What photographer hasn’t dreamed of traveling the world, visiting exotic destinations, and capturing inspiring images? Imagine the sights you would see, the stories you would have to tell. But how practical is a career path as a travel photographer? Is there really a need? Can you actually make a living? What do you have to do to break into the Continue Reading
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How to Become a Travel Photographer: Types, Pay, and Skills
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When to Use a High ISO (+ Tips for High-ISO Photography)
The post When to Use a High ISO (+ Tips for High-ISO Photography) appeared first on Digital Photography School. It was authored by James Maher.
Are there times when a high ISO makes sense? When should you consider using a high ISO? And what ISO can modern cameras handle?
In this article, I’ll explain everything you need to know about high ISOs, including:
- Whether high ISOs are ever a good thing (spoiler alert: they are!)
- Tips and tricks for working with high ISOs for great results
- How to determine the maximum acceptable ISO for your camera
- Much, much more!
Let’s get started.
When (if ever) should you use a high ISO?
Raising the ISO is one of the most common photographic fears. Photographers – especially beginners – are afraid to boost the ISO past 400 or so, lest they ruin images with ugly, unwanted noise.
Ten years ago, these fears were justified. Raising your ISO to 1600 or 3200 was a no-go for the majority of cameras.
But no longer. Things are changing. These days, it often makes sense to boost your ISO to get better images. In fact, the improvements in camera technology have been such that you can now comfortably photograph at ISO 1600, 3200, and even 6400 with most DSLRs, Micro Four Thirds cameras, and mirrorless cameras.
Here are three simple situations when shooting with a high ISO makes sense:
1. When you’re photographing indoors or at night
If you take your camera indoors, or you shoot at night, you’ll quickly run into a problem:
Your images will be dark and lacking detail.
In such situations, you have three solutions:
First, you can widen your aperture. Often, this can help (and it’s the reason why many night photographers and event photographers work with an ultra-low f-stop). But it’s rarely enough.
Second, you can drop your shutter speed. But unless your subject is completely still and you’re shooting with a tripod, you’ll end up with lots of blur. Not ideal, right?
Which brings me to the third solution:
You can raise your ISO.
Will it introduce some noise? Yes. But the noise produced by modern cameras at high ISOs just isn’t that bad; as I mentioned above, you can comfortably boost your ISO to ISO 3200 and ISO 6400 without much loss of quality.
And by raising the ISO, you’ll end up with much brighter images, even indoors and even at night.
2. When you’re photographing fast-moving subjects
The faster your subject, the faster the shutter speed required to render it with zero blur.
For instance, if you’re photographing a runner, you might need a shutter speed of 1/500s. If you’re photographing a moving car, 1/1000s might be more appropriate. And if you’re photographing a diving falcon, 1/3200s is a safe bet.
Unfortunately, even in relatively good light, boosting your shutter speed to 1/3200s will result in a too-dark exposure – unless you raise the ISO, that is.
After all, better to end up with a slightly noisy image than a completely blurry one, right?
So don’t be afraid to increase your ISO when faced with a fast-moving subject.
3. When you’re using a long lens
The longer your lens, the easier it is to end up with blur – because subject movement and camera movement are magnified. So with a long lens, you need a fast shutter speed, just the same as if you were shooting a moving subject.
That’s why boosting your ISO is so essential when working with telephoto lenses; it allows you to boost the shutter speed, too, and capture a sharp image.
Sure, when the light is bright, you can keep the ISO at 100 or 200 and end up with sharp, well-exposed images.
But as the light begins to drop, you’ll need to raise your ISO with confidence. That way, you can capture bright and clear photos at 300mm, 400mm, and beyond.
Canon 5D Mark II | 135mm | f/6.3 | ISO 1600 The high ISO allowed for a 1/320s shutter speed; this accounted for both the motion in the scene and for the longer focal length used.
But doesn’t a lower ISO give better image quality?
Well, yes – and no.
Yes, if you are setting up a studio shot and controlling the lighting. Yes, if you are using a tripod, if you are a landscape photographer, or if there is very strong natural light. Yes, if you don’t have to compromise your shutter speed or aperture settings to expose the shot correctly. A photo taken at ISO 100 will always be significantly sharper and cleaner than a photo taken at ISO 1600, assuming the aperture and shutter speed are the same, and you have complete control over the subject and the lighting.
In every other case, however, the answer is no; a lower ISO will not give better image quality.
Raising your ISO will help you capture a higher quality photograph in many situations. Why? Because it lets you use a faster shutter speed and a smaller aperture to get a sharper result. When creating a technically great photograph – one with minimal blur and proper exposure – getting the aperture and shutter speed settings correct is much more important than using a low ISO.
If you want to know how great event photographers consistently create such bright and beautiful images, it’s not only because they use fast lenses and flashes. It’s because they are not afraid to raise the ISO.
Plus, the look of grain at high ISOs in digital cameras has become more pleasing. The newer camera models have not only reduced the strength of grain (noise) at high ISOs, but they have also created noise that looks more artistic.
ISO has now become a luxury instead of an obstacle. We can photograph in dark areas while handholding the camera when we need to.
Cropped version of the above (ISO 1600) shot. Note the minimal, pleasing grain. Tips for working with high ISOs
Now that you know when and why high ISOs are important, let’s take a look at some easy tips for improving your high-ISO images:
1. When shooting at a high ISO, get the exposure right
Here’s the major problem with photographing at a high ISO:
Raising the exposure in post-production will ruin the look of the grain.
Raising the exposure a small amount is usually okay, but if you are photographing with a high ISO, you need to be even more diligent than usual about exposing your images correctly in-camera.
2. Pay attention to color noise versus black and white noise
Fujifilm X100S | f/2 | 1/125s | ISO 6400 You should carefully evaluate how your camera handles the look of noise in your color images. My Fujifilm X100S, for instance, handles color noise exceptionally well. But other cameras don’t do so well with color noise at high ISOs.
In many cases, however, the problem can be solved by converting the photo to black and white.
Take a look at the image above. This was taken a while back with a compact mirrorless camera at the very extreme end of its ISO range, 6400. Yes, there is a lot of grain, but it still looks good. I prefer not to go over 3200 with my Fujifilm X100S whenever possible, but without using ISO 6400, I probably wouldn’t have been able to capture this image.
Cropped version of the woman with a cigarette (above). Very significant grain, but excellent color noise. 3. Test your camera’s ISO to determine acceptable noise levels
While I’ve talked in generalizations up to this point, I do think it’s important to evaluate the ISO capabilities of cameras you own (or cameras you’re thinking of purchasing). You should determine their ISO range, as well as the quantity and quality of noise at different ISOs.
If you’re considering particular cameras but can’t get your hands on a copy to test, there are plenty of in-depth reviews, both on this site and elsewhere. Nearly all of these reviews will discuss high-ISO capabilities, and they’ll often provide sample images.
Of course, if you own the camera already, test it out yourself. Make sure you are using a fast shutter speed and an aperture of somewhere between f/8 and f/16; that way, each image you take is guaranteed to be sharp.
Focus your lens on a nearby object, then take a series of shots, going from ISO 100 all the way to your camera’s maximum ISO.
Then pull up the images on your computer and zoom into 100% (both in black and white and in color). And decide which ISOs you’re pleased with, and which ISOs you just can’t handle.
If you have a photo printer, I highly suggest printing out your test images to see how the grain looks in real life and to see the differences between images.
It is also important to remember:
If you are regularly printing at smaller sizes, such as 5×7 or 8×10, then you will likely not notice a significant difference between ISO 200 and ISO 1600. But if you prefer to print at larger sizes, such as 20×30, then there will be a noticeable difference. So test it out.
Here are a few examples of noise levels at different ISOs on my old Canon 5D Mark II and Fujifilm X100S:
Canon 5D Mark II | 28mm | f/9 | 1/500s | ISO 800 
Cropped version of the above shot. Insignificant grain at ISO 800. 
Fujifilm X100S | f/9 | 1/250s | ISO 1600 
Cropped version of the above photo. Note the insignificant and pleasing noise. Noise can be beautiful!
Now that you’ve finished this article, you know why high ISOs can be useful. And you know when you should consider working at a high ISO.
So don’t be scared. Embrace the noise/grain and create some stunning photos!
Now over to you:
What ISO do you generally shoot at? And how high do you go? Share your thoughts in the comments below!
The post When to Use a High ISO (+ Tips for High-ISO Photography) appeared first on Digital Photography School. It was authored by James Maher.
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The RUHAcam is a ‘retro-style’ digital camera made with the Raspberry Pi HQ Camera module
When Raspberry Pi announced its 12.3MP High Quality Camera module in April 2020, it opened up a whole new world of photo-centric DIY projects. One such project that’s come as a result of its release is the RUHAcam, a ‘retro-style’ digital camera made from scratch by Ping-Hsun ‘penk’ Chen and Ruha Cheng.
The RUHAcam is built around a Raspberry Pi Zero W connected to a Raspberry Pi High Quality Camera module, which accepts C and CS mount lenses. Other features include a built-in 2,000mAg Li-Pi battery, a 2.2” TFT display that serves as the viewfinder and a 3D-printed case clearly inspired by SLR cameras from the past. The camera is still a work in progress, but is fully functional and captures rather impressive images when used with the 16mm lens ‘penk’ and Cheng attached to it for the following sample photos:
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In addition to sharing detailed instructions on how to make your own RUHAcam at home, ‘penk’ and Cheng published the 3D design components and software required to run the camera for free under MIT license. This means you’re free to build an exact replica of the RUHAcam or use it as a base to make your own DIY digital camera.
In speaking with DPReview, ‘penk’ said the duo ‘plan to improve more on the software side, to add controls to the UI using Pi’s libcamera stack, and to leverage Raspberry Pi more as a server to easily share captured images with smartphones.’ You can find all of the instructions and materials needed to make your own on the RUHAcam GitHub Page.
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35mm Street Photography Pros and Cons (+ Tips)
The post 35mm Street Photography Pros and Cons (+ Tips) appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
With a 35mm prime lens on a full-frame camera, you’ll capture a field of view a little broader than what you see. This is what makes 35mm street photography so attractive.
Street photography is most impactful when it is realistic – but with a twist. That twist is the photographer’s creative influence. Rather than relying on tricky post-processing, extra long or wide lenses, or any other gear to make an image stand out, a good street photographer will aim to capture life on the highways and byways as they experience it.
In this article, I’ll take a look at some of the pros and cons of 35mm street photography and offer some easy-to-follow tips!
Nikon D800 | 35mm | f/5.6 | 1/400s | ISO 200
© Kevin Landwer-Johan5 reasons to use a 35mm lens for street photography
Wondering whether a 35mm lens will work for your street shooting? In this section, I share five reasons to love the 35mm focal length, starting with:
1. It’s how we naturally see (almost)
A 35mm lens on a full-frame camera provides a field of view a little wider than the field of view offered by our eyes. So it takes photos with a natural look.
With wider lenses or longer lenses, distortion can creep into your compositions. Wider lenses tend to distance elements in a composition. Longer lenses have the effect of compressing whatever appears in the frame.
2. A 35mm lens is wide, but not too wide
For street photography, a 35mm lens is wide, but not too wide. It allows you to back away and capture a broader perspective. Generally, it does not introduce distortion.
The very popular 50mm prime can be too tight for a lot of street photography. It narrows your field of view, which can make it harder to capture the full scene.
My first camera, a Nikkormat FTN, came with a 50mm f/1.4 lens. It was a great lens, and I continued using it for 27 years until it would not focus anymore. Then I replaced it with a 35mm f/1.4. I loved the f/1.4 feature on my 50mm, but it never gave me a wide-enough perspective.
Nikon D800 | 35mm | f/5.6 | 1/640s | ISO 200
© Kevin Landwer-Johan3. 35mm lenses are often physically compact
A 35mm prime can be a relatively small, compact lens. My 35mm f/1.4 is not so small, but it’s also not too big compared to many popular zoom lenses.
And using a less obvious camera and lens for street photography can often help. You and the people you’re photographing can feel more confident because bigger gear can be intimidating. For instance, you may not feel so comfortable with a full-frame body and a 24-70mm f/2.8 zoom lens.
With mirrorless cameras and pancake lenses, you have an even greater advantage. The gear is so much smaller and less conspicuous!
4. You have to “zoom with your feet”
Photographers who love their zoom lenses can scoff at the notion of having to zoom with your feet. But being forced to move often helps me see my subject in more creative ways than if my feet were to remain in one place. This is another positive aspect of using a 35mm prime lens for street photography.
When you have to move, you’ll see the world from different points of view. This will show you more angles, and you’ll see how the light plays differently off your subject depending on your position.
Nikon D800 | 35mm | f/4 | 1/1600s | ISO 200
© Kevin Landwer-Johan5. You can get gorgeous results at f/1.4
Did I already mention that I love my 35mm f/1.4? Using the widest aperture setting for street photography is not always practical. Focusing is more challenging. But when you want the loveliness of a very shallow depth of field, an f/1.4 lens is perfect.
Many street photographers prefer to work with a narrower aperture setting. I often do. But when I want that background blur, I open up my aperture and maybe get in a little closer.
Nikon D800 | 35mm | f/1.4 | 1/60s | ISO 1000
© Kevin Landwer-Johan5 reasons to avoid a 35mm lens for street photography
While 35mm lenses are great, there are some important drawbacks worth considering. For instance:
1. They’re too standard
As I pointed out earlier, a 35mm lens on a full-frame camera produces a very natural field of view.
But this may not be to your liking.
A wider lens will capture more of a scene. When you can’t back up any farther, it becomes necessary to attach a wider lens to your camera. And a longer lens will get you closer to the action (it may keep you safer, too).
2. You can’t zoom with a prime
Zooming in or out is often the quickest and easiest way to recompose a photo. With a prime 35mm lens, recomposing takes longer because you have to physically move.
A zoom lens is sometimes much more convenient because it lets you stay where you are and keep taking photos.
Nikon D800 | 35mm | f/1.4 | 1/400s | ISO 100
© Kevin Landwer-Johan3. You can’t always get what you want
With a 35mm prime lens, you can’t always capture those perfect street photography moments. You may find yourself needing a longer lens to get you closer to the action or to remain inconspicuous.
4. The focal length is long on an APS-C camera
A 35mm lens on a crop-sensor camera is about 50mm. This is restrictive and not so flexible to work with – it’s often just too tight for street scenes.
5. f/1.4 is expensive
A 35mm f/1.4 lens is a serious commitment; it is not cheap.
When I needed to upgrade from my 50mm lens, the price difference between replacing it with another 50mm or buying the 35mm was significant. In the end, though, the 35mm f/1.4 was well worth the investment.
Nikon D800 | 35mm | f/2.5 | 1/20s | ISO 200
© Kevin Landwer-JohanTips for using a 35mm lens for street photography
Now that you’re familiar with the pros and cons of 35mm street photography, it’s time for some quick-and-easy street photography tips!
1. Know your lens characteristics well
If you work with a lens long enough, you’ll get used to its characteristics. You’ll become intimately familiar with its capabilities.
You’ll get to know intuitively how much depth of field you’ll have in a scene, given your f-stop and distance from the subject. This is a great advantage when capturing images that require a deep depth of field and you need to work quickly.
Nikon D800 | 35mm | f/2 | 1/320s | ISO 400
© Kevin Landwer-Johan2. Get in close
Don’t be shy about getting close to your subject when using a 35mm lens for street photography. With a 35mm lens, street photography can be more personal. Getting in close allows you to produce photos with a greater sense of intimacy.
Here’s a fun little exercise to try:
Photograph the same scene with a 35mm lens and a 200mm lens. The photos taken with the 35mm lens will have a different, more intimate feel – simply because you’re closer to your subject when you hit the shutter button.
Nikon D800 | 35mm | f/1.4 | 1/100s | ISO 100
© Kevin Landwer-Johan3. Make street portraits that connect
A 35mm lens helps you truly connect with your subjects. You can be close enough to have a natural conversation. If you are farther back with a long lens on your camera, you will not be conversing from a position that you’d naturally have a conversation in.
Also, a 35mm lens is lovely for street portraits and is not so wide that it produces distortion on your subject’s face.
Nikon D800 | 35mm | f/5.6 | 1/160s | ISO 400
© Kevin Landwer-Johan35mm street photography: conclusion
Whatever style of street photography you love, if you haven’t yet tried a 35mm lens, I highly recommend it.
Even if you often work with a standard zoom, I suggest you go out a few times, set your zoom to 35mm, and don’t change it. You may even learn to appreciate this restriction.
35mm street photography may not suit everyone’s style, but I certainly love it.
Now over to you:
What’s your favorite street photography focal length? Do you use a 35mm lens for street shooting? Share your thoughts in the comments below!
The post 35mm Street Photography Pros and Cons (+ Tips) appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
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Incredible video showcases world’s first 8K VR drone footage of Iceland’s Mt. Fagradalsfjall volcano
Incredible new footage, captured with an 8K Insta360 Pro 2 mounted to the bottom of a DJI drone, shows the Mt. Fagradalsfjall volcano in Geldingadalur, Iceland as it continues to erupt. The immersive visuals were captured by Ragnar Th. Sigurðsson, founder of Arctic Images, and drone pilot Arnar Þór Þórsson in collaboration with Perlan Museum, ‘which hosts a state-of-the-art 8K planetarium and other exhibitions on Iceland’s geographic wonders.’
The Mt. Fagradalsfjall volcano erupted for the first time in roughly 800 years back on March 19, 2021. Since then, it’s been spewing lava from its fissures, making for incredible visuals that have brought photographers from around the world to see the geological phenomenon. We’ve already seen a number of incredible videos captured with drones flying over the active volcano, but none of which allow you to control what you’re seeing. Until now, that is.
While YouTube limits playback to 4K, the footage was recorded in 8K using an Insta360 Pro 2 attached to the bottom of a DJI Matrice 600 drone. According to Insta360’s blog post detailing the creation of this video, the drone and camera flew over lava that reached reached temperatures as high as 1240°C degrees (2264°F). Despite the intense heat, which we’ve already seen is capable of melting drones, both the Insta360 Pro 2 and DJI Matrice 600 survived the flight.
For the best viewing experience, make sure you’re using a browser that supports YouTube’s VR content and have plenty of bandwidth to stream the video at full resolution. Another option, if you have one on hand, is to use a VR headset to really immerse yourself in the footage.
Image credit: Photos provided by Insta360
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10 Essential Pieces of Landscape Photography Gear
The post 10 Essential Pieces of Landscape Photography Gear appeared first on Digital Photography School. It was authored by Jeb Buchman.
What’s the best landscape photography gear? What gear do you need to take stunning landscape photos?
In this article, I share with you my 10 most essential gear items – items that I use all the time in my own landscape photography, and items that I highly recommend you purchase if you’re after the best landscape shots.
So read through this list. And ask yourself, “What am I missing?”
Then, if you can, take a trip to the (online) camera store!
Let’s get started.
1. The internet
Whenever I plan a landscape photography photoshoot, I usually begin by googling the area. If it’s a relatively well-known location, you will probably find some very interesting, comprehensive websites made by other photographers or adventurers/bloggers.
The problem is that if it’s a famous location, you will also get a ton of not-so-interesting (and even incorrect) information, as well. Going through Google results to separate the helpful and high-quality blogs or websites from the crummy ones is an art form. But with a little practice, reading a few sentences of a blog will clue you in as to whether or not the information you’ve found is worth considering.
If you can’t find two or three really good blogs about your location, head over to AllTrails. It has a sizeable database of locations that have been hiked, including user reviews of the location and the level of difficulty. If you’re planning to photograph a famous site, Tripadvisor has a good database of information, including nearby places to stay.
With blogs, AllTrails, and/or Tripadvisor, you’ll be off and running (probably with more information than you need). In most cases, the tricky part is searching through everything you find and turning it into an overall plan of action.
2. A strong backpack
When it comes to landscape photography gear, a backpack is absolutely essential – and it’s not a good place to go cheap. You get what you pay for, and it’s very important you use a strong, water-resistant bag, one with reinforced padding.
Do yourself a favor and invest in a high-quality bag, like the Lowepro Pro Trekker. It will take care of your camera and lenses, and it will last you many years.
3. A weather-sealed camera
Eventually, you’re going to drop a camera. It happens to the best of us (at least, that’s what everyone told me the first time I dropped a camera!), especially those of us who shoot in less-than-perfect weather conditions.
So make sure you purchase a camera made from durable materials – go for a metal alloy body instead of a plasticky, entry-level camera. My first full-frame DSLR was the Nikon D700, and that camera could survive being run over by a small truck. A perfect companion for the clumsy beginner that I was back then.
Also consider investing in a quality raincoat for your lens/camera. I don’t recommend getting one of the cheap, flimsy, clear plastic covers made from recycled sandwich bags; they will tear easily and won’t stay put in windy conditions. Instead, get a cover that is heavy duty because one good coat will last a long time, and they aren’t too pricey.
4. A sturdy tripod
A tripod is an item you don’t want to mess around with. In fact, this is the one item more than any other that I would recommend you consider really splurging on.
Why? A tripod is designed to keep your camera steady, to handle poor footing out in the muddy, rocky, sandy wilderness, and to protect your camera setup from sudden falls. This requires ultra-solid construction – which doesn’t come cheap.
Plus, a flimsy tripod could end up costing you a chunk of cash in repair bills. It only takes one good gust of wind to knock over an unstable tripod. If you buy a nice camera and lens but mount it on an entry-level tripod, it’s like putting old, worn tires on a Ferrari. The car won’t run properly, and it’s dangerous for the rest of the setup.
A good tripod will outlive the rest of your kit, so it’s rare you’ll need to invest in more than one over the course of many years. Spending a few extra bucks goes a long way toward having a more stable, secure setup.
To find an excellent tripod, check out Really Right Stuff, Manfrotto, Gitzo, and Feisol. In my opinion, you should strongly consider carbon fiber tripods over aluminum; they’re lightweight, and they’re also ridiculously strong.
5. Lenses
Lenses are where the fun begins and your wallet ends.
See, lenses are the single most important piece of landscape photography equipment you can buy. You can have the finest camera, tripod, backpack, memory cards, and accessories available – but if you don’t have quality glass, you’ll seriously struggle to take a great photograph.
I typically prefer to shoot with prime lenses as opposed to zoom lenses. Why? Because I want to get as intimate with the scene as possible. With zoom lenses, I tend to get a bit lazy and shoot without adequately working the scene. There is no substitute for moving your feet and seeing the composition with your own eyes rather than through the viewfinder. This special perspective is lost if you zoom instead of walking around and considering the scene.
That said, lens choice is pretty subjective. I know plenty of photographers who prefer using zoom lenses; that’s great, and most of the time, the best gear for you is the gear you’re most comfortable with.
But here’s my suggestion: Before buying any lens, prime or zoom, rent it first. Because you can’t know how the lens will work for you until you use it in various situations.
6. A reliable remote trigger or shutter release
Remote triggers are often overlooked by landscape photographers. But I firmly believe that a remote trigger makes a big difference.
Without a remote, you have to physically press the shutter button on top of the camera, and no matter how careful you are, and no matter how securely fastened the camera is to the tripod, this will introduce some shake.
So if you want a tack-sharp image, don’t let anything touch the camera. Get your setup as steady as a concrete slab.
Instead of pressing the shutter button with your finger, invest in a reliable remote shutter release. They aren’t expensive, and they can go a long way toward keeping your photos sharp.
7. Filters
In landscape photography, some filters are almost as essential as good lenses. I’ll keep it brief here and stick with just a few basic filters I always travel with.
A circular polarizer
A polarizing filter helps mitigate the nasty, harsh reflections of the sun off shiny objects such as water and wet rocks. Using a circular polarizer is easy; you simply turn the filter until you see the glare disappear.
A polarizer will also help darken the sky and make it a deeper, richer blue. Some people like that look, and some don’t. I use a polarizer practically all the time when shooting in daylight.
A neutral density filter
An ND filter basically acts as sunglasses for your lens: it blocks some light from reaching the camera’s sensor, thereby slowing down the exposure.
For example, a 3-stop ND filter allows through three stops less light than you’d get without the filter attached. A 5-stop ND filter will allow five stops less light, and so on.
For the serious landscape photographer, I’d recommend carrying a 2-stop, 3-stop, and 10-stop ND filter. If you want to do some long exposure waterscape work, the 10-stop filter will help make the water silky smooth. You can also stretch out clouds or turn people into invisible ghosts with ND filters.
A graduated neutral density filter
GND filters are similar to ND filters, but only the upper portion of the filter is darkened. And the darkening effect is gradual, starting strong at the top and getting darker as you move toward the middle:
When would you need a GND filter?
Generally, in sunrise and sunset situations when the sky is brighter than your foreground. You can use a graduated neutral density filter to darken the horizon while keeping the foreground nice and bright.
In other words, a GND filter balances the light from the brighter horizon and the darker foreground.
A reverse graduated neutral density filter
A reverse GND filter is like a standard GND, except the tint gets darker as you move from the outer edge of the glass toward the middle.
When would you use a reverse GND filter? They’re great for shooting sunrises and sunsets where the horizon line is the brightest area of the frame and the sky gets progressively darker as you move upward.
A UV or clear filter
I want to do everything I can to protect my lenses from wear and tear.
So I always have a clear or UV filter on the front of every lens I own.
This does nothing to help improve the photograph, but it does a great job protecting the front lens element from dirt and dust, or from me walking into a door lens-first, which has happened more times than I prefer to admit.
8. Extra batteries and memory cards
Always, without exception, carry an extra battery for your camera, an extra memory card, and extra batteries for other battery-powered devices.
If you’re bringing along a flash that takes four batteries, take an extra set of four with you. Chances are you won’t need them – but there will always be the one time when you do want them and wish you had thought to pack them.
9. The Photographer’s Ephemeris
The Photographer’s Ephemeris is a clever app that accurately details when and where the sun and moon will rise and set.
If you’re out chasing sunsets and sunrises for photographs, this app is a must-have.
10. A good pair of shoes
No joke. For landscape photographers, having a comfortable pair of shoes is like having good vision. If your feet aren’t comfy, then nothing else matters; you will not be as good a photographer as you would be with comfy feet.
This especially holds true on longer hikes, so invest in a good pair of hiking boots. Make sure the boots strike a balance between breathing well and offering some water resistance.
Essential landscape photography gear: conclusion
Now that you’ve finished this article, you know all about the best landscape photography gear – and you’re hopefully ready to take a few stunning landscape photos of your own!
So buy the gear you need. Then get out, have fun, and start shooting!
What do you view as essential landscape photography gear? What gear do you always take with you when shooting landscapes? Share your thoughts in the comments below!
The post 10 Essential Pieces of Landscape Photography Gear appeared first on Digital Photography School. It was authored by Jeb Buchman.
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Here’s How to Shoot in Harsh Light [Video]
The post Here’s How to Shoot in Harsh Light [Video] appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
It’s a tip often given to beginners:
Only photograph when the light is soft and beautiful.
But what if you can’t find the time to get out during the soft light, and you still want to take photos? Or what if you’re in a jaw-dropping, once-in-a-lifetime location and the light is just too bright? What then?
That’s when it pays to know how to create stunning shots in harsh light.
In this video, professional photographer Nigel Danson explains how to capture gorgeous images even in the worst lighting situations. Danson’s discussion centers around landscape photography, but the tips apply to many photographic genres.
To discover how to create beautiful images in harsh light, check out the video below. And then leave a comment with your favorite tip, trick, or piece of advice for harsh light photography!
The post Here’s How to Shoot in Harsh Light [Video] appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
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Weekly Photo Challenge – Leaves
The post Weekly Photo Challenge – Leaves appeared first on Digital Photography School. It was authored by Sime.
Lots of you got involved in last week’s challenge ‘phones’ well done! This week we want you back on your actual cameras and we want you turning your attention to the trees, but more specifically their leaves! Lots of detail to be found in leaves, interesting patterns, shadows, reflections, mottled sun shining through, etc.
Make sure you read to the end of this post, there’s a little bonus in there for you**
Share your photographs of leaves – make sure it’s a NEW photo for this challenge! You have to take your camera and go take a NEW photo for this one, no photos from your previously shot leaves folder, got it!
Tag your photos with #dPSLeaves and make sure you tag us on social media.
This leaf was on its plant on a rocky bridge in Scotland, they were in shadow and this one was sitting out in the sun. 
During Covid lockdown here in Melbourne, I’d go walking each day with my kids, challenge myself to find a new leaf. 
Sun burning through a tree on a cold day here in Melbourne, over-exposed to kill detail and give it a ghostly look. Well, you get the idea, we want to see you be creative with leaves! Simple really… Take a simple, easy to find subject and try to make it stand out through working on your skill and trial & error! Mostly we’re shooting digital I guess, so it doesn’t really cost much to try, try and try again!
**Here’s that little bonus I was talking about, we want to hear YOUR weekly challenge theme ideas – make sure when you post your photo below that you let us know your theme that you’d like everyone to try! We’ll feature your photo for that challenge.
If you get stuck for ideas, jump into the Facebook group and see what others are doing!
How do I upload my photo to the comments?
Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them.
The post Weekly Photo Challenge – Leaves appeared first on Digital Photography School. It was authored by Sime.
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11 Tips for Photographing High School Senior Portraits
The post 11 Tips for Photographing High School Senior Portraits appeared first on Digital Photography School. It was authored by Guest Contributor.
Looking for some senior portrait tips to take your photos to the next level?
In this article, I’m going to give you plenty of helpful tricks, techniques, and advice – so you can capture stunning portraits, consistently. Specifically, I’ll share:
- A handy trick that guarantees you never run out of poses
- A few easy ways to get seniors feeling comfortable in front of the camera
- A step-by-step process for generating plenty of satisfaction and free advertising after your session
- Much, much more!
Sound good? Let’s get started.
What to do before the senior portrait session
When it comes to planning for sessions, seniors are some of my favorite people to work with. Don’t get me wrong, I love families, children, engaged couples, and wedding ceremonies, but seniors are close to the top of my list.
Why, you may ask? It’s simple: seniors are excited to model, seniors are some of my best marketing tools, and seniors know what they want. They also have a great sense of style, which translates well in their photographs.
When a high school senior books a session with me, I get started immediately. I don’t wait for the actual photoshoot; instead, I take several steps right away to let my client know I am excited about working with them. I have found that if you do these things, your session will not only run smoothly, but you will have a client who loves to refer you to their friends.
So here are the key items to do prior to the photoshoot:
1. Communicate your excitement
First things first, before doing anything else:
Let the senior know how excited you are about working with them. Since seniors are all about social media, I send out a tweet explaining how excited I am to work with them and to plan their session – and I make sure to do this within a few days of the booking.
2. Really get to know your client
After sending out the tweet (above), I give the senior a tailored questionnaire so I can get to know them better.
Some of the questions found in the questionnaire include:
- What are some of your favorite features about yourself?
- What do you want to remember most about this time in your life?
- Are there any specific locations you have in mind for your shoot?
- How would you spend your ideal Saturday?
- How would you describe your personal style?
This helps me tailor the photoshoot to their personality, interests, and needs.
3. Give clothing suggestions on a Pinterest board
Even though seniors are on top of the latest styles, they often need help deciding what to wear to their session.
So a week before the session, I send them a link to a Pinterest board – one that’s full of clothing and prop examples. This gives the senior specific ideas of what to bring. It helps your client, and it also helps you achieve the look you want in your own portfolio.
What to do during the senior portrait session
In this section, I explain my session workflow – what I do to make the hours I have with my senior memorable and stress-free (and fun!).
You can have a great experience by following these tips:
1. Have a real conversation
Many seniors don’t feel totally comfortable in front of the camera. So to break the ice, talk to them, ask them questions, and find out what their plans for the future are.
Seniors are at an awesome stage in their lives; they have their whole future ahead of them. So encourage them and invest in them when you have the chance.
They will feel appreciated, valued, and confident after hearing reassuring words from an adult who isn’t their parent.
2. Praise your client (and show them photos)
Most seniors have never been in front of a professional photographer other than for the cheesy pictures their parents had them take when they were younger. So make them feel comfortable.
Praise them when they look good in front of the camera. I love to turn my camera around and show them some little peeks of how well they are doing. They love this! It will encourage them to keep up the good work, and it will give them confidence in their appearance.
3. Keep plenty of posing examples on hand
You may have some go-to poses you use for your seniors. But since each person is different, you need to have several tricks up your sleeve.
Enter the smartphone.
Before your session, simply browse the web and take screenshots of poses you like.
Then, when you hit a rut during your senior portrait shoot, just whip out your phone and look at your saved poses.
It might feel like cheating at first, but seniors love this approach. They think it’s so cool that you’re invested enough that you planned for their poses. It makes them feel valued.
4. Make sure to bring props
I love to bring small props for my seniors to hold or sit on during the photoshoot. This could be an old folding chair, a cute beach hat, an old quilt, or even some books.
Props are a great way to spice up your senior portraits. Plus, some people feel really awkward in front of the camera at first, so little props will give them something to do with their hands while they adjust to your presence.
What to do after the senior portrait session
After a session, you can keep your clients excited, satisfied, and ready to recommend your services with these senior portrait tips:
1. Post a teaser
The day after a senior portrait session, I post a “teaser” or “sneak peek” photo from their session on Facebook.
Your senior will share that teaser with all of their friends through social media, which means more publicity for you and your business. (That’s another reason why I love seniors!)
2. Send out a handful of photos in advance
The following week, after I have edited all of the images, I will send ten files to them through PASS.
The senior will also share these images through Facebook, and it will help them understand why they should purchase a disc with all of their high-resolution images.
3. Give the senior a great gift bag
As soon as I have all of the images edited, I will order a custom book and send it to the senior – along with a really appealing package.
The package includes a handwritten note, business cards, and other little goodies. My seniors always love how personal I make the gift bag for each of them (another great reason to send them a questionnaire and to get to know them well during the session).
4. Post on your blog
After you’ve delivered all the final images, blog about the session, including images you didn’t include in the original ten.
This blog post will also be shared on social media with their friends and family (more free advertising!).
Bonus tip: Edit for longevity
When post-processing senior photos, always remember that you are photographing for the parents as much as you are photographing for the senior client. I keep “fad” type editing out of the equation because I know ten years from now the parents will want a solid (i.e., not overly processed) image on the wall.
Instead of using “fad” editing techniques, I always let style come from the locations I choose. You can do this by choosing old brick buildings, abandoned farmhouses, fields of cotton, etc. The seniors love this, and their parents will appreciate the timelessness of the photographs they receive.
Senior portrait tips: final words
It is not hard to rock a session with your seniors. It just takes some extra things to go above and beyond – so the seniors know you appreciate them.
All of these extra things will make your client feel special and will translate into those coveted word-of-mouth referrals for you!
Now over to you:
Which of these senior portrait tips do you like most? Which will you try the next time you’re doing senior portraits? Share your thoughts (and photos) in the comments below!
This post was written by guest contributor Meghan Newsom. Meghan is a lifestyle and wedding photographer located in northern Alabama. When she’s not writing for her lifestyle blog, cooking up gluten-free recipes, or taking pictures, you can find her exploring outside with her husband and pup.
The post 11 Tips for Photographing High School Senior Portraits appeared first on Digital Photography School. It was authored by Guest Contributor.
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Sigma Announces the “Reborn” 35mm f/1.4 Art for E-Mount and L-Mount
The post Sigma Announces the “Reborn” 35mm f/1.4 Art for E-Mount and L-Mount appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Earlier this week, Sigma announced its latest lens, the 35mm f/1.4 DG DN Art for L-mount and Sony E-mount cameras.
It’s a redesign of Sigma’s popular 35mm f/1.4 DG HSM Art lens, but “reborn for mirrorless and empowered through Sigma’s [latest] technology.” Specifically, you can expect superior optical performance compared to the original 35mm f/1.4, especially in terms of bokeh quality and aberration reduction; Sigma also promises “fast and quiet AF,” plus “a professional feature-set” packed into “a compact body.”
I’m a fan of the Sigma Art line, but I’ve been frequently frustrated by the size and heft of the lenses. Fortunately, the 35mm f/1.4 addresses these problems. Sigma rates it as “significantly smaller and lighter than the existing 35mm f/1.4,” and while I wouldn’t go that far (it’s about 0.6 in/15 mm shorter and 0.7 oz/20 g lighter), the lens should balance better on Sony mirrorless cameras – especially Sony APS-C models – than its predecessor.
Above, I mentioned the improved optical performance on the new 35mm f/1.4. Sigma’s anti-flare and anti-ghosting technology, as well as low dispersion elements designed to combat aberrations, guarantees superb clarity even in tricky shooting conditions. And you can expect improvement to the (already impressive) bokeh, thanks to the 11 aperture blades, compared to 9 on the previous version.
Interestingly, Sigma has added an aperture ring to the redesigned 35mm. You have the option to adjust the aperture via the camera dials, but for those who prefer a more tactile shooting experience, manual aperture selection is always an option. The lens is also dustproof and splashproof, so the 35mm f/1.4 can be used successfully for outdoor event photography, street photography, and even landscape work. And while I haven’t had the opportunity to hold the 35mm f/1.4 in my hands, I’m confident that it, like all of Sigma’s Art lenses, can take a significant beating.
The Sigma 35mm f/1.4 DG DN Art should appeal to plenty of photographers, especially portrait shooters in need of stunning background bokeh in a portable (and inexpensive) package, street photographers after a wider focal length, and event photographers looking for stunning optics and a fast maximum aperture. But I can also see the 35mm f/1.4 working as a travel lens, an architectural lens, and even a landscape lens.
The brand-new Sigma 35mm f/1.4 DG DN Art is currently available for preorder, and you can grab it for just $ 899 USD. Expect the lens to start shipping in May.
Now over to you:
Are you impressed by the Sigma 35mm f/1.4? What do you think of it? Have you used the older version, and how do you think the new version will measure up? Share your thoughts in the comments below!
The post Sigma Announces the “Reborn” 35mm f/1.4 Art for E-Mount and L-Mount appeared first on Digital Photography School. It was authored by Jaymes Dempsey.