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5 Reasons to Use Prime Lenses For Better Photos

08 Nov

The difference between prime lenses and zoom lenses can often be a source of confusion for photographers who are picking up a camera for the first time.

I remember when I first started with photography, wondering why someone would choose a lens with a fixed focal length over one with a whole range of focal lengths built into one.

Surely that would mean creating more work for yourself?!

Fast forward a few years, and I’d stepped into the world of wedding photography with my chunky DSLR and equally chunky 24-70mm zoom lens. Shooting an entire wedding with just that one lens was a piece of cake – I could go from wide-angle shots of the church to a tight, flattering portrait shot with just a twist of the zoom ring.

I’d found the perfect tool for the job… but I had to admit – it wasn’t enjoyable.

Then I started reading more about prime lenses and their various advantages. The only compromise was that I’d have walk closer to my subject, rather than just zooming in with my lens. I looked down and remembered I had two good legs, so I decided to take up the challenge!

I’m not going to tell you that prime lenses are better than zoom lenses, as they aren’t. Neither one is better than the other – it just depends on your needs.

What I’d like to do with this article is to explain why I believe that using prime lenses has helped me to produce better photos. I hope that it gives you some perspective on why you may want to choose a prime lens over a zoom lens too.

1. Composition

5 Reasons to Use Prime Lenses For Better Photos 1

I’m not saying I couldn’t have composed this photo with a zoom lens, but using a lens with a fixed focal length helped me pre-visualise the shot before I took it, making the whole process much faster.

Some might think that being able to change your composition with a zoom lens without even moving your feet would be an advantage.

However, I found it confusing to have an entire range of focal lengths literally at my fingers, and wouldn’t know where to stand before I lifted the lens to my eye. After all, a quick swivel of the barrel would ‘correct’ any distance issues, so standing in just the right spot seemed less critical.

Prepare to spit out your coffee at your screen with my next statement: Zooms can make you a bit lazy with your compositions.

However, using a prime lens encourages you to envisage the composition by the constraints of your focal length. You get set in place to take the shot even before holding the camera to your eye.

The more you get used to using just one focal length, the quicker you’ll be able to visualize your final shot by looking at the scene (with your eyes, sans camera!). In my opinion, zoom lenses with their myriad focal length options don’t encourage you to develop this skill as much.

2. Light

5 Reasons to Use Prime Lenses For Better Photos 2

In the last light of the day, capturing this image without a fast prime lens (shot at f/1.4) could have proven difficult.

Prime lenses, in general, have wider maximum apertures than zooms. More light is let in when the shutter opens, meaning you’ll be able to get the exposure you need in a low light situation without having to increase your ISO or lower your shutter speed.

Being able to shoot with a lower ISO means clearer images. And being able to use a faster shutter speed will help to improve the sharpness of your shot.

If you’ve ever wondered why those indoor shots of your kids taken with your kit lens (I’m guessing it’s a f/3.5-5.6 zoom, or similar) are slightly blurry, there’s a good chance it’s because your lens isn’t letting in enough light. Your camera is slowing down the shutter speed a bit too much to compensate.

By investing in a f/1.8 prime lens, for example, you give your camera more of a fighting chance. You allow it to take advantage of higher shutter speeds to produce sharper images.

3. Depth of Field

5 Reasons to Use Prime Lenses For Better Photos 3

By shooting wide open (f/1.4), brings the viewer’s attention to the bride’s face, despite its unusual positioning in the frame.

Now, depth of field is the main reason most photographers love using prime lenses. Prime lenses have a wider maximum aperture than zooms, enabling you to take advantage of a shallower depth of field.

Depth of Field refers to the range of focus in your image. Shooting at a wide aperture of f/1.4 provides more out-of-focus blurring effect (‘bokeh’) than there would be if you were to shoot at f/2.8. Assuming that all other variables remain constant.

The ability to blur the area both in front and behind your subject using a wide aperture helps to separate your subject from other elements in the photo. The subject stands out more.

You can still produce nice bokeh with a telephoto zoom lens by shooting at the maximum aperture at a longer focal length. In turn, altering perspective and creating a different look to the image.

While shooting with a wide aperture won’t make you a better photographer, it does allow a higher degree of creative control over your image. Being able to fine tune what is and isn’t in focus in your picture using a wider aperture is just one other great way to take your photography to the next level.

4. Size/Weight

5 Reasons to Use Prime Lenses For Better Photos 4

You may require more than one prime lens to allow you to shoot subjects at various distances. The size/weight of each lens is usually much less than a zoom.

Size and weight of your lens is a subjective one. I think that in general, every photographer would prefer to have a lighter lens on their camera, given a choice!

When I switched from using a heavy 24-70mm zoom to a lightweight 35mm prime lens, it was as if I’d bought a whole new camera. The shooting experience just felt so much better.

Now I’m not suggesting that just by having a smaller, lighter camera in your hands, that you’ll be able to produce better photos. However, the shooting experience will undoubtedly be more pleasurable. Having fun with your photography is an excellent catalyst for taking more pictures, which will eventually mean you’ll improve. You see what I’m getting at here?!

One thing to note: a prime lens doesn’t necessarily mean it’ll be small and light. Indeed, many fast (i.e., wide aperture) prime lenses are rather large and heavy. Similarly, there are plenty of small, lightweight zooms.

For the most part, you’ll be able to find a small, lightweight prime lens that offers all the advantages listed in this article. I guarantee it’ll feel better on the end of your camera than a zoom.

5. Image Quality

5 Reasons to Use Prime Lenses For Better Photos 5

Ok, hold your horses for a second. I don’t want to wage a prime versus zoom war here! The difference in sharpness and general image quality between these two types of modern-day lenses is, for the most part, indiscernible.

However, the above statement is only valid for expensive, ‘pro-grade’ zoom lenses – usually the ones with a fixed aperture, i.e., a zoom lens which doesn’t automatically change its aperture when you twist the zoom ring. Or only ones that contain a large amount of high-quality glass.

Fixed aperture zooms are bigger, heavier, more expensive, and usually on par in image quality with even the best prime lenses.

Instead, I’m referring to the difference in image quality between a cheap prime lens and a cheap zoom lens. For around $ 100, you’ll be able to get a much sharper image from a cheap prime lens than you would an equivalent zoom.

All the major camera brands offer a cheap prime lens that ticks the above boxes. It’ll be able to knock the socks off the zoom lens that came with your camera.

Final Comment

I used zoom lenses for the first few months in my career as a wedding photographer, then switched to primes. I’ve never looked back.

I currently shoot with a 35mm lens for 99% of the wedding day. When I can’t get close enough to the action, I use an 85mm lens. Having only two focal lengths to think about is incredibly liberating. Through consistently limiting my focal length options, I’m able to ‘see’ in 35mm or 85mm terms, whether the camera is to my eye or not.

I appreciate zoom lenses have their place and are an excellent choice for many photographers. That said, I encourage you to have a play around with a prime lens to see how it can improve your photography too.

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Fujifilm X-T3 is three-time winner in our updated buying guides

08 Nov

We’ve updated fifteen of our camera buying guides and the Fujifilm X-T3 came out on top in three of them. We now consider it the best camera under $ 1500 and a good alternative to more expensive cameras for video and ‘people and events’.

If you’re in the market for a new camera then head on over to our buying guide hub page, which is also where you’ll find our new lens buying guides.

View all DPReview Buying Guides

Articles: Digital Photography Review (dpreview.com)

 
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Lomography launches new 35mm monochrome film stock cut from German cine film rolls

08 Nov

The film photography enthusiasts over at Lomography have launched a new film, Lomography Black & White 400 35mm Berlin Kino Film.

Inspired by the New German Cinema sweeping through Berlin in the 1960s, this film is extracted from a roll of cine film produced by a legendary German company that has been changing the face of cinema since the early 1900s,” reads the product description. “Originally used to make moody monochrome movies, its gorgeous black and white tones lend a timeless effect to cinematic scenes.”

The film has a native sensitivity of ISO 400, but Lomography says it can be pushed to ISO 800, 1,600, or 3,200 while still retaining a solid tonal range with minimal grain.

The Berlin Kino Film can be developed by professional labs or at home using standard black and white developers, including Kodak D-76, Kodak HC-110, Iford Ilfosol-3, and even Rollei’s Black & White Reversal Kit if you’re wanting to get a little wild and turn the negatives into positives.

Below is a gallery of sample images shot on the Lomography Black & White 400 35mm Berlin Kino Film:

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The film is available in 5-packs for $ 44.50, which converts to $ 8.90 for each 36-exposure roll. Pre-orders are currently being taken with the estimated delivery window being sometime in December 2018. To find out more and to pick up your film, head on over to Lomography’s product page.

Articles: Digital Photography Review (dpreview.com)

 
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Flickr confirms it’s sparing Creative Commons, non-profits from the new 1,000 image cap

08 Nov
A Grazing Encounter Between Two Spiral Galaxies — NASA on The Commons

Last week, Flickr announced it was removing the previously-required Yahoo login, adding new “Pro” features, and adding a 1,000 image limit on free accounts.

The news, particularly the 1,000 image limit on free accounts, hasn’t exactly gone over well, here on DPReview and other forums. One complaint in particular is what will happen to the hundreds of thousands of Creative Commons photos currently being hosted on Flickr.

Creative Commons CEO, Ryan Merkley, even got in on the topic, saying on a post on the Creative Commons blog, “Many users are concerned such a limit on free account capacity might cause millions of CC images to be deleted from the Commons. A lot of people have reached out to us directly and asked what we can do. I’m confident that together we can find solutions, if we assume goodwill and bring our collective creativity to the problem.”

He later added in the blog post, “I have confidence in Don and Ben and the SmugMug and Flickr teams: they want to do right for the Commons, and they understand how deeply CC and the photo Commons is integrated into the goodwill that Flickr has retained over all these years.”

Well, we now know the fate. In a post on the Flickr blog, SmugMug Co-Founder and CEO, Dan MacAskill, announced Flickr is sparing Creative Common photos from the 1,000 image limit. Flickr will also keep any photos in the Flickr Commons that have been uploaded by institutions, including NASA, The Smithsonian, The National Archives UK, and The British Library, and others, saying “all these organizations already were Pro or have received a free Pro account from us, so they have unlimited storage.”

The post also address non-profits who rely on Flickr for image hosting. He says SmugMug has worked hand-in-hand with 501(c)(3) organizations and International charities in the past to provide free, unlimited storage and will continue to do so going forward with Flickr. Flickr has even set up a dedicated page where non-profits can fill out a form to get started on getting a free Flickr Pro account set up.

MacAskill ends the article saying “Whatever changes come in the years going forward, the importance of these photos will always matter to us. We not only want to preserve the photos we have, we want to keep partnering with organizations such as libraries, museums, and government agencies to contribute to The Flickr Commons as well. And we will continue to work hard to keep these photos safe and available for the world to view and enjoy.”

You can read the post in its entirety on the Flickr blog.

Articles: Digital Photography Review (dpreview.com)

 
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Benro launches RedDog R1, a 3-axis gimbal stabilizer with convertible handle

08 Nov

Benro has launched the RedDog R1, its new 3-axis gimbal stabilizer with a swivel handle that supports two usage modes: upright and carry. A button on the stabilizer’s handle enables users to rapidly switch from upright to carry mode for shots at waist height and lower. When not in use, the R1’s handle collapses for enhanced portability.

The RedDog R1 features a CNC-machined body and support for cameras weighing up to 2.9lbs / 1.3kg, as well as a silicone grip, up to 12 hours of battery life per charge, and an included quick storage case. The device is calibrated and updated using the Benro RedDog mobile app, which also works as a remote control.

The stabilizer offers three shooting modes: Universal Follow, Locked-Down, and Horizontal Follow. With these, users can set the stabilizer to keep the camera locked on a subject while ensuring movements are smooth and stable. Other features include a directional button, threaded receiver for attachments, and a 1/4″-20 threaded hole for mounting the stabilizer on a tripod.

The RedDog R1 stabilizer is available now for $ 399 USD through Benro’s USA website and B&H Photo.

Articles: Digital Photography Review (dpreview.com)

 
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What I Learned From 30 Days of Black and White Photography

08 Nov

Color is an amazing phenomenon.

Most of us can appreciate color, even if we don’t understand the complex nature of light. Color Illuminates the landscape of our daily lives, and naming them is one of the first things we learn in childhood. We use them as a language and a way of expressing emotion. They affect both our brain and our bodies and fill our world with variation and even the occasional surprise.

So why would I ditch color for black and white for an entire month?

Up until the mid-1930s, color photography wasn’t widely accessible. And color printing wasn’t an affordable option until the 1960s. Pioneer photographers such as Ansel Adams and Henri Cartier Bresson set the standard in black and white photography. They emphasized composition and the controlled use of light without color, revealing the artistic merits of black and white photography that resonate to this day.

As a photographer, I shoot predominantly in color. But with such a wealth of modern photographic history steeped in black and white photography, I thought it would be interesting to prioritize monochrome instead.

So, I set myself a challenge: to photograph in black and white with my digital rig at least once a day for a month.

Here’s how it went.

Getting Started

Setting the Camera to Monochrome Mode

Okay, first things first. I wanted to shoot black and white images in-camera, so I needed to put my camera in Monochrome mode. In this mode, the camera records photos in black and white when photographing in JPEG. The LCD also previews photographs in black and white in Live View and the gallery.

While shooting in this mode does encourage a bit of ‘chimping’ (checking the photo after every shot), being able to review your pictures in black and white is very useful. It helps your eyes adjust to seeing your surroundings in black and white.

I’m using a Canon 5D MKII, so in ‘Shutter Priority’ mode (‘Aperture Priority’ and ‘Manual’ work too, depending on your preference) I selected the ‘Picture Styles’ tab on the main menu.

I then selected the ‘Monochrome’ (or M) option from the ‘Picture Styles’ menu.

Pressing the ‘Info’ button with ‘M’ selected in the ‘Picture Style’ screen allows further adjustments to ‘Monochrome’ mode such as ‘Sharpness,’ ‘Contrast,’ ‘Filters,’ and ‘Toning.’ I increased the Contrast parameters a tad, as using the Monochrome Mode by itself can make the images seem a little flat.

For Nikon or other camera brands, check the manual to find out how to set your camera to Monochrome mode.

Changing Your Quality Settings

The next step was to set my camera to photograph in dual RAW and JPEG modes. Why? Because even in Monochrome mode a RAW file will revert to color when uploaded to the computer. Whereas, a JPEG file retains the monochromatic scheme used in-camera.

Unfortunately, a JPEG retains less quality than a RAW file. So what do we do? We shoot both! If you take a fantastic black and white shot as a JPEG, you’ll also have the quality RAW file to edit in post-production.

But make sure you have some decent space on your memory card.

On my Canon 5D MKII, I set dual RAW and JPEG mode by selecting the ‘Quality’ tab on the main menu.

I adjusted my settings with the ‘Main’ and ‘Quick Control’ dials so I had both RAW and JPEG selected, and pressed the ‘Set’ button.

Again, for Nikon or other camera brands check the manual to find out how to change the Quality settings.

Ready, Set, Go

With my camera settings sorted, I was ready to begin my 30-day challenge. Here are a few things I learned during my ‘Month of Monochrome.’

Adding a New Layer of Interest

One thing I quickly realized was the power a stripped back color scheme has in lending a unique atmosphere to an image.

Having worked in black and white before (both with film and digitally), I know how evocative an excellent black and white image can be. But working digitally in black and white with no other option was new and refreshing. It hammered home the way a black and white photograph can separate the everyday world and its portrayal. This separation presents subjects in a new and thought-provoking light that generates a significant connection between the viewer and the image.

Minimizing Distraction

When you work in ‘Monochrome’ mode, you appreciate the dominance color can have over a photograph. While confining myself to black and white photography, I could experiment within a gradient, free from the distraction of color. Black and white photography strips an image back to the basics of composition and light. Without the color distraction, I had space to hone in on what makes a compelling story – creating a visual study of a subject.

Learning How Light Behaves

A lot of photography is about observation: watching people, landscapes, light, and shadows. And most photographers have a basic knowledge of how light behaves from these observations.

But black and white photography highlights the fragility of light in every environment with higher acuity than a lot of color photography.

The way an image gets read is affected by degrees of light. Hard light creates a highly contrasted image with dark, hard-edged shadows. It emphasizes drama and immediacy. Soft light is more subtle, rendering a soft, lower-contrast image.

Black and white is all about degrees of light versus shadow. My 30-day challenge encouraged me to take more notice of the light. In each environment, I embraced different lighting situations as a chance to test out my skills and experiment.

Seeing Differently

After the fourth day of my 30-day black and white challenge, I started scrutinizing everyday things with more of a photographic eye. Walking down my street, I began noticing plant life that would look interesting in black and white. The texture on the path I was dawdling along stood out. Because I deliberately made time for my photography each day, my mind started working creatively to seek out more photographic opportunities.

I felt more inspired. There was a greater impetus to hang out to get the best shot rather than the most shots. I felt in the zone.

Conclusion

Photographing in black and white for 30 days was a fun and rewarding challenge. It helped me to rediscover a freshness in photography and inspired me to experiment.

Sure you can convert any photograph to black and white in post-production, but to go out and photograph in black and white in the moment is a different process.

If you ever find yourself in a photographic rut, why not challenge yourself to a month of black and white photography? You never know what you might discover.

Do you have some black and white photography you’d like to share? If so, put them in the comments below.

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Video: Shooting a portrait on a 20×24 instant(ish) camera in Vienna

08 Nov

Marco Krenn of YouTube channel Analog Things has shared a video showcasing a 20×24 Wisner camera, including the process of capturing and developing a photo with it.

The camera, which is located at Supersense in Vienna, Austria, is presented in great detail throughout the ten minute video, with Krenn taking a look at the ground glass and paper holder, as well as the lens, inside the bellows, and the final portrait.

Supersense offers an online tour of its large format instant cameras, including an 8×10 Vienna Vintage Wood camera and the 20×24 camera featured in the video. The company allows visitors to schedule an appointment to have their own 20×24 or 8×10 instant portrait taken, and also sells instant film packs. In addition to its YouTube channel, Analog Things shares images related to analog photography on its Instagram account.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Z6 image quality and dynamic range impress, but not without caveats

07 Nov

Studio Scene

We shot the Z6 using Nikon’s new Z 50mm F1.8 S lens, since improved optics are one of the main promises the company has made for its mirrorless system. JPEGs were shot with lens corrections minimized as far as possible. Adobe Camera Raw has mandated lens distortion and chromatic aberration corrections, despite us disabling that option in the camera. Have a look below, then take a look at our dynamic range assessments further down.

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The results of the Z6 and 50mm S lens are impressive, with consistent performance across the frame$ (document).ready(function() { $ (“#icl-4298–901106245”).click(function() { ImageComparisonWidgetLink(4298); }); }). The anti-aliasing filter appears a bit stronger than the Sony a7 III, which means a bit less detail but less occurrence of false color$ (document).ready(function() { $ (“#icl-4301-714546339”).click(function() { ImageComparisonWidgetLink(4301); }); }).

While fine detail isn’t as well preserved at low ISO$ (document).ready(function() { $ (“#icl-4299-740733493”).click(function() { ImageComparisonWidgetLink(4299); }); }) or at high ISO$ (document).ready(function() { $ (“#icl-4300–152210045”).click(function() { ImageComparisonWidgetLink(4300); }); }) as the best of its peers, the Z6 generally strikes a nice balance between noise and detail. Low light Raw performance is competitive with the best of its peers$ (document).ready(function() { $ (“#icl-4302–698920912”).click(function() { ImageComparisonWidgetLink(4302); }); }), which is to say it’s essentially class leading.

Exposure Latitude

Our Dynamic Range tests presented no great surprises. The same banding in shadows the Z7 displayed is present in the very darkest tones of its images, at 12 row increments – the very rows dedicated to phase-detect AF (PDAF). This suggests the Z6 PDAF rows aren’t being perfectly corrected when they’re incorporated into the Raw files. This will impact the usability of darker tones in images relative to its peers like Nikon’s own D750 or Sony’s a7 III. We’ll also check for striping (bright white stripes across shadows) in back-lit shooting as we put together a sample gallery with the camera.

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ISO-Invariance

The camera isn’t entirely ISO Invariant but this is largely because the sensor features the Aptina-style Dual Gain design that Sony Semiconductor has been using for the past few years. This sees the camera use a second higher gain circuit in its pixels to reduce noise from ISO 800 upwards (at the cost of some capacity for dynamic range), where the camera is essentially entirely ISO-invariant.

This means that if you shoot Raw there’s no advantage to increasing ISO above 800, for the same shutter speed and aperture, vs. brightening the Raw file yourself while protecting highlights in post-processing. This method of working can afford you many stops of additional highlight detail at no cost to you other than a dark image preview.

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Our results are confirmed by Bill Claff, based on the test images we sent him. His graphs show a similar pattern to the a7 III’s results but with the performance lying a fraction behind the Sony and a little ahead of the Canon EOS R at most ISO settings. In real world shooting, though, banding in shadows may decrease the overall usable dynamic range.

Articles: Digital Photography Review (dpreview.com)

 
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Top 5 Tips for Extreme Sports Photography

07 Nov

Top 5 Tips for Extreme Sports Photography 1

Extreme sports photography is a discipline all of its own.

Each sport has its intricacies, rules, and set of specialists who operate in each arena. Me, I am a long time skateboarder. I’ve been a skate rat since I was a kid. I’ve looked at thousands of images, know how a trick should look and know what the rider is looking for. Put me with a BMX rider and I may have an idea of how they want the trick to look, but I will be unsure of exactly what they’ll be doing. The key, like any genre of photography, is to know what you are shooting and work with your subject to form a bond of trust. 

To those who haven’t shot extreme sports before, it may look easy. But the truth is, unlike posing a model in a studio, sports photography is unpredictable and extreme sports, even more so. With this in mind, here are my top 5 tips to up your extreme sports photography game. 

1. Know The Sport

Ever photographed a ballerina? If you have, you know they will pick out the minute detail in a photo you take. Finger placement or how high they are on their toes will dictate whether a photograph is one they love or one they hate. Extreme sports athletes are exactly the same! The best way to know what a great shot looks like is to start by doing your research. Look on websites such as Thrasher and Ride BMX. See what their photographers are taking. Look at where the photograph is taken from, try to figure what lens they used and how it was lit. As with any photography, breaking it down and visualizing how you want things to look before you shoot is key. The only difference with extreme sports is that the person you are taking a photo of will more than likely be risking personal injury for your photo. You need to be ready, know what settings you want to use and have an angle in mind. Which brings me nicely to….

2. Camera Settings

To quote my all-time favorite movie Ferris Bueller’s Day Off:

 ‘Life moves pretty fast. If you don’t stop to look around once in a while, you could miss it.’

Extreme sports is fast. Whole tricks last barely a second. And you need to freeze an incredibly small percentage of that. There are two ways to freeze motion in extreme sports; one is to use a high shutter speed, the other is to use a flash with a small flash duration. Unless you know what you are doing with off camera flash or are shooting at night, using a high shutter speed is a much better option when you are starting out. You need to have your exposure nailed quickly and a high shutter speed will be the easiest way for you to do this. 

You should put your camera into ‘Shutter Priority’ and aim for a shutter speed of at least 1/500th of a second. This will mean your images will not suffer motion blur, which is important to capture those beautiful moves. The obvious pay off here is aperture and ISO. I would personally suggest when starting out to use a higher ISO and keep a wider aperture. This gives you a larger depth of field to work with and a higher chance of a sharp image. 

This is great when shooting outdoors, but when shooting at an indoor skatepark, you need to think about using flash. Plan your shoot accordingly.

In terms of focus mode for your camera, you should aim to use Ai servo mode. This is designed for shooting action and will give you the best chance of getting the rider in focus. An alternative to this is to pre-focus and then switch to manual focus to keep it locked. This technique involves getting your rider to position themselves where you anticipate taking the photo, focus on this point, then flick over to manual focus. As with everything, read your camera manual, experiment and see which works best for you.

3. Think Don’t Feel

As I said above, extreme sports tricks can last less than a second. By the time you see the perfect moment in your viewfinder, it is already too late. You need to trust yourself and shoot just before the peak moment. Anticipate what is about to happen and trust your instinct. Your instincts will sharpen with practice. With most extreme sports tricks you will have more than one chance to get the shot. In some cases, you may have too many tries. You can help cure your boredom by changing angles if you think of something different, or you can tough it out. However, the unwritten rule of action sports is that the trick must be landed. This argument has been going on for as long as the sports themselves. The rider must make the trick in order for you to put the photo out, otherwise, they are just posing it. Now the even bigger question is: does the photo have to be of the one they landed? This is up to you. Personally, I pick the best photo.

Top 5 Tips for Extreme Sports Photography 2

If I had waited to see this in the viewfinder it would be gone. Try to anticipate and press the shutter just before the peak moment

4. Angles

The best angle for shooting tends to be down low. This adds height to the object and power to the person in your photograph. This technique is one you will see a lot of in magazines, but there are no hard and fast rules. When you get the spot, look around, try taking photos from different angles, until you find the one that makes the trick look powerful. 

In terms of composition, to allow the photo to make sense to the viewer you need 3 key things: where they started, where they are and where they will land. I have lost count of the number of photos I have seen of riders in the air. It has no context, you may as well have just composited the rider onto a sky background. Context is key. 

The third and final tip for composition is to avoid the butt shot. The key to a good extreme sports photo is to be able to see the riders eyes. When finding the angle for your shoot, look at which way the rider approaches the trick and plan accordingly. By getting their face in their frame, you will always get a better photo. 

To answer the question that some of you might be asking, which lens is the best for extreme sports photography? It is the full frame fisheye. The lens gives that wonderful distortion that we associate with this kind of photography. However, this means you are incredibly close to the action, which brings me to my final point.

Top 5 Tips for Extreme Sports Photography 3

This was my second to last shot of this shoot. The next try I got hit with a board and cut pretty badly. Be careful!

5. Be Careful

You need to be aware of your surroundings at all times, even if you are shooting with a long lens, there will no doubt be more than one person at the skatepark or spot where you are taking photos. This means people and skateboards will be flying. It is incredibly easy to take a rogue skateboard to the ankle (and incredibly painful) but when shooting with an extremely wide angle lens, such as the fisheye, you can risk taking a rider, board or bike to the head. While it can be easy to feel secure when looking through your viewfinder, you need to remember that being a photographer can be as dangerous as being the rider if the trick goes wrong. Just keep your eyes open and remember a photo is not worth the pain of being hit in the head with a skateboard when a rider misses a trick. Trust me, I know!

Have you tried extreme sports photography? Do you have tips or photos you’d like to share in the comments below?

 

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The Leica Q-P is a stealthy, subdued version of the Leica Q that’s missing the iconic red dot

07 Nov

Leica has announced its latest camera, the Leica Q-P. Deemed “an artful statement of understatement,” the Leica Q-P is essentially the Leica Q camera wrapped inside a more discreet, subdued frame.

Much like the Leica M10-P, a higher-priced and more toned down version of the M10, the Leica Q-P drops the iconic red dot in exchange for a classic Leica script engraving on the top plate of the camera and finishes off the stealthy look with a matte-black paint finish.

The Leica Q-P has a redesigned shutter release that Leica says provides “a more positive tactile feedback” and comes with a new brown leather carrying strap and an additional spare battery.

Aside from the aforementioned changes, the Leica Q-P remains unchanged from the Leica Q camera inside and out. It has the same Summilux 28mm F1.7 ASPH lens in front of the 24.2MP full-frame CMOS sensor and a Leica Maestro II image processor to crunch all of the data.

Likewise, it keeps the same 3.68MP electronic viewfinder, 3″ 1.04 million dot touchscreen LCD display on the rear of the camera, and built-in Wi-Fi for compatibility with Leica’s FOTOS smartphone app.

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The Leica Q-P is listed on B&H as available for pre-order and is retailing for $ 4,995.

Articles: Digital Photography Review (dpreview.com)

 
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