignment of images caused by camera shake with exclusive software to produce beautiful, blur-free movie clips.
8. 2.7-inch LCD monitor with the Outdoor View Setting mode
The WG-60 comes equipped 2.7-inch LCD monitor with horizontally extended 16:9 proportions and approximately 230,000 dots. The monitor’s AR (Anti-Reflection) coating minimizes annoying glare and reflections for a sharp, clear on-screen image even in bright sunshine during outdoor shooting. It also comes equipped with such convenient features such as the Outdoor View Setting mode, which easily sets the optimum monitor brightness level for a given lighting situation.

9. Other features
· A range of WG-series mount accessories (optional) to accommodate a range of shooting situations
· Compatibility with FlashAirTM wireless LAN SD memory cards
· Two remote control receptors (one in front and another in the back) to widen signal coverage
· Macro stand (included) to maintain a minimum focusing distance of one centimetre to the subject during extended observation and shooting of macro images
· High-speed Face Detection function to capture as many as 32 faces in focus in approximately 0.03 seconds (minimum); Smile Capture function to automatically release the shutter when the subject’s smile is detected
· Outdoor-friendly Style Watch function to display the time on the LCD monitor, using an extended push of the OK button when the camera’s power is turned off
· Delay-free, push button start of the playback mode, using an extended push of the playback button
· Auto Picture mode to automatically select the most appropriate shooting mode from 16 different scene modes
· A choice of 12 digital filters

Articles: Digital Photography Review (dpreview.com)

October 25, 2018
How to Get Kids Interested in Photography
Kids are fickle creatures. One day they’re into painting and drawing, the next day they want to learn to play guitar, and pretty soon they’ve moved on to something else entirely like soccer or basket-weaving. For parents who want to get kids interested in photography, it can seem like a losing battle. They are competing with all the other hobbies and activities occupying their kids’ time and energy, and when they finally show some interest, it can be fleeting at best. Fortunately, there are some simple strategies that you can use to build a child’s interest in taking photos, and perhaps help you form a stronger bond with them in the process.

Get Them a Camera

The first step in getting kids interested in photography is to get them a camera! If you’re comfortable with them using yours, then by all means, hand over your DSLR, mobile phone, or even an old point-and-shoot. Another option is to let them use their mobile phone or tablet. I found that the best solution for me and my kids was to get them each an old point-and-shoot camera from eBay. These old cameras still pack a big punch and can go a long way towards igniting a child’s interest in photography.

Old point-and-shoot cameras, like this Canon A70, can’t stack up to their modern counterparts, but they are very inexpensive and often have features like optical zooms and creative filter modes. Perfect for getting kids interested in photography.

Give Your Kids Some Photographic Parameters

I used to be the computer teacher for a K-12 school, and I remember helping kindergarteners and first-graders explore creative apps. These apps allowed them to draw, create music, and express themselves in various ways while learning more about the digital devices they were using. One valuable lesson I learned soon after my first semester began was that children almost always produced better results when given a framework in which to work.

Allowing total freedom usually meant a classroom full of blank stares and nervous confusion, but giving a few parameters like ‘draw a family of elves’ or ‘create music that makes you think of summer’ was like watering the parched earth, and all sorts of creative results soon sprang forth. The same principle holds true for adults who want to help children explore photography. Giving some structure or rules goes a long way towards helping them explore.

This concept seems counter-intuitive, but it works more often than you might think. Instead of giving a camera to a child and telling him or her to ‘take pictures of something’ try offering some guidance or rules. Say things like…
- Take five photos of something that makes you happy
- Go outside and take 15 pictures of bugs
- Find photos that represent every color of the rainbow
- Take a piece of silverware from the kitchen and photograph it in ten different, unusual settings
- Find a friend and take pictures of as many emotions as you can think of
- Go to the park and take photos of 13 different flowers
Scenarios and parameters like these give children enough direction to be creative and explore photography while also producing results they can be proud of.

The rule here was ‘take pictures of things that move.’

Let Your Kids Break the Rules

One of the fun, or frustrating, parts about giving kids some rules is watching how quickly they want to break them. Sometimes that’s not okay, especially when breaking the rules would put them in danger or cause harm to other people. When embarking on creative endeavors, it never hurts to experiment and push the boundaries. Some might say you have to learn the rules first to know how to break them, and I understand that. However, if your only goal is to get kids excited about taking pictures, don’t worry so much about technicalities such as understanding the ‘Rule of Thirds’ or the ‘Brenizer Method.’ Instead, just let them push some simple rules you set forth.

My kids and I went out to find pictures of animals, but one of them wanted to take pictures of flags instead. There’s absolutely nothing wrong with that, and he got some pictures like this one that he loves as a result.

For example, if you start with the first tip and tell your child to take five photos of something that makes them happy, it won’t be long before they ask you if they can take ten photos of something that makes them nervous. They might want to take photos of grass instead of flowers, or want to play with the video feature instead of taking still images. It’s all about process over product, and if children learn and have fun by trying what they want to do, then there’s no reason to stop them.

Go on a Photo Walk With Them

When you think of the term Photo Walk you might conjure images of rain-soaked neon lights in Hong Kong, or impossibly tall skyscrapers of New York, or perhaps pedestrians perambulating past patisseries in a small French villa. Photo walks can be simpler than that, and you can do them right in your neighborhood, whether you live in the city, in the suburbs, or on a tropical island. The best part about photo walks is that they’re a fantastic activity that you can do with kids to help them get excited about photography.

My son took this photo of a spider eating a grasshopper while we were on a photo walk. It’s a little out of focus, and the composition isn’t great, but he had fun exploring nature with his camera. That was far more important to me than the technical details.

The first time I took my boys on a photo walk we spent about 40 minutes going a few blocks down the sidewalk they take on their way to school. The territory was very familiar to all of us, but re-framing our little jaunt as a photo-taking exercise put everything in an entirely different perspective. The kids paused every few minutes to snap pictures of flowers, leaves, insects, yard decorations, old cars, and all sorts of other objects they see every day but never really considered as photo subjects.

It was fun to see their eyes light up during the exercise and it was a nice way for us to spend some time together out of the house all doing the same thing. I had my camera too, and my kids were eager to have me take pictures as well. They helped me see familiar things in a brand new way.

Kids find even the most mundane things interesting, such as this baseball sitting in a patch of grass.

Be Present With Your Children

One of the more esoteric techniques to employ when finding ways to get kids interested in photography is to make sure you are a part of the experience. If you hand your child a camera and let them play while you do something else, they miss out on your help, encouragement, and excitement as they take pictures and learn about photography. You, in turn, miss out on spending some valuable time with your child that could help build and strengthen the relationship.

Being present with your children when they learn and explore is great for almost any type of activity, not just photography. Learning and exploring with them helps children feel safe and secure. It gives them a sense of belonging and allows them the freedom to create and explore without the fear of judgment or other adverse consequences—essentially meeting all the needs on Maslow’s Hierarchy. You learn together, share moments and create memories, and end up with some beautiful pictures as a result. You create pictures that tell a story of not just a plant or a bird or a lamp post, but a story of a parent putting everything else aside to share an hour learning, exploring and growing with their child.

After my son shot some photos of red flowers, the two of us looked through his images together commenting on which ones were our favorite.

Print the Pictures!

As DPS writer Bryan Caporicci once wrote, prints are one of the most meaningful ways that you can enjoy photography and this sentiment applies double when kids are concerned. Anyone who has spent more than five minutes with children knows how eager they are to share stories about their lives, impress you with their accomplishments, and show you talents they have or skills they have learned.

With that in mind, make sure that you find a way to get your child’s pictures off the camera, phone, tablet, or other such digital device and into a frame on the wall or a book on the shelf. Printing photos are easy and relatively inexpensive these days, and it is for your exciting your kids to have physical versions of their pictures to show and share. You could even take it a step further and get some larger prints framed and hung on their bedroom wall to help instill a love for the medium that could last for the rest of their lives.

My son asked if he could get this photo printed and framed. I’m not exactly sure what he liked so much about it, but it was a very inexpensive way to encourage his interest in photography.
Things Not to Do

Along with all these ways to help children learn and get excited about taking pictures, it’s also worth mentioning a couple of things not to do. Lest you inadvertently snuff out the photographic flame when it’s in such a fragile state of infancy.

Don’t criticize or over-analyze the photos they take. Focus on the positive aspects of their photos and be encouraging. It’s more about the process of learning than the end product, especially at such a young age.

Don’t give children a camera they don’t understand. An old mobile phone or point-and-shoot camera works well, but a DSLR could easily backfire despite your best intentions. Plenty of adults are confused and befuddled by the buttons and menus on DSLRs, and while kids might have fun experimenting with this type of camera, they could easily get overwhelmed and lose interest.

DSLRs can take better pictures than point-and-shoots, but they’re probably going to confuse most young kids.

Don’t make it about you. If you’re taking pictures with your child, let them be the star of the show and not you. Your pictures might be brighter, more colorful, or better from a technical standpoint, but that’s not the point right now. Your child could easily become discouraged if you compare their work to that of a seasoned adult. So, put your ego aside and focus on the child and helping nurture her newfound interest instead of showing off your pictures.

Don’t continually push them to improve. Let your children grow and develop at their own pace—encourage them, validate their work, and let the journey be the reward. Their interest could wax and wane over time, and they may show an intense interest in photography for a week, followed by two months of not using their camera at all. That’s normal, and if you try to force the issue, you’ll likely see your best intentions wither on the vine.

Sharing your own ideas

Sharing your photography passion with your kids can be incredibly rewarding and exciting. Perhaps some of these ideas give you a starting point if you aren’t quite sure how to begin turning the gears. I’m curious to find out what has worked for you and your kids, and I would love to learn from your experiences as well. Share your ideas, tips, and suggestions in the comments below!

The post How to Get Kids Interested in Photography appeared first on Digital Photography School.

Digital Photography School
October 25, 2018
Focus on Autofocus – Achieving Sharp Images Every Time

Focus on autofocus – this article goes out to all my fellow focus-obsessed shooters who strive for consistently tack-sharp images no matter what the scene, subject matter, or lighting situation.

Have you ever walked away from a shoot feeling confident that you nailed every last shot only to discover, upon closer review, that the majority of your captures are slightly or significantly front or rear focused? If so, this article is most definitely for you!

My eyes have been drawn to and compelled by explicitly sharp, detailed, and descriptive imagery since I was a young man pouring over the works of photojournalists such as Gordon Parks, Diane Arbus, Elliot Erwitt, and Eugene Richards to name a few.

These photographers not only captured substantive and spectacular content (moments) but did so with a technical acumen that titillated my visual senses and sent chills down my spine. I wanted to create images just as clean and captivating as those I idolized.

Autofocus in the age of modern digital technology offers quick, responsive subject acquisition and focus, but that technology sometimes yields inconsistent and unreliable results when creating images in chaotic environments or adverse situations—and, surprisingly, sometimes even in ideal situations.

My intention with this article is to discuss autofocus (AF): how it works and the various AF modes and points that are available to help ensure more consistent focus even under the most challenging circumstances.

Autofocus systems are incredibly complex and providing an in-depth explanation of precisely how they work, would take far too long and lead us astray. So here’s a concise breakdown of the two types of passive autofocus modes.

Phase Detection

Phase detection is most common in DSLRs and employs what is known as a beam-splitter. The beam-splitter directs the light (the image) onto two different microsensors, thus creating two separate and identical images. These are aligned (brought into focus) automatically using the camera’s internal software.

If you’ve ever used an older film camera with manual focus lenses, you may recall how the image or scene would appear split in the center of the viewfinder, and focus was achieved by aligning the two misaligned images. Phase detection works this way.

Contrast Detection

Contrast detection is arguably more accurate than phase detection, especially when shooting subjects (portraits) close-up with a wide aperture (i.e., f/1.4–f/2.8). The technology behind it is less cumbersome (lightweight) and less expensive. We see contrast detection AF systems most commonly in smaller and lighter mirrorless cameras.

Phase detection is more robust and more expensive, but it is also more responsive and reliable with subjects that are in motion or moving erratically. The mechanics of contrast detection are much leaner, lightweight and less expensive, but this system is notably slower and less responsive than phase detection.

For this article, I focus (no pun intended) on DSLR systems since they remain—for the time being—the mainstay for fast-action, low-light photography (i.e., photojournalism, sports, wildlife, and wedding photography).

I’ve worked extensively with both Canon and Nikon systems (each has their strengths and weaknesses), but based on my personal experience Nikon prevails when it comes to fast, accurate focus acquisition under adverse low-light situations with subjects in motion.

I shoot mostly using available light, fixed lenses, and wide apertures—typically between f/1.4 and f.2.8. There is no margin for missed shots when it comes to capturing key moments for wedding clients.

I need speed and accuracy and strive for consistency. I need to be able to capture those decisive moments as they unfold, but I also want tack-sharp images. Nothing frustrates me more than capturing great content that is slightly out of focus.

I need my focus to land precisely where I want the viewer’s eye to arrive first. Typically, that focal point is the main subject present in the scene or that subject’s eyes if the image is more portrait-like (rather than a scene with multiple subjects).

The issue of precise and accurate focus becomes even more pronounced and problematic when focusing on subjects close to the lens or when using fast lenses with wide-open apertures. A thorough and comprehensive understanding of your camera’s autofocus modes and AF points prove to be paramount in these cases.

When capturing stationary or slow-moving subjects, I achieve the best results with AF-S. I use the camera’s center focus point, which is considered the most accurate and reliable AF point. I acquire and lock focus with the center AF point then quickly recompose and capture.

Today’s cameras come equipped with many focal points. Depending on which make and model of camera you’re using, you could choose from up to 153 points. AF points typically light up in red or green when the shutter-release button is halfway depressed.

Focusing Modes (for Both Nikon & Canon)

Autofocus Automatic (AF-A) Nikon | AI Focus AF Canon

In Autofocus Automatic (AF-A), the camera analyzes the scene and determines which AF point/s to use. Based on whether or not the subject is moving or stationary, it automatically switches between AF-S and AF-C to achieve focus.

Single Servo AF (AF-S) Nikon | One-shot AF Canon

In Single-Servo AF (AF-S), the selected AF point locks focus on the subject as long as the shutter release button remains partially depressed. Focus lock is typically indicated in the viewfinder by the illumination of a solid circle.

Once focus is acquired and locked, the scene is recomposed without losing focus on the chosen subject/s. This AF mode is ideal for subjects that are stationary.

Continuous Servo AF (AF-C) Nikon | AI Servo AF Canon

In Continuous Servo AF (AF-C) focus, the camera continues to focus (and adjust focus) on the selected AF point up until the moment the shutter is activated. This AF mode is ideal for subjects that are moving.

The AF Area Mode (AF points)

In addition to these focusing modes, Nikon and Canon DSLRs come equipped with numerous AF points and AF area mode options.

Nikon AF Area Modes

Nikon allows you to choose the following AF area mode options:

Single Point – The photographer determines a single AF point manually, and the camera focuses on the subject in the selected AF point, working best with stationary subjects.

Dynamic Area – The photographer determines the AF point manually, as with Single Point AF (above). However, if the subject moves and leaves the selected AF point area, the camera adjusts accordingly based on surrounding AF points and refocuses accordingly. This setting works best with subjects that are moving unpredictably.

Auto – The camera determines which AF point contains the subject and focuses automatically.

3D – The photographer determines the AF point manually. Once the shutter release button is partially depressed, and the camera achieves focus, the photographer recomposes the scene, and the camera automatically shifts to a new AF point to maintain focus for the selected subject.

Canon AF Area Modes

Canon’s AF Area Mode options are very similar to Nikon’s but are predicated more so on groupings of AF points to achieve focus.

AF Point Expansion – This mode allows you to select a primary AF point accompanied by a surrounding 4 or 8 additional AF points for subjects that are moving or don’t offer much contrast for quick focus acquisition.

Zone AF – This provides a cluster of either 9 or 12 moveable AF point groupings to achieve focus on the nearest subject that falls within in the zone you’ve selected.

Auto AF Point Selection – In this mode, all AF points are active and track focus much like Nikon’s 3D AF mode.

If you’re anything like me, options can be exciting but also incredibly overwhelming. When reading camera manuals or highly technical tutorials, I want to ball up in the fetal position and go to my happy place.

So, I urge you to take a deep breath and read on as I speak more prosaically about how to synthesize and integrate this information for the practical application and use in the field.

I’m primarily a portrait and wedding photographer whose obsession with making sharp images has led to a great deal of experimentation throughout my 20-year career. I have worked with every pro DSLR body and lens combination imaginable and what I’m about to tell you isn’t a secret; it’s an affirmation.

Lens Calibration

First, I have achieved my best focus and image sharpness results by using fixed proprietary lenses. Proper lens calibration is also instrumental in achieving optimal results with DSLRs and proprietary lens combinations – both fixed and zooms. Lens calibration is the very first step you must take to achieve consistency and accuracy when it comes to focus.

Nikon offers AF fine-tuning with some of their newer or newly released DSLR pro bodies, and I can’t rave enough about what a valuable tool this is. Canon also allows its shooters to fine-tune and calibrate their pro lenses with their pro bodies, but for right now it remains a manual process.

If you’re interested in learning more about Nikon’s AF fine-tuning, please visit https://fstoppers.com/gear/how-get-most-nikons-auto-af-fine-tune-194063. This video provides a great tutorial that enables you to harness the power of this awesome feature!

Know that no camera body lens combination is ever a perfect match and that all body/lens combinations can benefit from calibrating your lenses. Whether you have a newer Nikon that allows you to calibrate automatically, or you own a Canon system and have to perform lens calibration manually, this is the genesis of consistently tack-sharp imagery.

My experimentation with AF points and AF modes is equally extensive. I have come to find that center point focus, and Single-Servo AF (AF-S) delivers more consistently for stationary or slow-moving objects than any other available combination of AF point and focusing mode.

I prefer to use the AF center point to achieve and lock focus, then recompose my scene for final image capture, rather than using AF points located nearer to the edge of the viewfinder. I haven’t always shot this way but discovered through comparison that this method was quicker and more reliable and that the focus was also far more accurate shot after shot.

Your camera’s AF points and focusing modes rely heavily upon contrasts present in the scene. The AF center point discerns contrast and thus achieves focus faster and more accurately than points closer to the edge of the viewfinder or image. Here contrast, clarity, and brightness get stifled by vignetting and optical aberrations that occur in all lenses—especially toward their edges and corners.

Additionally, the AF center points are cross-type focusing points, which are capable of focusing on lines in two directions, horizontally and vertically.

Focusing on Moving Subjects

When focusing for moving subjects, I have found that using Continuous-Servo AF (AF-C) in combination with Dynamic Area AF mode (Nikon) or Zone AF (Canon) delivers the best, most consistent results even in extreme low-lighting conditions.

Remember, Dynamic and Zone AF modes allow for the selection of AF point groupings ranging from 4-8 point groups to maintain constant focus tracking for subjects in motion.

When I’m a bit further away from subjects that are moving, I find that shooting in Continuous-Servo AF (AF-C) in combination with 3D area AF mode (Nikon) or Auto AF (Canon) produces the most consistent results.

For example, when I’m shooting the bride and groom’s first dance, 3D AF-C is my go-to, as it allows me to tell the camera which subject/s I want in focus and maintain that focus continuously as the subject/s move within the frame or I recompose the scene myself.

More on shooting moving subjects here.

Shooting Portraits

I think the most significant focus challenges come with shooting portraits or close-up details with longer lenses (50mm or greater) at apertures of f/1.2–f/2.8. This is where the pros separate from the amateurs.

Many photographers want to achieve the striking visual effect (bokeh) we see when shooting a subject wide open (f/1.2 – f/2.8) and nailing focus on the eyes. In these instances, there is no margin for error. Sometimes you see just a centimeter of sharpness—and if you miss it, the image is unusable (at least in my opinion). It’s a significant risk with huge rewards.

I’m often asked if there is a trick to nailing eye sharpness in portraits shot at such shallow depths of field. The ‘trick’ is to know how all of your equipment works. Know how each lens works with the body to which it’s paired, and which AF point or focusing mode produces best results when shooting shallow for that particular subject or scene.

For me, the reward is only worth the risk if I possess the technical acumen and confidence to achieve the desired result at least 8 out of 10 times (that’s my standard).

Consider the following: When shooting at 85mm set to f/1.8 with a subject to camera distance of 1 meter, you only have around a 1.3cm depth of field. If you use the center AF point in AF-S to set, lock focus, and recompose before capturing the image, it is highly unlikely your razor thin plane of focus will land where you initially locked focus.

It’s basic trigonometry.

The slight change in camera angle from recomposing (or even breathing), drastically affects (shifts) the plane of focus, resulting in the cheek, nose, ears, or chin (rather than the eyes) being in focus.

So unless you want the subject’s eyes positioned dead-center of the frame in all the portraits you shoot with a shallow aperture, you’ll need a more creative and effective strategy.

In my experience, using Continuous Servo AF (AF-C) and selecting a group of 4 to 6 Dynamic AF points near the eye is the best way to achieve eye sharpness in this precarious scenario.

However, I have found shooting in Continuous Frame or High-Speed mode, and manually making micro adjustments to the focus while the shutter is activated, is the only surefire way you’ll capture at least 1 or 2 frames where eyes are tack-sharp.

Conclusion

Autofocus is a powerful and convenient tool that has helped evolve and elevate photography to heights I would have never imagined 20 years ago.

However, with all things mechanical and humanmade, there exists weakness and limitations. That aside, there are no limitations when we speak of imagination or the creative wills that enable us—and compel us—to push those tools well beyond their limits to achieve optimal and desired results; something only possible when we possess the proper knowledge of how those tools work.

As I stated earlier in this article, Autofocus and AF systems are incredibly complex. It’s a topic of great interest and value to many photographers – from novices to seasoned pros alike.

It’s also a rapidly evolving technology, which means that what we know today may not apply tomorrow. Many variables and factors impact and affect AF accuracy and consistency – it’s a multifarious topic for sure. One article alone could never address all of these facets.

I hope that with this article I’ve been able to break the ice and provide useful information that inspires you to hone your skills further. We as photographers rely upon technology to articulate our vision and voices, so it’s not only crucial but also incumbent upon us to understand the technology – so that we may advance our artistry.

That said, I’m looking forward to writing more articles on this topic and carrying forward this conversation so that we may examine more closely and improve our collective focus.

The post Focus on Autofocus – Achieving Sharp Images Every Time appeared first on Digital Photography School.

Digital Photography School

October 25, 2018
DJI updates geofencing system to better protect airspace around airports

DJI has announced Geospatial Environment Online Version 2.0 (GEO 2.0), a geofencing update for its drones that improves their ability to avoid restricted airspace near airports. The improvements are “based on a more finely-tuned evaluation of risks associated with aircraft approaching and departing different types of airports,” according to Brendan Schulman, DJI VP of Policy & Legal Affairs.

The update will arrive in phases starting in November for airports and airspace in the US. DJI indicates similar upgrades will arrive in other regions, but doesn’t provide a timeline, saying only that they “will follow in due course.”

DJI explains that its new system enables Geospatial Environment Online to create a 3D “bowtie” safety zone around airport runway flight paths; the update also adds complex polygons for placement around non-runway facilities deemed sensitive.

The update also adds restrictions for the final approach corridor of active runways, which are designated as “runaway exclusion zones” by the FAA Reauthorization Act. DJI has dropped AirMap and selected PrecisionHawk as its new North America data provider. The company collaborated with the American Association of Airport Executives (AAAE) and the Aircraft Owners and Pilots Association (AOPA) to get guidance on GEO 2.0 from general aviation pilots and airports.

DJI drone owners will need to update their drone firmware and the DJI GO 4 flight control app to access the changes.

Articles: Digital Photography Review (dpreview.com)

October 24, 2018
Apple to fix ‘beauty filter’ issue with iOS 12.1 update

Apple’s iOS 12.1 software update will fix a bug causing the “beautygate” scandal impacting the iPhone XS and XS Max, according to The Verge. Critics have complained about overly smooth skin in selfies taken with the front-facing camera on the iPhone XS, believing it to be the result of a beauty filter akin to what Samsung uses on some of its phones.

Earlier this month, Sebastiaan de With, developer of iOS camera app Halide, had placed blame for the issue on excessive noise reduction, but The Verge reports that Smart HDR is to blame. The feature may incorrectly choose a base frame captured with a longer shutter speed, using this frame for preserving detail in the selfie.

The lack of optical image stabilization for the front camera may result in a slight blur on the frame that smooths out some details, this producing the “beauty filter” look some users have complained about. According to the report, iOS 12.1, which is currently in beta, will fix Smart HDR so that it chooses a frame captured with a short shutter speed, eliminating the issue.

Articles: Digital Photography Review (dpreview.com)

October 24, 2018
This lens only existed for a minute and was made from a crystal clear iceberg

French photographer and YouTuber Mathieu Stern is known for his look at rare, vintage glass, but his latest lens might just top it all. While on Iceland’s famous “iceberg beach,” Stern fulfilled his dream of shooting photos and videos with a lens made of ice.

“Shooting photos using an ice lens [has been] my dream for almost 2 years. After some research I saw that almost no one ever tried this crazy idea, mainly because it’s hard as hell to find pure ice, and even harder to get a clear image,” says Stern in the video’s description. “So I had the choice to give up on my idea because it was too hard, or to just level up in the craziness […] If it’s hard to find pure ice in my city, maybe I should go where I could find some 10 000 year old pure ice — Iceland’s famous iceberg beach.”

The night before Stern and his friends were supposed to go to the beach, a “huge” storm went through and took all of the icebergs away from shore. So, they waited a few days and eventually went back three days later at 5am in the morning to get a chunk from one of the icebergs that had made its way to shore.

Stern says it took nearly six hours to create a single working ice lens, after four of them had broken inside of the housing. Every iteration, each of which took 45 minutes to make, was done so with the help of a Japanese cocktail ice ball maker, which Stern had hacked to form the piece of iceberg into a half-sphere.

The housing of the lens he created was 3D-printed, which held the continuously-melting piece of ice in place in front of Stern’s camera. As you could imagine, shooting with the lens was less than ideal. The lens lasted only a minute or so after it was completed and trying to focus as it was melting proved to be a challenge.

According to Stern, no cameras were harmed in the making of the video. As to whether or not he was happy with the result, Stern says “This project is a scientific, artistic and poetic project — I never imagined the result would look like the photos that comes from an ultra modern lens, but I was amazed by the strange beauty of the images I made with the first ever 10,000 year old lens.”

You can read Stern’s detailed account on the creation of the lens and see more of his work on his website.

Articles: Digital Photography Review (dpreview.com)

October 24, 2018
How to Use a Black and White Filter to Improve Your Photos
In photography, you’re always looking for that extra percentage improvement in your work. One of the best ways you can quickly get this improvement is by using a black and white filter.

Those interested in black and white photography should know about the various filter options available to them. In this article, you’ll discover how to get more dramatic photos simply by changing the color of light coming into your camera.

So read on and find out which filters those are, and when and where best to use them. Now you’ll know all there is to know about the black and white filter options!

Using yellow, orange or red filters on a partially cloudy day will give you good results.

The Classic Black and White Filter Group

The workhorse filters for black and white photography are undoubtedly the red, orange and yellow filters. These filters can add more punch and drama to your scene, so let’s take a look at what they do and why they’re important.

Yellow Filter

Adding this filter to the front of your lens will add more contrast, which will lead to a more dramatic look. The main way this happens is that the yellow filter will darken the skies while keeping the clouds white. To get the most out of this you’ll need to be photographing on a partially cloudy day. The filter will also add more contrast to the foliage for your nature landscapes. Now, if you’re a cityscape photographer those darker skies will make a skyscraper building jump out of the frame more. This filter will reduce the amount of light coming into the camera, so be aware of this and compensate by increasing the exposure value if needed.

Buildings will stand out more against the sky when you use filters.

Orange Filter

You may have guessed that using orange as opposed to yellow will in effect dial up all of the effects that the yellow filter makes. Whether you want to darken those skies more is an artistic choice, but it’s always worth having an orange filter in the bag to give you that option. This filter further reduces the amount of light coming into the camera by about 1 stop.

Red Filter

Using this black and white filter gives your photo a dark foreboding look, and makes the viewer sense an incoming storm. It does this because the blue skies become black when you use this filter, so the clouds have a lot of mood and drama to them. Whether your an urban or nature photographer, this filter ensures that those particular elements jump out of the frame much more. Again, as you dial up the contrast that a red filter applies, you reduce the amount of light coming into the camera. You’ll lose around 2 stops of light with a red filter on your lens.

The use of a red filter will give a really moody foreboding look. In this photo, you can see Sinabung volcano in the background.

Other Filter Options For Black and White Photography

There are plenty of other filters. Indeed, circular polarizing filters and neutral density filters work just as well for black and white photography. This article looks to concentrate on filters specific to black and white photography. So beyond the prominent red, orange and yellow filters, what else is out there? The answer is more colored filters – green and blue.
- Green filter – Use this filter when photographing foliage, it brightens those areas of the image that contain green.
- Blue filter – This filter works in almost the opposite way of red, orange and yellow filters. It darkens the warm colors and is used to separate images that have a mixture of colors. Another application for this filter is when there is mist or fog. In these scenes, using this filter adds even more mood to your photo.
Street photography is an area that’s popular for black and white photographers.

Using Graduated Filters

The use of graduated filters for landscape photography is still very popular, even with the dawn of post-processing in photography. The aspiration to get the photo right in camera is still very much alive, and it’s great to cut down on extra post-processing if you can. In black and white photography you can use neutral density filters to balance the light out across the frame. There are also sunset filters that can be used to add reds and oranges to the top half of an image. These filters can also be used in black and white photography to selectively add the filter color effect to certain parts of the photo, giving you a little more creative control over your final result.

Screw-on Filters, or a Stacking System?

Filters come in broadly two types; Circular-shaped filters that screw onto the front of your lens and square or rectangular-shaped filters that attach to a bracket. So which system is the best for you? Those looking to use one filter at a time might find the screw-on filters work better. These filters are made of glass and are also more resilient as a result. The stacking option gives you a choice to line up several filters, one in front of the other, and to adjust the horizon line for any graduated filters you may have. So what’s the best system? There are advantages to both, but if pressed, the stacking system is a nice option.

The use of the correct black and white filter can add more mood to a scene.

How About Post-Processing?

These days you can produce an excellent black and white photo through post-processing. There is less need to use filters, and unless you’re using film, the use of physical filters is somewhat redundant. While this is true in some areas of photography, the pervading mantra is it’s better to get your photo right in-camera.

Nik Silver Efex

There is still a place for post-processing though, and one of the best programs out there for this is Nik Silver Efex. This program has a range of filters as well – though not the circular or screw on variety! You can use the program to add either red, orange or yellow to your image. Beyond that are filters like push-process that add contrast and punch to your photo. Finally, you can color cast your photo and add a vignette to it. All the effects you could create in a dark room, are now possible with post-processing.

Of course, you can use programs like Silver Efex to create black and white photos during post-processing.

Try Out a Black and White Filter!

Many people who like photography will no doubt be familiar with these black and white filter options. Which ones do you find the most effective? We’d love to hear your opinions in the comments section.

Those who are new to black and white photography, have you considered using filters? Which are you more likely to use; digital versions or a filter you can attach to your lens? Once again, please share your experience of filters with the community!

Now all that’s left is to go out and make some stunning black and white photos!

The post How to Use a Black and White Filter to Improve Your Photos appeared first on Digital Photography School.

Digital Photography School
October 24, 2018