RSS
 

Hasselblad announces three XCD lenses, including its fastest lens ever

25 Sep

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_7667143633″,”galleryId”:”7667143633″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Hasselblad has announced three new lenses and one teleconverter for its XCD lens system. The lenses are the XCD 80mm F1.9, the XCD 65mm F2.8 and XCD 135mm F2.8, all of which are designed for the X1D digital medium format camera. In all, this brings the system to nine focal lengths covering 21-230mm (16.6-178mm full-frame equivalent).

The standout lens for most users will be the XCD 80mm F1.9, which is not only the fastest lens currently in the X System, but the fastest lens Hasselblad has ever released. Offering a field of view equivalent to 63mm and depth-of-field equivalent to F1.5 on a 35mm full-frame system, Hasselblad claims that the lens comes with ‘superior optical surface precision’ on its aspherical elements to allow for smooth bokeh and a twin motor drive for quick autofocus.

At 1045g (2.3lb), the 80mm F1.9 is currently the heaviest lens in the XCD lineup.

It has 14 elements in 9 groups and, at 1045g (2.3lb), it’s currently the heaviest lens in Hasselblad’s XCD lineup.

Hasselblad has also announced the XCD 65mm F2.8, with a 51mm equivalent field of view. With a close-focus distance of 0.5m (20in), the lens is positioned as a versatile option for street and travel photography.

Lastly, the company has announced the XCD 135mm F2.8 alongside the X Converter 1.7. On its own, the 135mm F2.8 provides roughly a 107mm field of view and a close focus distance of 1m (3.3ft). The lens and 1.7x teleconverter were designed to be paired without any loss of optical quality, and together offer a 230mm (178mm equivalent) field of view, F4.8 maximum aperture and a minimum focus distance of 1.05m (3.5ft).

As with all current XCD lenses, the 80mm, 65mm and 135mm lenses come with built-in leaf shutters to allow for full flash synchronization up to 1/2000s shutter speed.

They are all available for pre-order now, and will begin shipping in December 2018. The 80mm F1.9 will retail for $ 4845 / £3690 / €3990; the 65mm F2.8 will retail for $ 2750 / £2090 / €2290; the 135mm F2.8 will retail for $ 4050 / £3090 / €3390; bundling the 135mm F2.8 with the X Converter 1.7 brings the retail price to $ 4845 / £3690 / €3990.

Official sample images

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_5855843269″,”galleryId”:”5855843269″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Press release:

Hasselblad expands its X1D lens lineup with three new XCD lenses, including XCD 1,9/80, Hasselblad’s fastest lens ever

Increasing the capabilities of the X1D-50c mirrorless medium format camera, Hasselblad adds three new lenses to its XCD lens family, including the XCD 1,9/80, with the largest aperture of a Hasselblad lens ever, the XCD 2,8/65 and the XCD 2,8/135 telephoto lens with X Converter 1,7. The three new lenses and one dedicated teleconverter expand the XCD family to nine different focal lengths.

The XCD 1,9/80 represents a major milestone for Hasselblad with an impressive f/1,9 aperture, Hasselblad’s largest lens aperture, offering an extremely shallow depth of field and light-gathering ability. Thanks to Hasselblad’s optical design expertise and rigorous calibration standards, the XCD 80mm boasts superior optical surface precision, avoiding poor bokeh results or out of focus highlights often seen in high aperture lenses with aspherical surfaces. The lens’ distinct twin motor drive provides quick autofocus performance, while offering a precise manual focus experience. Maximizing the artistic potential of X1D image makers for a stunning shooting experience with a field of view similar to 63mm on a full frame system, it is especially suitable for portrait, nature and product photography with its ability to produce pleasing bokeh through excellent subject isolation and shallow depth of field.

The XCD 2,8/65 is the ideal standard lens in any X System photographer’s kit. With a 50mm full frame equivalency, it’s designed to achieve the ‘normal’ focal length and mimic the human field of view. Thanks to its f/2,8 maximum aperture and 0.5 m (20 in.) minimum focus distance, the XCD 65mm is the versatile option for street, travel and general photography.

Growing the telephoto range, the XCD 2,8/135 and X Converter 1,7 expand the reach of Hasselblad’s X1D-50c. Available as both a paired kit or as a stand-alone lens, the XCD 135mm and dedicated teleconverter have been designed as a cohesive unit to ensure no decrease in image quality when the teleconverter is used. Without the teleconverter, the XCD 135mm has an aperture range of 2,8-32 and a field of view similar to 105mm lenses on full frame cameras and features a minimum focus distance of 1 m. With the X Converter 1,7, the lens’ focal length grows to 230mm (178mm full frame equivalent) with a f/4,8 maximum aperture and minimum focus distance of 1.05 m. The telephoto focal length is ideal for portrait, outdoor, and landscape photographers looking to document details and subjects with stunning image quality.

Like the other XCD lenses, the XCD 80mm, XCD 65mm and XCD 135mm feature an integral central shutter, offering exposure times from 60 minutes to 1/2000s with full flash synchronization through the entire range.

The XCD 80mm, XCD 65mm and the XCD 135mm lenses are now available for pre-ordering and will begin shipping in December 2018.

The XCD 80mm lens has an MSRP of €3,990, $ 4,845, £3,690, JPY¥ 576,000 (excl. VAT) / CNY¥ 38,500 (incl. VAT).

The XCD 65mm lens has an MSRP of €2,290, $ 2,750, £2,090, JPY¥ 331,000 (excl. VAT) / CNY¥ 22,100 (incl. VAT).

The XCD 135mm lens has an MSRP of €3,390, $ 4,050, £3,090, JPY¥ 489,000 (excl. VAT) / CNY¥ 32,700 (incl. VAT).

The XCD 135mm lens with X Converter 1,7 has an MSRP of €3,990, $ 4,845, £3,690 , JPY¥ 576,000 (excl. VAT) / CNY¥ 38,500 (incl. VAT).

For full specs, sample images and more info, please visit:
www.hasselblad.com/x-system-lenses/xcd-19-80mm/
www.hasselblad.com/x-system-lenses/xcd-28-65mm/
www.hasselblad.com/x-system-lenses/xcd-28-135mm/

About Hasselblad

Founded in 1941, Hasselblad is the leading manufacturer of medium format cameras and lenses. Made in Sweden, Hasselblad cameras are renowned for their iconic ergonomic design, uncompromising image quality and Swedish craftsmanship. For over half a century Hasselblad cameras have captured some of the world’s most iconic images – including the first landing on the moon – and helped shape the way we look at the world through genuine photographic artistry. Trusted by NASA and used by the greatest photographers in the world, Hasselblad continues to create products with uncompromising image quality that inspire.

The Hasselblad H Camera System with its professional lens family and unique advancements is widely acknowledged as the most comprehensive digital camera system of its kind available today. Hasselblad was the first to launch the fully integrated medium format camera system incorporating the latest in CMOS sensor technology. In 2016 Hasselblad launched the H6D, a technological feat with an all new electronic platform, delivering superior craftsmanship and image quality. Later the same year, Hasselblad introduced the world’s first compact mirrorless digital medium format camera – the X1D. Hasselblad’s X1D sensor benchmarked the highest score in the history of DxO Mark’s independent testing.

Headquartered in Gothenburg, Sweden, Hasselblad is a global brand with offices in New York, London, Tokyo, Paris, Copenhagen, Hamburg and Shenzhen with distributors throughout the world.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Hasselblad announces three XCD lenses, including its fastest lens ever

Posted in Uncategorized

 

How to Simulate a Swirly Bokeh in Photoshop

25 Sep

Hailing from Russia, I give you…the Helios and its swirly bokeh.

How to Simulate a Swirly Bokeh in Photoshop - Helios lens

Image by Markus Spiske

I know, it’s kind of an ugly duckling right? At the very least, Helios lenses are certainly not the shining example of classical grace and beauty that the company’s bestowed name might conjure forth. Instead, the true charm and appeal of these vintage lenses comes from what’s on the inside.

Due to their optical nature, Helios lenses can produce wonderfully swirly bokeh and backgrounds when shot at wide apertures.

How to Simulate a Swirly Bokeh in Photoshop - image shot with Helios lens

Image by Mike Newton made with a Helios lens.

If you don’t happen to have a Helios lying around (they’re actually quite cheap) then I hope you will consider learning how easy you can simulate that swirly bokeh of this nifty little lens. You can do it right inside of Photoshop – here’s how.

What Kind of Images Work Best?

The charm of the Helios lens comes from separating the subject from the background with style. This means that just like any other time you want to blur out a background, the further you can place your subject from the objects behind it the more blurred the background will become.

The same is true for images you choose to simulate the “Helios effect” in Photoshop. Look for images with isolated subjects that can be easily separated from the background. This is the example we’ll be using for the demonstration.

How to Simulate a Swirly Bokeh in Photoshop - example image for tutorial

Not only do swirly backgrounds complement images like these more so than others, but having easily identifiable borders between your subject and the background will make things much easier on you during the processing.

How to Create the Helios Effect

The key player in this edit will be a hidden little tool, or rather a filter, buried inside of the Blur Gallery portion of the Filter menu bar at the top of the window. You will use the Spin Blur Filter to give you that dreamy understated swirly bokeh background for which Helios lenses are so favored.

After you’ve got your image opened in Photoshop it’s time to begin the effect.

Duplicate the Layer

Make a duplicate copy of the background layer by using the keyboard shortcut Cmd/Ctrl+J. Feel free to rename the duplicate layer as I’ve done here to help you keep track in case you’re working with more layers.

spin blur layer - How to Simulate a Swirly Bokeh in Photoshop

Next, go up to menu bar you looked at earlier and go to Filter > Blur Gallery > Spin Blur… This will open up the blur gallery and it is here where you’ll do the actual blurring.

spin blur in the menu - How to Simulate a Swirly Bokeh in Photoshop

You’ll notice quite a few options here in the spin blur gallery; the most important of which is the Blur Angle slider.

blur angle slider - How to Simulate a Swirly Bokeh in Photoshop

This is how you will control the amount of simulated blur in your image. Think of the blur angle as the control for the degree of swirl in the background. Before you decide on how much blur you want to introduce to your image you first need to decide where you want the blur effect to be applied. Do this by adjusting the size and shape of the blur filter itself.

Adjust the Size and Feather Amount of the Filter

You can click and drag the outside of the filter to control its size and shape. How close the blur comes to the edges of the filter is controlled by the four larger dots shown here:

spin blur adjustment dots - How to Simulate a Swirly Bokeh in Photoshop

Think of these dots as the way you dictate the feathering of the spin blur effect as it approaches the edges of the filter. Drag the filter out to just past each corner of the frame and then adjust the feathering accordingly.

Feel free to experiment with placing the center point of the filter at different locations within your image.

spin blur filter in action - How to Simulate a Swirly Bokeh in Photoshop

Select the Blur Amount

As I’ve said, the largest variable you can control when applying your swirly bokeh background is the angle of the blur, which essentially dictates the amount of perceived spin blur. In most cases, a very small amount of blur angle works best, say maybe 2-4%.

Keep in mind that the true swirly bokeh from the Helios lens is generally subtle so keep the background blur in your simulated images somewhat subdued. Here’s our image with 4% blur angle applied.

4% blur applied - How to Simulate a Swirly Bokeh in Photoshop

Keep in mind that the final determination of the amount of blur will be decided just a little later in the process by using the layer opacity. So it’s a better idea to add in a little too much blur than not enough at this point in your processing.

Also, keep in mind that you can also increase or decrease the amount of blur angle using the control wheel located at the very center of the filter. Once your blur is applied, click “OK” at the top of the screen.

NOTE: If you convert the layer into a Smart Object before applying the Spin Blur filter, the settings can be adjusted at any time as it will be a non-destructive edit.

Final Blur Adjustments Using Layer Masks and Opacity

Now that you’re back to the main editing window in Photoshop you can finish up your Helios-style blur effect by using layer masks and opacity to customize the blur.

Adjust the opacity of the spin blur layer by using the layer opacity slider until the effect reaches the desired amount you like for your particular image. In this case, I’ve set the opacity to a modest 70%.

layer at 70% opacity - How to Simulate a Swirly Bokeh in Photoshop

Next, we’ll want to make sure the subject of the photo is free from the blur effect. To do this, add a layer mask to the spin blur layer.

add a layer mask - How to Simulate a Swirly Bokeh in Photoshop

Then use the Brush tool to remove the blurring effect from the areas where it’s not needed. And viola! Your freshly minted Helios swirly bokeh simulation is complete!

final image butterfly and flowers - How to Simulate a Swirly Bokeh in Photoshop

Final Thoughts on Simulating Helios Bokeh

Acquiring an actual Helios lens is a surprisingly easy and budget-friendly method for adding a little uniqueness to your photography. Still, if you choose not to get a lens of your own, you can simulate the look of that classic Helios swirl by using the methods shown in this article.

Here are a few points to remember if you want to give the Photoshop Helios method a try:

  • Choose a photo with a subject that is relatively isolated on its focal plane.
  • Images with busy backgrounds work best.
  • A blur angle of 2-4% is adequate for most photos.
  • Center the blur around the main subject but don’t be afraid to move it elsewhere!
  • Control the final blur amount using the layer opacity slider and layer masks.

Simulating the swirly blurred backgrounds of the Helios is easy and quick in Photoshop using the spin blur filter.

Here are a few more examples of images which have been given the Helios effect using the techniques shown here.

The post How to Simulate a Swirly Bokeh in Photoshop appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on How to Simulate a Swirly Bokeh in Photoshop

Posted in Photography

 

Ricoh announces development of long-awaited GR III

25 Sep

Ricoh has announced the development of its new GR III, a significant update to the GR and GR II. The camera gains sensor-shift image stabilization and on-sensor phase detection as part of an updated 24MP sensor. The camera’s 28mm equivalent F2.8 lens has also been redesigned and a touchscreen added for the first time.

The GR III’s sensor can now shift in three axes to compensate for camera shake and, in common with Ricoh’s Pentax DSLRs, this shake can simulate the effect of having an anti-aliasing filter.

Since the stabilization is done at the sensor level, we suspect the lens has been redesigned to boost focus speed. On-sensor phase detection underpins a hybrid phase- and contrast-detection system which, combined with a new processor and the new lens will, we hope, make the autofocus performance more competitive.

The redesigned 28mm equiv. F2.8 lens will have six elements in four groups, including two aspherical elements. The minimum focus distance has improved to 6cm (2.4″) from 10cm (3.9″). The built-in 2-stop ND filter from the GR/GR II remains. The GR III can record 1080/60p video, up from 1080/30p on its predecessors.

From the front at least, the design is unchanged, though preliminary specs say that the III isn’t quite as wide as the I and II. We’ve yet to see the back of the camera but we do know that the 3″ LCD is now touch-enabled. The GR III has a USB-C socket, which the company says can be used for video output. Wireless functionality continues to be offered through Wi-Fi only: no Bluetooth here.

The GR III will be available in early 2019 at price to be determined later.

Press Release:

RICOH GRIII, a high-end digital compact camera to be exhibited for preview at Photokina 2018

LONDON 25 SEPTEMBER 2018 – RICOH COMPANY, LTD. and RICOH IMAGING EUROPE, S.A.S. are pleased to announce a preview showing of the RICOH GRIII camera at Photokina 2018 — the world’s largest, full-scale trade fair of photographic and imaging products, to be held from September 26 to 29 in Cologne, Germany. The new camera has been in the process of development as the latest model of the RICOH GR series, which features a line-up of high-end digital compact cameras combining exceptional image quality with a compact, lightweight body ideal for snapshot photography.

Over a history of more than 20 years, the RICOH GR series has always kept its basic concept of optimising the essential values of a camera — high image quality, snapshot capability and portability — while at the same time making the changes and refinements needed to meet emerging needs. Because of this, GR-series models have been preferred by a great many photographers, particularly professionals and highly experienced amateurs.

Currently under development, the RICOH GRIII inherits the basic GR-series concept, but it incorporates totally new devices in its main components, including a newly designed lens, a new image sensor, and a new imaging engine. These are designed to further upgrade image quality, strengthen many of the functions and improve the user interface.

Designed to be the ultimate snapshot camera, the RICOH GR II is a totally new breed of GR camera, one that will give the user new and different creative possibilities. We hope Photokina 2018 visitors will enjoy their first look at this new-generation GR-series model.

Overview of the product under development

  • Model name: RICOH GRIII
  • Launch date: Scheduled to be launched in early 2019
  • The design and specifications are identical to those first announced publicly about the camera’s development, and are subject to change without notice.

Ricoh GR III specifications (preliminary)

Body type
Body type Large sensor compact
Body material Magnesium alloy
Sensor
Max resolution 6000 x 4000
Image ratio w:h 1:1, 3:2
Effective pixels 24 megapixels
Sensor size APS-C (23.5 x 15.6 mm)
Sensor type CMOS
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
White balance presets 8
Custom white balance Yes
Image stabilization Sensor-shift
Uncompressed format RAW
File format
  • JPEG (Exif v2.3)
  • Raw (14-bit DNG)
Optics & Focus
Focal length (equiv.) 28 mm
Maximum aperture F2.8–16
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Normal focus range 10 cm (3.94″)
Macro focus range 6 cm (2.36″)
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3″
Screen dots 1,037,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Optical (optional)
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash modes Auto, Flash On, Flash On+Red-eye, Slow-speed Sync, Slow Sync+Red-eye
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
Videography features
Format MPEG-4, H.264
Modes
  • 1920 x 1080 @ 60p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types Internal, SD/SDHC/SDXC (UHS-I supported)
Storage included 2GB
Connectivity
USB USB 3.1 Gen 1 (5 GBit/sec)
USB charging Yes
HDMI No
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n
Remote control Yes (via smartphone)
Physical
Battery Battery Pack
Weight (inc. batteries) 257 g (0.57 lb / 9.07 oz)
Dimensions 109 x 62 x 33 mm (4.29 x 2.44 x 1.3″)
Other features
Orientation sensor Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Ricoh announces development of long-awaited GR III

Posted in Uncategorized

 

‘I’m Back’ digital back for analog SLRs is now in production

25 Sep

After an initial unsuccessful crowdfunding campaign the team behind the ‘I’m Back’ digital back for old film SLRs returned to Kickstarter in March 2018 with a refined product. In the second attempt the funding goal was reached and now the the digital back has entered production in Hong Kong.

The ‘I’m Back’ is available for a range of old film-SLRs, such as Nikon’s F-Series, the Olympus OM10 or the Canon AE-1, and works by capturing the image projected onto a focus screen using a 1/2.33″-type 16MP Panasonic image sensor. The back is connected to the camera by detaching the rear plate from the latter, adjusting the aperture for the digital module, connecting the Flash Sync cable and setting exposure mode to Bulb.

The back can record JPEG and Raw files and comes with a 2″ touchscreen for live view focusing, a maximum of 64GB of storage, a USB Type-C connector and Wi-Fi connectivity. Don’t expect DSLR-level image quality, however. The back has been designed with cost in mind and ‘I’m Back” founder Samuel Mello Medeiros says:

“I’m Back was created with the intention of reusing the old analog in a digital way, but maintaining a ‘retro’ aspect in the photos thanks to the focusing screen. It is not intended to have the quality of a digital camera of last generation, therefore, it is not an accessory to be at par with a digital or even an analog.”

With the first units being sent out to Kickstarter backers, the back should be available to retail customers in the coming months. No retail pricing has been announced yet but initial backers were able to secure a device starting at €175 (approximately $ 205), so expect a slightly higher price in the shops.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on ‘I’m Back’ digital back for analog SLRs is now in production

Posted in Uncategorized

 

How to Make Your Location Portraits Even Better

25 Sep

In photography, portraits are an art form to themselves. There are many ways to make portraits, but one of the main divisions is between portraits made in a studio and on location portraits. The end results look very different, so it’s good to choose between them depending on what you’re going for.

Do you have a preference between them, either as a photographer and/or as a viewer?

Portrait in a greenhouse. location portraits

Studio photography is a lot of fun, but when I’m working on a portrait job I usually prefer to photograph on location. Why? Portraits taken in a favorite location – outdoors or at home – are a great opportunity to really bring out the subject’s personality and to enjoy the beauty of natural light.

That’s why I thought I’d share what I’ve learned about location portraits with you. I hope you enjoy the ride!

Sports portrait on location. location portraits

The advantages of stepping out of the studio

There are both pros and cons to on-location portrait photography. The main differences between this kind of photography and studio photography are the light and the environment.

Light

In a studio setting, you’re in complete control of the light. On location, you very likely won’t be, but the advantage is that you’ll have a much richer palette of light and color. So it’s a challenge but also an opportunity.

Instead of creating the lighting setup, you can focus on creating a very unique, natural portrait. Another difference is that natural light feels less artificial, just like a natural setting. Depending on what kind of atmosphere you’re going for, this can be very important.

Portrait of child outdoors. - location portraits

Environment

Depending on the surroundings, a natural setting might not create a portrait with that timeless feel that a studio portrait often has. Again, this is neither good nor bad – it all depends on what kind of feeling you’re going for.

Including the environment in your portraits can add a lot of character and help bring out the subject’s personality.

Wedding portrait in forest. location portraits

The environment can also be a distraction, both in the final photograph and during the session. This can be a boon or a burden when you’re taking photos.

Too much going on might lead to a chaotic photo or the subjects looking (or being!) distracted, but it can also help the subjects relax and be themselves. All you have in a studio setting is the subject, the slightly intimidating lights, and the photographer; outdoors or at home, the setting might feel less oppressive.

Using the Surroundings to Your Advantage

So you’ve decided that you’re going to do a portrait session on location. What are the most important things to remember, and how can you make the session memorable?

Wedding portrait in winter.

Prepare!

You can’t ever be in complete control of a situation, but preparing is always worth the effort. It will help both you and your subject get the most out of the session and the final product. It will also let your creativity flow more freely since you won’t have to worry about all the details you will have dealt with beforehand.

Several choices need to be made before you can start making a portrait, and this can be done days and even weeks beforehand. These are: where, when, what, and what if.

First, you’ll have to find and agree on a location that’s convenient for you and works for the kind of portrait you and the client want. Unless it’s your backyard, it’s important to familiarize yourself with the place before the session.

Wedding portrait with greenery. location portraits

The time for the shoot is at least as important as the location. Both season and time of day have a huge impact on the quality of light you’ll have to work with, so keep that in mind as you plan your photo session.

In general, the hour before sunset until just after sunset is when you’ll find the really beautiful light. Overcast days are also surprisingly good for portraits. Of course, you also have to find a time that’s convenient for your subject so the timing of the photo session is often a compromise between practical considerations and optimal lighting conditions.

Graduation portrait with flowers.

Other preparations you can make are planning the types of photos you and your subject want and the clothing they’ll be wearing. Sometimes these are given – for instance, if you’re making wedding or graduation portraits.

Looking up inspiration for poses and compositions online is a good way to get ready, as is using yourself as a practice subject.

Outdoor portrait with fruit.

By “what if”, I mean you should have a backup plan. When planning a portrait session with a customer, I always make sure to have a reserve day in case the weather doesn’t cooperate, someone gets sick, or any of a million other unexpected things happen.

It can also mean having a reserve place to make the portraits, one that will still work if the original one doesn’t for some reason.

Outdoor portrait in the rain.

Do Your Best and Enjoy the Moment

The time has arrived and so has your subject. You’re in the right place at the right time, and now all you have to do is make some great portraits. There are a lot of great articles that cover the main things that will help you make the best of it, so I’ll only mention them:

  • Always be aware of the background: what kind of patterns are there, what colors, what is the light like?
  • Don’t be afraid to pose your subjects.
  • Make your subjects feel comfortable and calm – this way you can both enjoy both the session and the final portraits.

Portrait of child in the grass.

A Practical Example

Lastly, I want to share a strategy that I sometimes use for location portraits with customers. It’s not always possible or sensible to do this, but when it is, it’s an easy way to have a comfortable and fun photo session.

This is what I do…

After I know when and where the portraits will be made, I visit the place and familiarize myself with it. Then I explore the area, find a nice route to walk along, and choose several places where the portraits can be made along that route. When it’s time for the photo session, I take the subjects on a short walk along the route that I found. I also tell them about the plan, so they know what’s going to happen.

On-location family portrait.

I took this lovely family on a walk with some beautiful backdrops.

This approach offers many advantages. If you don’t know your subjects, taking a little walk is a nice way to relax and chat a bit before you start making the photos. It often also makes the subjects feel less awkward and on the spot, since they get to take in the surroundings a bit rather than immediately being put in front of a lens.

For you, as a photographer, it’s a good way to structure the session, to have a beginning and an end but leave plenty of room for spontaneity. It also lets you use several different settings within the same area so you can offer your subject a range of different portraits afterward.

Conclusion

Knowing how to make location portraits is a very useful skill in many situations: weddings, birthdays, graduations, for families, bands, teams, pets, etc. The list goes on and on.

What is your favorite part about making portraits on location? Are there some specific challenges you’ve encountered? I’d love to see your photos and your thoughts in the comments section!

Goodbye!

Sadly, this is my last article here at Digital Photography School. I’ve learned a lot and really enjoyed it, both writing the articles and taking part in all the discussions we’ve had. Thank you! You can find all my articles here.

Keep learning about and enjoying photography – I sure will!

The post How to Make Your Location Portraits Even Better appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on How to Make Your Location Portraits Even Better

Posted in Photography

 

Five Ways to Take Stunningly Sharp Images

25 Sep

You can take sharp images. You can take them consistently, quickly, efficiently. However, you just may not realize it yet.

sharp images sanderling reflection

The Problem

The thing is, getting acceptably sharp images is a common problem among photographers. It’s something that I myself often struggled with getting consistently. I can’t tell you the number of times I used to come home, only to find my memory cards full of blurry or out of focus images.

I used to think the problem was my camera optics. In order to take pin-sharp images, I thought I needed a top of the line camera and lens. But it turns out that, when it comes to sharpness, the problem is generally the photographer (or the choices that the photographer makes).

And fortunately, that problem is very easy to fix.

sharp images purple flower

In this tutorial, you’ll learn five ways that you can get sharp images. And then, next time you go out shooting, you’ll consistently take pin-sharp images. Sound good? Read on to find out how.

sharp images tulip abstract

1. Use a fast enough shutter speed

When you press the shutter button on your camera, the internal sensor is briefly exposed to the light. This is how the camera actually captures an image.

The length of time that the sensor is exposed to the light is called the shutter speed.

sharp images yellow flower

Depending on your camera settings, the sensor might be exposed to the light for a long period of time (a slow shutter speed) or a short period of time (a fast shutter speed).

One of the main reasons your images are coming back blurry is that you’re not using a fast enough shutter speed. If you use a slow shutter speed, then your camera sensor remains open to the light for too long. It captures too much. That is, it captures motion.

But if you want to freeze the motion and capture only a sliver of a second so that everything is crystal clear, frozen. To do this, you need a fast shutter speed.

sharp images white ibis

Fortunately, it’s not difficult to do this. In your camera’s settings, you can generally increase the shutter speed. Or you can use the Action (Sports) setting, which many cameras have.

Even if your subject isn’t moving, your hands might not be rock-steady. This causes camera shake which in turn causes image blur.

A faster shutter speed will help fix this.

2. Tuck in your elbows

A shutter speed increase solves many issues with blurry photographs. But what if you can’t use a fast shutter speed?

photography without tripod golden retriever sunset

When the light is low, for instance, when you’re indoors or when you’re outside at night – a fast shutter speed lets in too little light, causing the image to be dark (we call this underexposure). Your camera will compensate for the low light by keeping the shutter open for longer, exposing the sensor to more light.

This is when it becomes important to eliminate camera shake completely. If the camera shakes, your image will come out blurred. So how do you stop your camera from shaking?

The first way that I’m going to talk about is simple: You tuck in your elbows. Don’t shoot with your arms out. Instead, firmly grip your camera while pulling your elbows in. This will serve to stabilize the camera and reduce camera shake.

sharp images woman in window

I tucked in my elbows in order to get a sharp shot of my model in low light.

3. Stabilize your body against a wall (or the ground!)

Sometimes, tucking in your elbows isn’t enough. If the light is really low, you may need to take more drastic measures to reduce camera shake.

One big tip is to stabilize your body against a feature of the landscape, something solid.

sharp images reddish egret

When photographing birds, I often stabilize my elbows against the ground, ensuring a sharper image. If you’re a street photographer, for instance, you can search for walls to lean against. If you’re a landscape photographer, you can hold onto a rock or tree.

It also helps to get down on the ground. You can kneel and stabilize your arms on your knee. Or you can get down on your stomach and use the grass, concrete or dirt as a stabilizer for your camera.

Trust me, it works!

4. Use a tripod

I’ve been talking a lot about stabilizing your camera, and the ways I’ve suggested will generally work well, especially if you’re in a pinch. But there is a more dedicated solution – use a tripod.

With a good tripod, you can completely eliminate camera shake. This will do wonders for keeping your images sharp.

sharp images ann arbor nickel's arcade

I used a tripod to capture this image of a musician at night.

There are a few downsides to using a tripod, however. The first is that you lose flexibility. It takes time to set up a new composition when you’re using a tripod, time that you might not want to spend. This is especially true if you’re photographing in a fast-paced atmosphere (e.g., portraiture or events).

The second downside is that good, solid tripods are expensive, especially if you want one that’s lightweight. Cheaper tripods may seem like a bargain, but they often don’t do the job well, or at all and replacing them costs more than buying one good one in the first place.

So be careful before choosing to invest in a good solid tripod.

5. Use a Shorter Lens

I have one more recommendation for eliminating blurry photographs, that is to use a shorter lens.

This is for a few reasons, but I’ll focus on the simplest one. A longer lens is harder to keep steady. It destabilizes the camera (and the image is magnified), and will, therefore, cause camera shake.

sharp images golden retriever

I used a wide-angle lens to photograph this golden retriever as the sun dipped below the horizon.

Hence, this tip is short and sweet. Especially when shooting in low light, put away your longer lenses and your telephoto zooms. Bring out your wide-angle and portrait lenses, ones that you can easily hold steady.

That’s how you’ll take sharp images.

Conclusion

Capturing consistently sharp images may have seemed daunting, but I hope that you now realize the truth. Getting sharp images is easy!

sharp images cosmos

I urge you to get out and try these tips now.

  1. Use a fast shutter speed.
  2. Tuck in your elbows.
  3. Stabilize your body.
  4. If you want, invest in a tripod.
  5. Use a wider lens.

And admire those crystal clear images!

Do you have any other tips for taking sharper images? Please share them in the comments below.

sharp images wilson's plover

The post Five Ways to Take Stunningly Sharp Images appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on Five Ways to Take Stunningly Sharp Images

Posted in Photography

 

IRIX announces 150mm F2.8 Macro 1:1 lens with near-zero distortion

24 Sep

IRIX has announced a new full-frame telephoto macro lens, the 150mm F2.8 Macro 1:1.

The 1:1 reproduction lens will be available for Nikon F, Canon EF and Pentax K mounts and claims to have ‘close to zero distortion,’ according to IRIX — just 0.1 percent, thanks to the optical construction consisting of twelve elements in nine groups.

IRIX touts the telephoto focal length as a benefit noting ‘the possibility of being able to move away from the photographed object […] makes the operation more convenient than using lenses with a shorter focal length. No shadows are cast on the object and it is also possible to use lamps dedicated to this type of photography.’ Its internal focusing mechanism means the lens won’t shrink or expand when focusing.

Illustration showing the location of the weather-sealing gaskets.

The lens features select weather-sealing at various areas on the lens and has a rubberized focus grip with 270-degrees of rotation. There’s also Focus Lock and a removable Arca Swiss lens collar for easy shooting on a tripod.

The construction of the lens features IRIX’s new ‘Dragonfly finish.’ In Irix’s own words, ‘the aluminium frame has been enclosed in an external structure made of aluminium-magnesium alloys and composite elements. The combination of Firefly and Blackstone features gave the lens lightness and solidity while maintaining high mechanical strength and resistance in difficult weather conditions.’

Sample image captured on the 150mm F2.9 Macro 1:1, provided by IRIX.

Pricing and availability is yet to be determined.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on IRIX announces 150mm F2.8 Macro 1:1 lens with near-zero distortion

Posted in Uncategorized

 

Canon RF 24-105mm F4L IS USM sample gallery

24 Sep

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8489552788″,”galleryId”:”8489552788″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The RF 24-105mm F4L IS USM is one of four lenses to launch with Canon’s new full-frame mirrorless system. Currently it boasts the longest reach in the native lens range, with weather sealing and a claimed 5 stops of image stabilization to boot. Take a look at some of the 24-105mm sample images we’ve gathered so far as our EOS R testing continues.

See our Canon RF 24-105mm F4L
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Canon RF 24-105mm F4L IS USM sample gallery

Posted in Uncategorized

 

Review: Peak Design Everyday Backpack 20L

24 Sep

If you’re on the hunt for a stylish camera backpack, look no further than the Peak Design Everyday Backpack. Peak Design is well known for supplying photography accessories that not only look good but function extraordinarily well. The Everyday Backpack is no exception.

Despite being designed for photographers, the Everyday Backpack doesn’t look like a camera bag. This acts as both a deterrent to potential thieves, but also makes the backpack great for use even if you’re not intending to fill it with camera gear.

There are many reasons to use the Everyday Backpack, but unfortunately, it’s far from perfect. In fact, there are some quirks that could make an unideal bag for you. Read on for my take on what’s great about this bag, and what needs to be improved.

Peak Design Everyday Backpack Camera Laptop Bag - woman with backpack on

Why the Everyday Backpack?

First off, here’s how this backpack ended up in my camera bag collection. I’ve spent 7 years carrying my camera gear in a Think Tank Retrospective Messenger Bag and hauling a separate laptop bag. It was a lot to carry, and I wanted to consolidate my gear into a single bag. A backpack was key to balance weight, but most backpacks are too bulky.

Until recently, the InCase DSLR Pro Backpack had been my camera and laptop backpack of choice. It’s incredibly comfortable and spacious and was great when I was shooting primarily with Canon DSLRs. But when I switched to Sony mirrorless cameras, I wanted a smaller backpack. Enter Peak Design!

Here’s a quick video overview.

?

Pros

Stylish Design

True to its name, this backpack is full of stylish design touches that truly stand out. Composed of several different materials including leather handles, anodized aluminum clips, and weather-resistant fabric, there is lots of visual appeal to the Everyday Backpack.

During my one month of traveling with this backpack from California to Florida, I’ve had multiple people stop me on the street just to inquire about the bag.

Peak Design Everyday Backpack Camera Laptop Bag

Sturdy, weather-resistant material

The Everyday Backpack is composed mainly of a weatherproof nylon canvas shell. It’s a nicely textured fabric, and it’s available in four different colors (black, tan, ash and charcoal). The two zippered side pockets are also reinforced with weatherproofing material, preventing liquid from entering. As a result, this bag is reasonably weatherproof without having to put a protective coat on it.

Flexible dividers for safely stowing gear

Inside the backpack are three of Peak Design’s FlexFold Dividers. These unique dividers aren’t flimsy like the ones you find in most camera bags. Instead, the FlexFold dividers are quite rigid, giving you peace of mind that your gear is being protected and not rattling around when being transported. Best of all, these dividers can also fold down to secure your gear and give you an added layer of space for stowing extras such as a small monopod or tripod.

Peak Design Everyday Backpack Camera Laptop Bag

Side zippers for easy access to gear

Unlike conventional backpacks that only give you access from the top, the Everyday Backpack gives you three points of entry. You can access your stuff from the top via the MagLatch flap, or from the two zippered side flaps.

This helps you better organize your gear and find it without having to rummage through the entire bag.

Peak Design Everyday Backpack Camera Laptop Bag

Lots of pockets for stowing gear

Besides the main compartment, the Everyday Backpack has several extra internal spaces. Each side flap is lined with a spacious internal pocket for storing small accessories like batteries and memory cards. Within the MagLatch flap, there’s also a small magnetized pocket that’s the perfect size for sticking your keys or wallet (be careful you don’t demagnetize your bank cards though!) for quick access.

On the outside, there’s a separate laptop compartment and two expandable side pockets. Finally, the back panel slightly detaches to allow for the backpack to slide easily onto a luggage handle, but I like using this area to secure bulky items like a reflector.

Peak Design Everyday Backpack Camera Laptop Bag

Discrete carrying straps

Thankfully, the Everyday Backpack comes with straps to help you carry heavy loads or bulky items. Specifically, there is a chest strap, waist strap, and tripod straps. All the straps are quite thin and easily tuck into the bag’s external pockets when not in use.

In practice, the chest strap does come in handy, but the waist straps are too thin and not padded, making them uncomfortable. The tripod straps are quite sturdy and reliable, but I find very few instances when I want to add the weight of a bulky tripod to this bag. More on that below.

Peak Design Everyday Backpack Camera Laptop Bag

Zippered pocket inside the side panels, very handy for small items.

Cons

All in all, the Peak Design backpack looks great and functions really well. But there are some problems that arise mainly when the bag is packed to capacity.

No wiggle room for extra gear

If you’re like me, your camera bag is often stuffed to the seams with gear. Most camera bags are built with expandable sections so you can add a few extra items to your bag. This is not the case with the Peak Design bag. It’s designed to snugly hold a set amount of gear.

From then on, there’s really no room to throw in extras. This is due mainly to the fact that the bag’s material is really rigid, probably to add support and protection to your gear but at the expense of flexibility.

The backpack is really uncomfortable when too heavy

At the expense of looking pretty, the Everyday Backpack fails at one basic thing: making the back panel and backpack straps consistently comfortable. Both the back panel padding and straps are rigid and they cut into your back and shoulders when the bag is heavy.

This isn’t a problem if the bag isn’t weighed down with tons of gear. But it’s unwearable for long periods of time when filled with too much gear.

Compromise – use this backpack with a belt pack

Since the backpack is comfortable when not packed to the brim, my compromise has been to use the backpack in conjunction with the Think Tank waist pack. The belt pack is typically what I’ll wear during shoots anyway, so I stick my extra lenses and flash in the belt pack.

My camera body, laptop, and computer accessories go into the Peak Design bag. I simply carry them both to shoots. So far it’s been a much more comfortable way to carry my gear without feeling too bulky or weighed down.

Peak Design Everyday Backpack Camera Laptop Bag

Zippers tend to slide open if not secured

Another problem that results from the backpack being too full is that the side zippers tend to slide open. Luckily, Peak Design did supply a solution. All zippers are equipped with little black loops that can connect to each other and prevent accidental spills.

Peak Design Everyday Backpack Camera Laptop Bag

Not possible to lock or secure bag when not in use

One of the key points of the Everyday Backpack is the “revolutionary closure system” called the MagLatch. According to Peak Design, it is the only bag closure system that is “no-lock, one-handed, quiet, and secure.”

In practice, the MagLatch is a unique way to quickly access to the top section of the backpack. But the fact that the MagLatch doesn’t lock makes the bag questionably secure. I wouldn’t leave this bag unattended since there’s nothing to prevent a thief from reaching in.

Peak Design Everyday Backpack Camera Laptop Bag

Expensive

At $ 259.00 a pop, there’s no denying that this a pricey purchase. Compared to the myriad of comparable camera laptop backpacks out there, this backpack might seem too expensive. However, the Peak Design Everyday Backpack truly has a standout design and high-quality design touches that could justify the price.

In Conclusion

The Peak Design Everyday backpack is a truly stylish bag with some great features. I use the backpack often when carrying mirrorless camera gear around and absolutely love it. But if you plan to carry heavy camera gear or stuff this bag to capacity, consider another backpack such as the Incase DSLR Pro Pack for a more comfortable experience.

The post Review: Peak Design Everyday Backpack 20L appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on Review: Peak Design Everyday Backpack 20L

Posted in Photography

 

12 Tips for Overcoming Common Wedding Day Setbacks

23 Sep

Weddings are filled with love, laughter, and a lot of pressure. Brides and grooms put a lot of thought into every detail of their day and even the most perfectly planned wedding can encounter problems that can affect you, the photographer. There are no two weddings alike, however, there are common setbacks that can happen at any wedding or event that you may be photographing.

wedding portrait couple on by the ocean

1. Running short on time

The photography timeline is set out so that everyone involved can stick to a schedule. That allows all of the important details and people to be photographed. Unfortunately, running late or short on time because of any reason can be a cause of stress to everyone involved. 

wedding day photography - groom getting ready

If you are caught with less time, the first thing you should do is to assure your client that everything is okay and these setbacks are really common on the wedding day. Make sure that you mention you can make up time later and offer suggestions to the problem.

For example, if the bride has taken a little longer than was originally planned to get ready and now you only have 10 minutes for family photos, suggest to the bride that you can snap a few in that 10-minute window and also after the ceremony.

wedding day photography - 2 bride photos

If you are waiting for someone to arrive for photos, make use of the time and photograph details, other people with the bride and groom, individual photos, or more photojournalistic photos. It’s important to keep taking photos no matter the setback, this will keep the bride and groom calm knowing that you aren’t missing any detail and it can distract from the problem.

Usually, you can make up the time later and get the photos you need either during cocktail hour or during the reception. You can photograph details, portraits, and even get some interesting lighting using flash during the reception.

bridal party - wedding day photography

Photos of the bridal party during the reception because we ran out of time beforehand. You can always try and take photos later in the day if the time runs short.

2. Having too much downtime

It is rare to have downtime when photographing a wedding but it can happen. Having downtime usually occurs during the getting ready phase, waiting for the bridal party, or reception parts of the day. It’s okay to have downtime, however, there is nothing worse than seeing vendors, especially photographers, sitting down and waiting it out during these times.

Sure, it’s perfectly fine to use this time to go to the bathroom or take a snack break. Your break just shouldn’t be more than 10 minutes.

wedding dress hanging up - wedding day photography

Make sure to use the downtime wisely. Prep for the next round of photos, check batteries or set up off-camera lighting. You can also do test shot in the next location where you’ll be photographing.

Even though you’re waiting for the next event to come, never stop photographing any and all of the little details. In short: there is always something to photograph and do while you’re waiting.

3. The bride is full of emotions

I will not use the term “bridezilla” because I don’t believe it’s fair to the bride. Wedding days are high pressured days and brides are usually nervous and full of emotions before walking down the aisle.

It doesn’t matter if the couple is doing a first look or are getting ready in the same room, some brides are more nervous than others.

bride and her girls having fun - wedding day photography

If this is the case, don’t mention anything! Even if the bride is nervous, anxious, or even angry, just redirect the focus on something else like her dress or that she looks beautiful. Reassure her that everything will be okay and tell her to just enjoy the moment now.

As the photographer, it’s your responsibility to help the bride relax and feel very natural as the day unfolds. Always keep a positive attitude and try to transmit that same vibe to the bride and groom. If they feel like you are there for them, it will make all the difference in the photos. If you’re excited about the wedding, then they’ll be excited.

4. Family telling you how to do your job

Unfortunately, it doesn’t matter how long you’ve been photographing weddings, you will encounter a family member or friend who wants to tell you how to do your job at least once.

wedding couple in the grass - wedding day photography

When you encounter this type of setback, don’t make any negative or sarcastic remarks. Thank them for the idea they offered and move on. You can also comment that you’ve been photographing weddings for X number of years and are experienced in taking photos. Better yet, just go along with what they are saying and don’t say anything in return.

If they are asking for a particular photo, take the photo. If you already have, kindly let them know that you got the shot earlier in the day. This will keep them at bay knowing that you are taking all of the most meaningful photos.

wedding rings and hands - wedding day photography

At the end of the day, the guests will remember you more than you realize and if you make snarky or sarcastic remarks it may result in a negative view of your professionalism. You are there to photograph your bride’s day and that also means tending to the requests of her guests (they’re well-meaning).

5. When there is no planner or coordinator

If the couple has opted to not have a planner or coordinator, it is up to you to make sure to assist the couple during the wedding day.

Technically it isn’t your responsibility, however, helping with putting on boutonnieres, adjusting centerpieces, and placing the veil will always help you to capture the best photos possible.

girls wedding party - wedding day photography

Work with your couple before the wedding to make a schedule of the most important parts of the day that you’ll be covering. This way, everyone knows what time the family photos are happening, what time the dance starts, and what time you’ll be photographing the dress. Knowing when and where all the events will take place will give your couples peace of mind.

Having a schedule, or itinerary, will also help to move things around. For example, if the bride is late for her bridal party photos, you can take photos of the people who are there so switch to the groom’s family photos.

wedding couple leaving the church - wedding day photography

Photography is service based and as such, you should always strive to give your clients the best service possible. If that means acting as coordinator for the day to capture the best photographs possible, by all means, do it.

You can also have a family member or member of the bridal party to help to coordinate and fix any problems that may come up during the day.

6. Vendor Meals

There is nothing worse than working a wedding and having to eat a vendor meal during dinner. Everyone works differently, yet vendor meals can be a huge setback, especially if it consists of a sandwich and an apple. 

You can prepare for this by taking snacks or even a full meal. Pack an icebox or lunch bag with your favorite snacks and perhaps a little something more just in case you will be having a vendor meal.

wedding day photography - wedding cake

Try asking the couple if they are okay with you taking an empty seat during the reception or getting in line for the buffet at their event. Most guests won’t mind because, by that time, they will have seen how hard you’ve been working all day. Luckily, most couples now invite their vendors to eat dinner or make sure that they’ve had something substantial.

In any case, take your snacks and water because you’ll need them throughout the day, whether you get a vendor meal or real dinner.

7. Little time with bride and groom

Sometimes, wedding day timelines can get a little compressed leaving less time for the most important photos (next to the ceremony). However, you can create stunning photos of the bride and groom all in one spot without having to move them to different locations.

To achieve this, download 10 of your favorite poses for couples onto your phone and photograph each one from different angles. Take individual photos of the bride and groom, including details of their wardrobe.

6 wedding couple poses - wedding day photography

Without moving the couple very much, you can get many different poses and photos in a short amount of time.

When you take advantage of posing in one spot, you can get lots of different photos from different angles in less time. Subtle changes to posing like facing the bride toward the groom and then facing the bride away from the groom can offer more variety.

Using one location can maximize the time you have for photos because moving from one location to another can often waste time. This way you can focus on them and getting great expressions.

wedding couple - wedding day photography

For example, pose the couple in front of a plain wall, facing each other, hands around the bouquet. Take one photo of them in this pose full length. Take another mid-shot asking the groom to kiss the bride on the cheek while the bride smiles and looks down at her bouquet; that’s two photos.

In this same pose, get close and take a photo of the kiss. Next, go behind the couple and photograph mid-shot. Still in the same pose, get a close-up of the groom’s hand around the bride’s waist from behind the couple; the makes five photos without moving the couple.

After you have worked through one pose, choose another and work through it until you have all possible photos. This technique will ensure you get the most photos out of each pose in little time, without moving the couple.

8. Rain

Depending on where you live, what time of the year you’re photographing, and weather conditions, it could be that you get hit with rain on the day of the event. If this does happen, maintain a positive outlook and always try to help find solutions to work around the rain.

wedding day photography - b/w bride

When rain strikes, switch to an indoor location or a location with covered walkways.

Change locations for photos. If you were going to do the family photos outside of the church, try moving the family inside the church or better yet, to the reception location. Look for options where you have awnings, covered walkways/breezeways, and inside a home or venue. 

two wedding photos - wedding day photography

Sometimes, the weather clears and you’re able to go outside for the remaining portraits.

You can also take advantage and get creative with the wedding photos. Ask the couple if they are willing to pose in the rain under an umbrella. You might be surprised how many are willing to get something a little different!

9. Drunken guests

It’s not uncommon for wedding guests to want to start the party early. Work with the coordinator or the bride and assign a family member to take care of the drunken guest. If they are part of the family, try and keep them away until it’s time for them to be in photos.

shot of alcohol - wedding day photography

Try as best as you can to be nice and not comment on their state of being. Drawing attention to their behavior can upset the couple more and ruin the time you have for photos. Be really direct in posing and communication and always stay positive.

10.  Clashing with the wedding coordinator/planner

Although it is rare when vendors don’t see eye-to-eye during an event, it is really important to stay close to the couple. If you need something particular make sure to run it by the couple first. They have the final say on everything that goes on during the day.

couple poses - wedding day photography

Always maintain a high level of professionalism and make sure that you aren’t seen being rude or speaking rudely to the other vendors. If the clash worsens, tell the bride that you and the coordinator/planner have differences and suggest options to help maintain order.

Communication is key and it’s always best to go to the couple if you experience backlash or trouble with another vendor.

11. Other photographers/weddings at the same portrait location

This is probably the most common setback in the wedding industry. Many couples tend to choose the same locations for the portrait session.

If there are other photographers at the location before you arrive, simply introduce yourself and let them know that you’ll also be photographing a wedding. Ask them if they plan on using another location for photos and if they’d be willing to switch it up after a certain amount of time.

wedding Pasadena - wedding day photography

This location in Pasadena, California is really popular for bridal portraits. There were at least 3 other photographers there at this time.

If there are a lot of photographers and events, simply choose a spot at the location that is free of people. Staying clear of other photographers’ background and watching out for people walking into your frame will keep the portraits clean.

12. Guests taking photos during the ceremony

Keep in mind that the wedding guests are an important detail in the couple’s day. Each was given an invitation to share and be a part of the wedding.

Having said that, some guests will take it upon themselves to take photos of the most important parts of the day, namely, the ceremony.

lady taking a photo at a wedding ceremony - wedding day photography

When this does happen, gently tap the guest on the shoulder, with a smile and motion to them that you need the spot in order to take a great photo of the couple. Most guests will move out of the way and not be bothered by this gesture.

This also asserts that you are the main photographer while staying positive and professional with guests. This non-verbal gesture also works with other vendors like videographers.

bride's maid and bride selfie - wedding day photography

It’s also a good idea to let the guests take their photos first and then position yourself to take the profession photos afterward. This way, you’re letting guests take and share their own shots but also letting them know that you need to take these important photos as well.

couple kissing - wedding day photography

The more photos the couple has of their day, be it from your camera or from their guests, the better. They’ll appreciate you for letting guests enjoy themselves by taking their own photographs.

In Conclusion

couple dancing - wedding day photography

Wedding photography is the most important take away from a couple’s wedding. However, it is not free from mishaps during the day of the event.

Each wedding can have one or more setback, it’s up to you the photographer to work around them and find solutions quickly. Maintain a positive attitude and always reassure the client that everything is photographing beautiful.

Have you experienced any of these or other setbacks at a wedding you photographed?

The post 12 Tips for Overcoming Common Wedding Day Setbacks appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on 12 Tips for Overcoming Common Wedding Day Setbacks

Posted in Photography

 
« Older Entries
Newer Entries »