The post Two Autofocusing Tilt-Shift Lenses From Canon May Debut Next Year appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon will release its first RF-mount tilt-shift lenses within the next year, claims Canon Rumors. What’s more, these will “be the first tilt-shift lenses with autofocus.”
At the time of writing, Canon offers a number of tilt-shift lenses for its DSLR lineup, including the 17mm f/4L, the 24mm f/3.5L II, and the 90mm f/2.8L Macro. But all of Canon’s TS lenses are manual focus only, and Canon has not yet produced a tilt-shift option for mirrorless shooters.
If the rumors are right, Canon will release two wide-angle TS lenses:
A 14mm f/4L lens
A 24mm f/3.5L lens
The 14mm f/4L lens should be perfect for ultra-wide landscape photography; with a 14mm focal length, you gain the expansive field of view that’s especially popular among pro landscape photographers. It’s a perspective that cannot be matched by Canon’s current tilt-shift offerings (Canon’s widest TS lens is the aforementioned 17mm f/4L, followed by the 24mm f/3.5L II).
The 24mm f/3.5L, while perhaps less groundbreaking, offers a “standard” wide-angle perspective. It’ll undoubtedly excel when shooting landscapes, architecture, and even environmental portraits, either as a conventional lens or with the tilt-shift effects applied.
But what’s the value of a tilt-shift lens?
Lenses featuring tilt-shift capabilities allow you to address certain problems posed by architecture and landscape photography (though the TS effect is also just cool!). Specifically, tilting the lens adjusts the plane of focus. You can use this to produce a “miniature” effect, where all the elements look small and human-made – or you can use it to keep certain elements in focus while blurring out other elements.
So a landscape photographer might use the tilt effect to keep an entire scene in focus from front to back, even with a shallow depth of field. And a portrait photographer might use the tilt effect to creatively blur out all but the subject’s face.
You can also shift the lens; this essentially lets you choose a vantage point off to the side of your camera, but without having to move the camera body. It’s invaluable for architectural photography, where shifting the lens upward prevents unwanted distortion. You can also use the shift effect when capturing panoramas in landscape photography (it makes for beautiful, easily stitched results!).
Currently, Canon’s tilt-shift lenses are relatively expensive, and I doubt this RF-mount glass will break the mold, especially given the added autofocus capabilities. But we’ll ultimately have to wait and see; Canon Rumors suggests a “first half of 2022” announcement (one that should, incidentally, come “alongside a high-megapixel camera”).
So keep an eye out for more information. And if you’re thinking about purchasing a tilt-shift lens, you might want to hold off until these RF-mount options have been unveiled.
Now over to you:
What do you think of Canon’s potential tilt-shift lenses? Would you be interested? What draws you toward tilt-shift glass? Share your thoughts in the comments below!
The post Two Autofocusing Tilt-Shift Lenses From Canon May Debut Next Year appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post The Weekly Photography Challenge – BlackAndWhite appeared first on Digital Photography School. It was authored by Sime.
Last week I ruffled some proverbial feathers and made sure to mention that we want you to go out and make a NEW photo for this challenge, which is kinda the point of a ‘challenge‘ as there really isn’t a lot that’s challenging about dipping into your Lightroom catalogue and pulling out a photograph from 1984, is there?
This week your challenge theme is #dPSBlackAndWhite (Or, mostly B&W)
Omaha Beach
Ideally, being digital photography SCHOOL we want you all to push yourselves with ‘easy’ themes that you have to spend a little time THINKING about how to make an awesome image! THat’s the goal, but, we get it – some people can’t, and so that’s why it’s not a ‘Rule’ it’s more of a guideline. So, that little gem of information out of the way, let’s get on with this week’s challenge which is B&W or, more commonly ‘Black and White’ which we haven’t done for a good while and I thought it might be good to see how you’ve progressed!
B&W Portraits | Still Life | Street | Headshots | …but HOW? click here for a post that might help.
This is Battersea Calling
Because I just had a little mini-rant about making this a new photograph and so on, I popped the camera on the tripod and photographed my guitars – they’ve made their share of grunge-type noises, so I opted for a messy gritty B&W conversion in Lightroom. You can use many different was to convert your photograph to B&W if you shoot it colour in raw, or just use the B&W filters (if your camera has them) options in your camera – most cameras have a ‘creative’ set of filters including B&W.
One thing I have always loved in a B&W image is higher contrast (as is evident) the photo of Battersea Power station and the tree (I like trees, huh) at Omaha Beach are older, depicting my love for gritty, contrasty B&W through the years, and the one below was taken about an hour ago, here in my office. ANyways, enough about me, let’s see what YOU have for B&W theme challenge this week. (Read on below for instructions on how to post)
Washburn, Washburn, Music Man, Washburn
Great! How do I upload my photos?
Upload your photo into the comments field (look for the little camera icon in the Disqus comments section below this post) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.
Share in the dPS Facebook Group
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
The post The Weekly Photography Challenge – BlackAndWhite appeared first on Digital Photography School. It was authored by Sime.
Winning photos from the Pink Lady Food Photographer of the Year 2021 contest
Editor’s note: There are images in this gallery that show animal carcasses being butchered (slide 8 and 9, in particular). Keep this in mind going forward if you would rather not see this content.
The winning photographs for the Pink Lady Food Photographer of the Year 2021 contest have been announced, with the overall prize being taken by Chinese photographer Li Huaifeng for their photograph Taste, which shows a young family enjoying a meal in their home as the sun cast rays through the smoke-filled room.
The Pink Lady Food Photographer of the Year awards is celebrating its tenth anniversary. The finalists and winning images were whittled down from nearly 10,500 entries submitted from more than 70 countries around the world.
In lieu of an in-person event, due to the COVID-19 pandemic, the winners were announced in a livestream, which can be watched in its entirety, below:
In addition to the usual categories, this year’s contest also featured a ‘very special category’ to honor Claire Aho, ‘Finland’s greatest woman photographer,’ according to contest organizers. The inaugural winner of the Claire Aho Award for Women Photographers was Marina Spironetti for ‘her magnificent portrait Female Butchers of Panzano – Martina, one of the women trained by Dario Cecchini, world-famous butcher of Panzano.’
As for the judges of this year’s contest, the event organizers say:
‘This year’s global judging panel, chaired by legendary food photographer, David Loftus, includes Fiona Shields, Head of Photography, Guardian News & Media, Susan Bright, Writer and Curator, Nik Sharma, Cookbook Author and Photographer, Chef Simone Zanoni, Restaurant Le George, Four Seasons Paris, Alison Jacques, Founder, Alison Jacques Gallery and Vitalie Taittinger, President, Champagne Taittinger.’
An exhibition for the 2021 finalists will premiere at The Royal Photographic Society in Bristol from November 20 through December 12. Entry is free.
The following gallery will showcase images from twelve of the more than three dozen categories in this year’s contest. You can see all of the finalists and winning images on the Pink Lady Food Photographer of the Year 2021 contest website.
Taste, Overall Winner
Credit: Li Huaifeng via Pink Lady Food Photographer of the Year
Photographer: Li Huaifeng, China
Image Description: The photograph was taken in Licheng, Shanxi, on a warm and sunny day, and shows a young family sharing in the joy of preparing food.
Drying Okra, Bring Home the Harvest
Credit: F. Dilek via Pink Lady Food Photographer of the Year
Photographer: F.Dilek Uyar, Turkey
Image Description: Drying okra flowers in Tokat, Turkey. Women pick okra flowers from the field and arrange them on a rope, then the dried flowers fall and the okra becomes ready to be used in winter
A Grape View, Errazuriz Wine Photographer of the Year – Overall
Credit: Oscar Olivera via Pink Lady Food Photographer of the Year
Photographer: Oscar Oliveras, Spain
Image Description: The photograph captures the filling up of Semillon grapes ready to be pressed at the cellar. It was taken on the first day of the harvest of Sauvignon Blanc at Chateau des Ganfards, in Saussignac, France. The harvesting machine is unloading the fruit into the tractor, ready to take them into the winery for pressing. The tractor is being driven by M. Jean Claude Géraud, the owner of Château des Ganfards. Oscar took the photo whilst working there as a winemaker.
Breakfast at Weekly Market, Food at the Table
Credit: Thong Nguyen via Pink Lady Food Photographer of the Year
Photographer: Thong Nguyen, Vietnam
Image Description: People enjoy their Pho (beef of chicken noodle) for breakfast at a local weekly market.
Making Rice Noodles, Fujifilm Award for Innovation
Credit: Abdul Momin via Pink Lady Food Photographer of the Year
Photographer: Abdul Momin, Bangladesh
Image Description: A worker is inspecting rice noodles if they got dried rightly or not.
Old Friends, Politics of Food
Credit: Sandro Maddalena via Pink Lady Food Photographer of the Year
Photographer: Sandro Maddalena, Italy
Image Description: Tskaltubo – Refugees from the Abkhazian – Georgian conflict gather in the basement of an abandoned sanatorium to share their food. Almost thirty years after the conflict, Abkhazian refugees are still living in abandoned buildings in conditions of poverty.
Female Butchers of Panzano-Martina, The Claire Aho Award for Women Photographers
Credit: Marina Spironetti via Pink Lady Food Photographer of the Year
Photographer: Marina Spironetti, Italy
Image Description: Part of a project about the female butchers at Dario Cecchini’s, the world’s famous butcher from Panzano in Chianti. For some time now, Dario has been training a team of young ladies, who came to Tuscany from all over the world to learn the art of deboning. Traditionally, women butchers have always existed in Tuscany.
Head to Head, The Philip Harben Award for Food in Action
Credit: David Thompson via Pink Lady Food Photographer of the Year
Photographer: David Thompson, Taiwan
Image Description: Taken at Wanhua District night market, Taipei, Taiwan the photo depicts a butcher preparing cuts for the daily traditional market, here seen working on a pigs head cutting out the cheeks.
Family, WFP Storytellers Award
Credit: Ziney Abdulhakim Ibrahim via Pink Lady Food Photographer of the Year
Photographer: Ziney Abdulhakim Ibrahim, Iraq
Image Description: The importance of all family members meeting around one dining table at least once a day, as this habit helps to strengthen family ties and gives family members a sense of emotional warmth and provides an opportunity for dialogue, exchange of ideas and problem-solving.
Orishas Tribal Markets, Young – 11 – 14
Credit: Indigo Larmour via Pink Lady Food Photographer of the Year
Photographer: Indigo Larmour, India
Image Description: The tribal markets in Odisha are some of the most colourful in all of India. Vendors commonly sit on the ground and spread-out vegetables that they are selling.
Spill the Tea, Young – 15 – 17
Credit: Dewi Hollema via Pink Lady Food Photographer of the Year
Photographer: Dewi Hollema, Egypt
Image Description: Men gather round on the side of the street in old Alexandria to share the local gossip with a cup of black sweet tea and snacks. This is a common sight in Egypt where their national drink is enjoyed throughout the day: tea ???.
The post 11 Food Photography Ideas (for Easy Inspiration) appeared first on Digital Photography School. It was authored by Ana Mireles.
Are you looking for food photography ideas to get inspired? You’ve come to the right place.
Professional high-end jobs in food photography often have a producer, an art director, a home economist, and a food stylist – or a subset of these. But if you’re just starting out, or you use food photography for your blog, you have to take care of everything on your own.
These food photography ideas are meant to help – and cover lots of key information, from picking the props to editing the photos. So keep on reading!
1. Use non-reflective props whenever possible
One of the most difficult technical challenges in food photography is dealing with reflections. Usually, plates, glasses, and cutlery are made with reflective materials that can be very tricky to photograph. That’s why I advise you to work with matte props if possible.
Canon 70D | 31mm | f/2.8 | 1/8s | ISO 100
Consider the two cups above. To make a good picture with the shiny, ceramic cup, I would’ve spent a lot of time and effort managing the reflections in-camera – and I would’ve probably finished the job in post-processing. But with the matte cup, I had no issues; the downside is that it’s not always easy to find non-reflective props.
Salt-glazed ceramic or terracotta are good choices for plates and bowls depending on the look you want to achieve. As for cutlery, find tarnished silver or wooden utensils. But it needs to make sense with the mood of the photo.
Finally, you can try a matte finishing spray for bottles and glasses. There are some professional options, but you can also experiment with deodorant and hair spray.
2. Practice every chance you get
Olympus OM-D E-M10 Mark III | M.Zuiko 14-42mm f/3.5-5.6 | f/3.5 | 1/20s | ISO 2000
Practice makes perfect, so you should be practicing your food photography as much as possible.
Going out to eat is a great way to practice because it will give you a different setting as well as challenging lighting. Plus, practice photos are also great for your social media; you can post food photos on sites like Instagram to build your brand and grow your business.
You won’t have much control when shooting in a restaurant, especially if you’re using your phone – but that’s a challenge that will help you improve.
And you can do some things, such as:
Choose the right camera angle
Arrange the elements on the table in a pleasing way
Carefully exercise composition guidelines
Actually, if you enjoy it and you become good at it, photographing restaurant food for social media can be your area of specialization. Many restaurants are currently hiring professional photographers to populate their own social media channels.
3. Pay attention to composition
Xiaomi Redmi Note 8 | Native camera app | f/1.8 | 1/35s | ISO 250
Food photography composition refers to the positioning of elements (food, bowls, cutlery, etc.) within the frame. It’s an essential food photography factor because it will define how the viewer perceives the entire scene.
There are many compositional guidelines you can use to make your food photography stand out. Keep in mind that these guidelines aren’t universal; while a “rule” may fit one image, it might not be right for the next one. It all depends on the elements in your scene and what you’re trying to communicate.
For example, straight lines and a square composition convey stability, while diagonal lines and triangle compositions make for a dynamic image.
Most cameras have a grid with the rule of thirds, which is a basic composition guideline that suggests you position key elements a third of the way into the frame. However, many camera apps offer a wider selection of grids, such as the golden ratio – so experimenting with your smartphone can be a good way to train your eye.
Keep in mind that you can always improve the composition in post-processing using the Crop tool. In fact, Lightroom and Photoshop offer composition grids to guide your crops.
4. Learn to use – and prioritize – the camera settings
Canon 70D | 55mm | f/5.6 | 1/200s | ISO 800
There are three settings to consider when you expose your image: the lens opening through which light travels (aperture), how long the light comes in for (shutter speed), and the extent to which the light is amplified by your camera (ISO). But you must be careful because each of these camera settings comes with other effects that can ruin a photo.
So what should you use to adjust the exposure?
Widening or narrowing the aperture will determine how much of your image is in focus. This is known as the depth of field. So if you have a still subject and you’re using a tripod, first adjust the aperture to achieve the desired depth of field. Leave the ISO at 100, then slow down your shutter speed to properly expose the photograph.
Now, with a slow shutter speed, all moving objects appear blurred. If you want to freeze motion, you have to keep a fast shutter speed. So for food photography scenes with movement, you should prioritize the shutter speed. Then set the aperture based on depth of field concerns. Finally, adjust the ISO.
Note: The higher the ISO, the more noise you’ll have in your photo; the lower the ISO, the smoother and sharper the result (all else being equal). So you should always use the lowest possible ISO.
5. Choose the right angle
Canon 70D | 55mm | f/5.6 | 1/6s | ISO 100
Your choice of camera angle can make or break a photograph. There are three main camera angles in food photography:
The top angle. Most commonly known as flat lay, this is a trendy style on Instagram. To create a top-angle shot, you should have the sensor parallel to the subject’s plane. (For top-angle inspiration, search Instagram for the hashtags #flatlayphotography or #flatlaystyle.)
45 degrees. Position your camera at a 45-degree angle from the flat table or surface on which the food lies. This angle mimics the way you normally see food.
On a level. For this angle, you must drop the camera down to the subject’s level (your lens will often sit just above the table).
6. Choose the right light
Canon 70D | 55mm | f/2.8 | 1/60s | ISO 100
The type of light and lighting setup you use will determine the mood and ambience of your food photography.
Do you prefer to do dark, moody shots or light and ethereal ones? Do you like to use artificial light or daylight? Should the light come from the side, the back, or the front?
There isn’t a hard rule that says what’s right or wrong. Make lighting choices based on what you want the image to communicate.
7. Take some macro shots
Canon 70D | 200mm | f/5.6 | 1/6s | ISO 100
Macro photography produces magnified food close-ups, and it can be a simple way to add some variety to your food photography.
To achieve macro magnifications, I recommend a macro lens or extension tubes, though you can do near-macro photography with a telephoto lens.
You might capture macro images of a small ingredient, or you can highlight a detail from a bigger dish. It’s a creative approach that can enhance common subjects. Here are a few tips to get you started with macro food photography:
Always use a tripod. At macro magnifications, even the smallest movement can change the focus and composition. A tripod will lock in your focus and keep the composition consistent.
Use the rear LCD and focus manually. In macro photography, the depth of field is very shallow. If you want to nail the focus every time, you should forget about the viewfinder and work with the LCD screen of your camera. Then you can zoom in and manually adjust the focus.
Use the self-timer or a remote release. This will avoid any camera shake from pressing the shutter button.
8. Food is culture, so step out of the studio
Canon 50D | 35mm | f/4.5 | 1/25s | ISO 400
As Penny De Los Santos, a former National Geographic, award-winning photographer, says: “A food photographer is a visual food anthropologist. It’s not just about food on a plate; [it’s also about] the moments, the connections, the scenes, the places, the stories.”
Most people think of food photography as a prepped-in-the-studio job or as quick smartphone photos at a restaurant. But photographing a harvest or a food market allows for other types of food photography (that blend with genres such as travel photography and documentary).
So to enrich your food photography experience and to expand your creativity, give this a try!
9. Develop your personal style
Canon 70D | 40mm | f/8 | 2 sec | ISO 100
Food photography is a vast field with many different approaches. What type of food photography do you want to do? Lifestyle photography? Still life? Product shots?
Another way to think about this is to start with the type of subject you want to shoot. You can choose between raw materials or cooked dishes. In any case, the decisions you make will determine your personal style and aesthetic.
Don’t worry, though; you don’t have to decide everything at first. Once you’ve made a few basic choices, your style will develop as you go. Then you can reflect on it, make conscious decisions, and perfect it with time.
But remember that your editing process will influence your style, so pay attention to it, too.
10. Retouch your photos
Canon 70D | 45mm | f/7.1 | 1/5s | ISO 200
If you’re not working with a home economist or a food stylist, you might not have the perfect-looking dish or ingredient every time.
That’s where your retouching skills come into play. In Photoshop, you can perfect the edge of a rough cookie, color the border of a not-yet-ripe fruit, or reposition the cherry on top of a cupcake. You can also get rid of any unwanted reflections.
11. Use presets
Using presets and actions is a great way to speed up your editing and develop a consistent workflow. You can make your own presets, or you can get them from other professionals. There are many options on the market either for free or for sale.
Food photography ideas: conclusion
Well, that’s it:
11 food photography ideas to get your creative juices flowing. So have some food photography fun!
Now over to you:
Which of these food photo ideas is your favorite? Do you have any food photography shots you’re proud of? Share your thoughts (and photos) in the comments below!
The post 11 Food Photography Ideas (for Easy Inspiration) appeared first on Digital Photography School. It was authored by Ana Mireles.
The post Nikon NX Studio Review: How Good Is This Free Photo Editor? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
In order to write a good Nikon NX Studio review, it’s important to step back to see who this program is for and how it fits into the image editing landscape.
In 2006, Nikon released a software tool called Capture NX, which was designed for its fledgling line of digital cameras. Over the years, Nikon slowly added new features, but Capture NX was never a serious competitor to Adobe Lightroom, Capture One, or other popular image editing and management software. That all changed in early 2021; Nikon retired Capture NX (and its companion, ViewNX) and replaced them with Nikon NX Studio.
But is Nikon’s software ready for prime time, and can it hold its own against a growing list of competitors? What exactly does NX Studio do and who is it for? The answers might surprise you.
RAW file processed with Nikon NX Studio. Nikon D7100 | Nikon 50mm f/1.8G | f/2.8 | 1/3000s | ISO 100
Nikon NX Studio overview
In a very basic sense, Nikon NX Studio is like Lightroom – but designed specifically for Nikon shooters. It’s not really a fair comparison, though, because Nikon NX Studio isn’t supposed to be a replacement for Lightroom. The two have a lot of overlap, but when doing a one-to-one feature comparison, Nikon NX Studio comes up woefully short. However, NX Studio does have a workflow that appeals to a lot of photographers, as well as some advanced tools absent from Lightroom.
Nikon NX Studio is great for photographers who want to do more with their photos than what basic programs like Apple Photos can offer. It has tools for common edits such as white balance, brightness, color, noise reduction, cropping, and sharpness. Nikon NX Studio also goes one step beyond Lightroom by letting you perform basic edits on videos, such as trimming and stitching.
It also has one very important advantage over Lightroom and most other programs: It’s free, so you lose nothing by trying it out.
Nikon NX Studio goes way beyond basic image editing, and it has some powerful tools that appeal to amateurs and professionals alike.
For enthusiasts and even professionals, there’s a lot to like about Nikon NX Studio as long as you keep your expectations in check and don’t mind some frustrating bugs and shortcomings. It’s not a full-featured digital asset management tool like Lightroom, though it does offer some basic file management and storage.
But where Nikon NX Studio really shines is in the sheer depth of its tools. The Lightness, Chroma, and Hue adjustments give you incredible control over editing colors, and the Color Point tool gives you fine-grained control that takes several steps to replicate in Lightroom.
Finally, Nikon NX Studio has a trick up its sleeve that no other image editor can match: it works with Nikon RAW files without needing to reverse-engineer the RAW algorithm or convert everything to DNG.
Nikon NX Studio pros
The price is great. It’s a free program and should be updated by Nikon regularly for years to come.
Lots of features that appeal to amateurs, hobbyists, and professionals
Basic movie editing tools are simple and practical
Everything takes place in a single interface without the need to switch between Library and Develop modules like in Lightroom
Nikon NX Studio cons
Very basic import process compared to Lightroom: no keyword management, applying presets, or metadata adjustments
Lacks Brush and Graduated adjustment tools, along with other editing options offered by competing programs
Lack of a simple Undo feature
Lots of bugs and glitches. Some would say this is expected with Version 1 of a program, but these issues happen more frequently than I would like
Nikon NX Studio utilizes a separate program called Nikon Transfer 2 to import images from a memory card or other source. It works fine, but it’s fairly simplistic in terms of functionality.
If you’re a Nikon shooter, you can’t go wrong with just downloading Nikon NX Studio to check it out. It’s free, and it won’t alter your current photos even if you use Lightroom, Luminar, or another program. You really have nothing to lose by trying it, and you might find that the results you get from your Nikon RAW files are much better than what you get in Lightroom. (Note that Nikon NX Studio only works with Nikon NEF RAW files. It will not load DNG files or RAW files from Canon, Sony, Fujifilm, and other manufacturers.)
While I do think Nikon NX Studio is worth trying out, let’s take a closer look at some of its characteristics to help determine whether it’s the right program for you.
Layout and ease of use
If you’ve ever used a program like Lightroom, Luminar, or Capture One, you’ll feel right at home in Nikon NX Studio.
The interface is pretty simple: the left side is where you access your photos in folders or albums. The middle is where you scroll through your photos or look at them more closely. Your tools are located on the right and clicking the title of a tool expands and collapses its options just like Lightroom.
The Nikon NX Studio layout is similar to other programs like Lightroom, Luminar, and Capture One. Photo storage on the left, editing tools on the right, and your image in the middle.
An Import button in the top-right corner will let you start loading images from a memory card. Additional icons at the top of the main window let you switch between views: thumbnail, map, 2 and 4 images at a time, before and after, and list, which users of Apple’s Aperture software will certainly appreciate. Along the bottom are more tools that let you show view overlays (such as a grid or a histogram), assign star ratings, and rotate photos.
All these buttons and options might seem overwhelming, but it’s very straightforward; you should be able to find your way around the interface after a few minutes of exploring.
One key difference between Nikon NX Studio and Lightroom is that the former stores your image edits in sidecar files, whereas the latter is based around a single massive database, called a catalog. Some prefer one type of storage over the other, but while there have been reports of corrupted Catalogs causing problems for some photographers, it’s not an issue I have experienced.
Still, if you want a powerful image editor but are wary of putting all your editing eggs in a single basket, Nikon NX Studio might be a good choice.
Performance
In terms of sheer speed and editing efficiency, Nikon NX Studio does leave something to be desired. On a 2020 27″ iMac with a 3.6 GHz, 10-core i9 processor, lots of RAM, and a large internal SSD, my edits were fairly smooth.
But running NX Studio on a machine just a few years old with a spinning hard drive felt positively sluggish by comparison. Adjusting any given slider, from White Balance to Highlights to Color Booster, resulted in a visible checkerboard pattern across the image while edits were applied. Each adjustment only took a second or two, but these little bits of time add up quickly when editing dozens or hundreds of images.
On slower computers, editing operations like changing the white balance can result in a tiny delay, during which time a checkerboard pattern is visible.
Other Nikon NX Studio features resulted in slow response times or outright crashes. Navigating through folders to locate images took much longer than I expected, and simple operations like cropping were slow and choppy. I generally zoom in to a photo to check for focus and sharpness and then zoom out for more editing, but even this relatively basic operation was slower and clunkier than I would have liked. After leaving NX Studio running for a few hours – not processing photos, but simply open in the background – it brought my Mac to its knees with a strange memory management error.
I left Nikon NX Studio running overnight; the next morning, I found that my computer had slowed to a crawl. It had some kind of memory leak that was using every spare scrap of RAM I had available.
I’m not saying that the program is unusable, just that users ought to approach it with a bit of caution. Programs such as Lightroom were just as buggy in their early incarnations and are much improved now, and I have no doubt the same will be true of Nikon NX Studio. It will get better over time, but right now you can expect to encounter some glitches.
However, it’s not all bad news in terms of performance. Loading Nikon NEF RAW files was snappy, navigating between editing panes was quick and easy, and import/export operations had no noticeable lag. When Nikon NX Studio works, which it usually does, it works quite well. But when it doesn’t work, it can be a bit frustrating.
Photo organization
It’s not uncommon for photographers to have tens of thousands or even hundreds of thousands of pictures to wade through. Nikon NX Studio isn’t going to win awards for groundbreaking AI-powered image management, but it does have some useful tools to help you organize your pictures.
Nikon NX Studio imports images to folders on your hard drive, not to a proprietary archive. To find your images, use the folders on the left-hand side.
In lieu of a Lightroom-style Catalog system, NX Studio shows you a hierarchical view of all the folders on your main drive and lets you navigate through them to locate your images. It’s not dissimilar from Luminar and others, and I prefer this method over the all-in-one archive system used by Apple Photos. When you import images from a memory card, you can create a new folder to store the pictures. You can create custom names for each import, as well.
When browsing through your pictures, you can assign star ratings, color labels, and keywords. There is a Filter bar that you can use to sort your photos according to these criteria as well as other information, but Nikon NX Studio does not have Smart Albums or other dynamic methods for automatically sorting your images. I use Lightroom’s Smart Collections to help me organize my images, but if you aren’t a fan of this method, then NX Studio will be fine.
The Filter bar lets you sort by many different criteria.
Longtime users of Apple’s now-defunct Aperture software will find the Thumbnail List View to be particularly useful when managing photos. This shows a list-style view similar to what you see when browsing through your Mac OS Finder or Windows Explorer, with columns that display various parameters such as exposure information, file size, date modified, and more.
List View is a very useful way of viewing and sorting your images. It is very similar to List View in the Mac OS Finder and in Microsoft Windows Explorer.
While Nikon NX Studio’s photo management tools are not as robust as I would like, they’re certainly a good start. If you prefer a straightforward approach that does not rely on a proprietary catalog or database system, then there’s a lot to appreciate.
Photo-editing capabilities
This is where the rubber meets the road, and fortunately, Nikon NX Studio can hold its own against the competition in virtually all the areas that matter. While some NX Studio features are not as refined as other programs and some tools are missing in action, what it gets right, it really gets right.
There’s a long list of editing options at your disposal, including:
White Balance
Exposure Compensation
Active D-Lighting, which is unique to Nikon cameras and is a nice way to automatically brighten shadows and create a more even exposure
Brightness and Color
Levels and Curves
Lightness, Chroma, and Hue
Adjust Details, which includes Noise Reduction and Sharpness
Touch-Up, to remove spots and blemishes
Adjust Composition, which includes cropping, straightening, and perspective control
Camera and Lens Corrections
Once again, it’s worth remembering that Nikon NX Studio is a free program, and that fact alone makes the inclusion of all these options kind of amazing. While tools like a graduated filter, a radial filter, and an adjustment brush are missing, the options you do have should suffice for most photo editing. You can even create multiple custom sets of adjustment options that include only the tools you use in specific scenarios. This is quite useful if you prefer different tools when editing landscapes compared to editing portraits.
You can create custom sets of editing adjustments, then switch to your custom sets with a simple click.
The Color Control Point editing tool is particularly useful, and one that I’d like to see in other applications. It allows you to click anywhere on your image and immediately have access to eight common editing sliders. Drag any of them to the right or left to increase or decrease that particular parameter. The top slider adjusts the size of the area to which the edits will be applied. It’s a highly useful tool for precise color editing, and the ability to adjust sliders right on the image instead of in an editing pane is something I have grown to appreciate a great deal.
The Color Control Point tool lets you click on any part of an image and use sliders to adjust colors on the spot.
The Lightness, Chroma, and Hue Adjustment takes an innovative and highly effective approach to manipulating color. While similar to the Hue, Saturation, and Luminance option in Lightroom, the Nikon NX Studio implementation offers useful options that professional and amateur photographers will appreciate.
You can use the eyedropper tool to select a color in your image, then click and drag up or down in the rainbow panel to adjust that color’s parameters. You can also change the angle of the rainbow, which means that your edits can be implemented more dramatically or more subtly. Finally, Width lets you target your edits to either a very narrow or very wide band of colors. It’s a powerful tool for global color adjustments.
Nikon NX Studio has a very useful tool for making global color edits to an image. Click and drag up or down on the horizontal line to adjust the parameters of a color, and adjust the Width to control the range of colors affected by a given peak or valley.
There are some important drawbacks to NX Studio’s photo-editing capabilities, and any Nikon NX Studio review would be remiss in not pointing them out.
First, there is no Undo option. Yes, you read that right; instead of an Undo, you can create a saved state for your edits then revert to that saved state at any point, but an actual Undo feature is missing.
Also, there is no History tool that shows you every edit and lets you step through them one by one. While Nikon NX Studio is nondestructive and all your edits can be changed or removed at any time, a History feature would help when doing lots of in-depth changes.
Other strange feature implementations are present, as well. After you apply a crop, you can’t actually make changes to it; you can start over with a new crop, but you can’t edit the crop once it has been applied. You also can’t darken shadows or lighten highlights – at least, not with the Shadows and Highlights sliders. The Retouch brush has no customization options at all other than its size. Finally, there is no way to make export presets, which could be a dealbreaker for those who rely on this feature in Lightroom and other programs.
The Export dialog in Nikon NX Studio has plenty of options, but its use is limited by the lack of export presets.
There’s a couple of ways to look at these drawbacks.
Compared to a program like Lightroom, NX Studio might seem limited. But on the other hand, you could argue that Nikon NX Studio is free, so there’s not much to complain about. It’s also currently on Version 1 and will no doubt be refined and upgraded over time. Many of the drawbacks have workarounds or alternative methods of accomplishing the same task, even if it does involve some extra steps. And finally, there is always a learning curve with new programs.
So are these missing features drawbacks, or is it more a matter of learning a new workflow? One could make a strong case for the latter over the former.
Who should get Nikon NX Studio?
While I can’t recommend Nikon NX Studio across the board, it’s a great option for many shooters. Certainly, Nikon users will appreciate all the tools NX Studio has to offer, especially for editing RAW files. If you are a hobbyist or working professional who needs a suite of powerful editing tools and you don’t mind some interface quirks, Nikon NX Studio could be right up your alley. Beginners might be intimidated by the plethora of buttons, options, and tools, especially compared to more basic image editors that are available for free on mobile phones and some computers. But Nikon NX Studio could be a good way for those individuals to start using a more advanced image editor without spending any money at all.
People who should definitely not use Nikon NX Studio are those who have a mobile-first workflow. There is no version of the program that works on phones or tablets, and it’s unlikely to be created anytime soon. If you primarily shoot and edit with a smartphone, you’re better off sticking with the tools you already have.
Nikon NX Studio review: final words
Nikon NX Studio is an outstanding program in many ways, and the fact that it’s free is certainly one of its most important advantages.
If you shoot in JPEG, you can use everything Nikon NX Studio has to offer, no matter your camera brand, while Nikon users will greatly appreciate its RAW editing capabilities. While there are certainly some important caveats to consider, as well as some messy bugs that will get ironed out over time, I certainly recommend you download it and give it a try.
Hopefully, this Nikon NX Studio review gave you some information to help you understand a bit more about the program and whether it will work for you!
Now I’d like to hear your thoughts:
Are you interested in Nikon NX Studio? Do you think you’ll use it? What do you like and dislike about the software? Share your views in the comments below!
Do I need to have a Nikon camera to use Nikon NX Studio?
Nikon NX Studio will only work with Nikon RAW files. RAW formats from Sony, Canon, Fujifilm, and others will not work, and neither will universal RAW formats like DNG. However, the program works just fine with JPEG images. So if you don’t use a Nikon camera but shoot in JPEG, you can easily use Nikon NX Studio for your editing and photo management.
Will Nikon NX Studio work on my mobile phone?
Nikon NX Studio is designed for desktop-based workflows; there is no mobile version. You can take photos on a mobile phone, transfer them to your computer, and edit them in Nikon NX Studio, but that workflow adds many more steps and probably takes too much time for most people to consider.
Is Nikon NX Studio better than Lightroom, Capture One, or Luminar?
There are advantages and disadvantages to all of these programs, and it’s impossible to say which one is better. Nikon NX Studio is free, but most of the others have free trial periods for new users. If you’re unsure of which to use, I recommend downloading them, signing up for free trials (if available), and making use of dPS’s many articles to help you learn. That way, you can make an informed choice and find the program that suits your needs.
Will Nikon NX Studio run on my computer?
Most computers made in the past few years will work just fine with Nikon NX Studio. I personally found better results when I was working with an SSD instead of a spinning hard drive, but almost any modern desktop or laptop will run the program just fine.
Can I use Nikon NX Studio to edit video?
While Nikon NX Studio does have a built-in video editor, its capabilities are very limited. It works for basic trimming and combining clips but not much else.
The post Nikon NX Studio Review: How Good Is This Free Photo Editor? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Star Stacker, an astrophotography app available for iOS, allows users to create star trail images and timelapses on their phone, computer or tablet. Michael Webb, the developer, posted about his latest creation on Reddit’s r/LandscapeAstro community. To demonstrate a final result from using the app, Webb posted the image, seen above, and explained how he achieved it in the post’s comments section.
Using a Sony a7R III camera and Rokinon 14mm M2 lens, Webb captured 170 15-second exposure images with an ISO of 640 and an F4.0 aperture. Webb then copied the 170 RAW files to his phone using an SD card adapter and stacked the images in the app. To be clear, you can also import JPEG, .tiff or .png images from your iPhone or iPad’s photo app into Star Stacker. Pixelmator was used to combine images of the foreground and stars together for a final product.
After importing your selected photos, you can start creating images or timelapses with the following effects:
Full trails – shows every star at full brightness.
Faded trails – stars get brighter as the process runs.
Shooting star – similar to faded trails but the last image is brighter than the previous, giving off a shooting star effect.
Warp mode – zooms into the image stack slowly creating a warped effect. This will also impact the foreground so post processing may be required if the images have the foreground included.
Astrophotographers typically take a series of images in the same place and stack them to reduce noise. Is 170 necessary? Likely not. This video from Milky Way Mike breaks explains how many photos you should stack and why.
The app isn’t available for Android yet though Webb mentioned he would ‘certainly consider making an Android version depending on how popular this version is.’ One Reddit user pointed out that Star Trails, available on Google Play, could be a decent alternative. Star Stacker is available for $ 1.99 in the App Store for the Mac, iPhone and iPad.
What photographer hasn’t dreamed of traveling the world, visiting exotic destinations, and capturing inspiring images? Imagine the sights you would see, the stories you would have to tell. But how practical is a career path as a travel photographer? Is there really a need? Can you actually make a living? What do you have to do to break into the Continue Reading Photodoto
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The post When to Use a High ISO (+ Tips for High-ISO Photography) appeared first on Digital Photography School. It was authored by James Maher.
Are there times when a high ISO makes sense? When should you consider using a high ISO? And what ISO can modern cameras handle?
In this article, I’ll explain everything you need to know about high ISOs, including:
Whether high ISOs are ever a good thing (spoiler alert: they are!)
Tips and tricks for working with high ISOs for great results
How to determine the maximum acceptable ISO for your camera
Much, much more!
Let’s get started.
When (if ever) should you use a high ISO?
Raising the ISO is one of the most common photographic fears. Photographers – especially beginners – are afraid to boost the ISO past 400 or so, lest they ruin images with ugly, unwanted noise.
Ten years ago, these fears were justified. Raising your ISO to 1600 or 3200 was a no-go for the majority of cameras.
But no longer. Things are changing. These days, it often makes sense to boost your ISO to get better images. In fact, the improvements in camera technology have been such that you can now comfortably photograph at ISO 1600, 3200, and even 6400 with most DSLRs, Micro Four Thirds cameras, and mirrorless cameras.
Here are three simple situations when shooting with a high ISO makes sense:
1. When you’re photographing indoors or at night
If you take your camera indoors, or you shoot at night, you’ll quickly run into a problem:
Your images will be dark and lacking detail.
In such situations, you have three solutions:
First, you can widen your aperture. Often, this can help (and it’s the reason why many night photographers and event photographers work with an ultra-low f-stop). But it’s rarely enough.
Second, you can drop your shutter speed. But unless your subject is completely still and you’re shooting with a tripod, you’ll end up with lots of blur. Not ideal, right?
Which brings me to the third solution:
You can raise your ISO.
Will it introduce some noise? Yes. But the noise produced by modern cameras at high ISOs just isn’t that bad; as I mentioned above, you can comfortably boost your ISO to ISO 3200 and ISO 6400 without much loss of quality.
And by raising the ISO, you’ll end up with much brighter images, even indoors and even at night.
2. When you’re photographing fast-moving subjects
The faster your subject, the faster the shutter speed required to render it with zero blur.
For instance, if you’re photographing a runner, you might need a shutter speed of 1/500s. If you’re photographing a moving car, 1/1000s might be more appropriate. And if you’re photographing a diving falcon, 1/3200s is a safe bet.
Unfortunately, even in relatively good light, boosting your shutter speed to 1/3200s will result in a too-dark exposure – unless you raise the ISO, that is.
After all, better to end up with a slightly noisy image than a completely blurry one, right?
So don’t be afraid to increase your ISO when faced with a fast-moving subject.
3. When you’re using a long lens
The longer your lens, the easier it is to end up with blur – because subject movement and camera movement are magnified. So with a long lens, you need a fast shutter speed, just the same as if you were shooting a moving subject.
That’s why boosting your ISO is so essential when working with telephoto lenses; it allows you to boost the shutter speed, too, and capture a sharp image.
Sure, when the light is bright, you can keep the ISO at 100 or 200 and end up with sharp, well-exposed images.
But as the light begins to drop, you’ll need to raise your ISO with confidence. That way, you can capture bright and clear photos at 300mm, 400mm, and beyond.
Canon 5D Mark II | 135mm | f/6.3 | ISO 1600
The high ISO allowed for a 1/320s shutter speed; this accounted for both the motion in the scene and for the longer focal length used.
But doesn’t a lower ISO give better image quality?
Well, yes – and no.
Yes, if you are setting up a studio shot and controlling the lighting. Yes, if you are using a tripod, if you are a landscape photographer, or if there is very strong natural light. Yes, if you don’t have to compromise your shutter speed or aperture settings to expose the shot correctly. A photo taken at ISO 100 will always be significantly sharper and cleaner than a photo taken at ISO 1600, assuming the aperture and shutter speed are the same, and you have complete control over the subject and the lighting.
In every other case, however, the answer is no; a lower ISO will not give better image quality.
Raising your ISO will help you capture a higher quality photograph in many situations. Why? Because it lets you use a faster shutter speed and a smaller aperture to get a sharper result. When creating a technically great photograph – one with minimal blur and proper exposure – getting the aperture and shutter speed settings correct is much more important than using a low ISO.
If you want to know how great event photographers consistently create such bright and beautiful images, it’s not only because they use fast lenses and flashes. It’s because they are not afraid to raise the ISO.
Plus, the look of grain at high ISOs in digital cameras has become more pleasing. The newer camera models have not only reduced the strength of grain (noise) at high ISOs, but they have also created noise that looks more artistic.
ISO has now become a luxury instead of an obstacle. We can photograph in dark areas while handholding the camera when we need to.
Cropped version of the above (ISO 1600) shot. Note the minimal, pleasing grain.
Tips for working with high ISOs
Now that you know when and why high ISOs are important, let’s take a look at some easy tips for improving your high-ISO images:
1. When shooting at a high ISO, get the exposure right
Here’s the major problem with photographing at a high ISO:
Raising the exposure in post-production will ruin the look of the grain.
Raising the exposure a small amount is usually okay, but if you are photographing with a high ISO, you need to be even more diligent than usual about exposing your images correctly in-camera.
2. Pay attention to color noise versus black and white noise
Fujifilm X100S | f/2 | 1/125s | ISO 6400
You should carefully evaluate how your camera handles the look of noise in your color images. My Fujifilm X100S, for instance, handles color noise exceptionally well. But other cameras don’t do so well with color noise at high ISOs.
In many cases, however, the problem can be solved by converting the photo to black and white.
Take a look at the image above. This was taken a while back with a compact mirrorless camera at the very extreme end of its ISO range, 6400. Yes, there is a lot of grain, but it still looks good. I prefer not to go over 3200 with my Fujifilm X100S whenever possible, but without using ISO 6400, I probably wouldn’t have been able to capture this image.
Cropped version of the woman with a cigarette (above). Very significant grain, but excellent color noise.
3. Test your camera’s ISO to determine acceptable noise levels
While I’ve talked in generalizations up to this point, I do think it’s important to evaluate the ISO capabilities of cameras you own (or cameras you’re thinking of purchasing). You should determine their ISO range, as well as the quantity and quality of noise at different ISOs.
If you’re considering particular cameras but can’t get your hands on a copy to test, there are plenty of in-depth reviews, both on this site and elsewhere. Nearly all of these reviews will discuss high-ISO capabilities, and they’ll often provide sample images.
Of course, if you own the camera already, test it out yourself. Make sure you are using a fast shutter speed and an aperture of somewhere between f/8 and f/16; that way, each image you take is guaranteed to be sharp.
Focus your lens on a nearby object, then take a series of shots, going from ISO 100 all the way to your camera’s maximum ISO.
Then pull up the images on your computer and zoom into 100% (both in black and white and in color). And decide which ISOs you’re pleased with, and which ISOs you just can’t handle.
If you have a photo printer, I highly suggest printing out your test images to see how the grain looks in real life and to see the differences between images.
It is also important to remember:
If you are regularly printing at smaller sizes, such as 5×7 or 8×10, then you will likely not notice a significant difference between ISO 200 and ISO 1600. But if you prefer to print at larger sizes, such as 20×30, then there will be a noticeable difference. So test it out.
Here are a few examples of noise levels at different ISOs on my old Canon 5D Mark II and Fujifilm X100S:
Canon 5D Mark II | 28mm | f/9 | 1/500s | ISO 800
Cropped version of the above shot. Insignificant grain at ISO 800.
Fujifilm X100S | f/9 | 1/250s | ISO 1600
Cropped version of the above photo. Note the insignificant and pleasing noise.
Noise can be beautiful!
Now that you’ve finished this article, you know why high ISOs can be useful. And you know when you should consider working at a high ISO.
So don’t be scared. Embrace the noise/grain and create some stunning photos!
Now over to you:
What ISO do you generally shoot at? And how high do you go? Share your thoughts in the comments below!
The post When to Use a High ISO (+ Tips for High-ISO Photography) appeared first on Digital Photography School. It was authored by James Maher.
When Raspberry Pi announced its 12.3MP High Quality Camera module in April 2020, it opened up a whole new world of photo-centric DIY projects. One such project that’s come as a result of its release is the RUHAcam, a ‘retro-style’ digital camera made from scratch by Ping-Hsun ‘penk’ Chen and Ruha Cheng.
The RUHAcam is built around a Raspberry Pi Zero W connected to a Raspberry Pi High Quality Camera module, which accepts C and CS mount lenses. Other features include a built-in 2,000mAg Li-Pi battery, a 2.2” TFT display that serves as the viewfinder and a 3D-printed case clearly inspired by SLR cameras from the past. The camera is still a work in progress, but is fully functional and captures rather impressive images when used with the 16mm lens ‘penk’ and Cheng attached to it for the following sample photos:
In addition to sharing detailed instructions on how to make your own RUHAcam at home, ‘penk’ and Cheng published the 3D design components and software required to run the camera for free under MIT license. This means you’re free to build an exact replica of the RUHAcam or use it as a base to make your own DIY digital camera.
In speaking with DPReview, ‘penk’ said the duo ‘plan to improve more on the software side, to add controls to the UI using Pi’s libcamera stack, and to leverage Raspberry Pi more as a server to easily share captured images with smartphones.’ You can find all of the instructions and materials needed to make your own on the RUHAcam GitHub Page.
The post 35mm Street Photography Pros and Cons (+ Tips) appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
With a 35mm prime lens on a full-frame camera, you’ll capture a field of view a little broader than what you see. This is what makes 35mm street photography so attractive.
Street photography is most impactful when it is realistic – but with a twist. That twist is the photographer’s creative influence. Rather than relying on tricky post-processing, extra long or wide lenses, or any other gear to make an image stand out, a good street photographer will aim to capture life on the highways and byways as they experience it.
In this article, I’ll take a look at some of the pros and cons of 35mm street photography and offer some easy-to-follow tips!
5 reasons to use a 35mm lens for street photography
Wondering whether a 35mm lens will work for your street shooting? In this section, I share five reasons to love the 35mm focal length, starting with:
1. It’s how we naturally see (almost)
A 35mm lens on a full-frame camera provides a field of view a little wider than the field of view offered by our eyes. So it takes photos with a natural look.
With wider lenses or longer lenses, distortion can creep into your compositions. Wider lenses tend to distance elements in a composition. Longer lenses have the effect of compressing whatever appears in the frame.
2. A 35mm lens is wide, but not too wide
For street photography, a 35mm lens is wide, but not too wide. It allows you to back away and capture a broader perspective. Generally, it does not introduce distortion.
The very popular 50mm prime can be too tight for a lot of street photography. It narrows your field of view, which can make it harder to capture the full scene.
My first camera, a Nikkormat FTN, came with a 50mm f/1.4 lens. It was a great lens, and I continued using it for 27 years until it would not focus anymore. Then I replaced it with a 35mm f/1.4. I loved the f/1.4 feature on my 50mm, but it never gave me a wide-enough perspective.
A 35mm prime can be a relatively small, compact lens. My 35mm f/1.4 is not so small, but it’s also not too big compared to many popular zoom lenses.
And using a less obvious camera and lens for street photography can often help. You and the people you’re photographing can feel more confident because bigger gear can be intimidating. For instance, you may not feel so comfortable with a full-frame body and a 24-70mm f/2.8 zoom lens.
With mirrorless cameras and pancake lenses, you have an even greater advantage. The gear is so much smaller and less conspicuous!
4. You have to “zoom with your feet”
Photographers who love their zoom lenses can scoff at the notion of having to zoom with your feet. But being forced to move often helps me see my subject in more creative ways than if my feet were to remain in one place. This is another positive aspect of using a 35mm prime lens for street photography.
When you have to move, you’ll see the world from different points of view. This will show you more angles, and you’ll see how the light plays differently off your subject depending on your position.
Did I already mention that I love my 35mm f/1.4? Using the widest aperture setting for street photography is not always practical. Focusing is more challenging. But when you want the loveliness of a very shallow depth of field, an f/1.4 lens is perfect.
Many street photographers prefer to work with a narrower aperture setting. I often do. But when I want that background blur, I open up my aperture and maybe get in a little closer.
5 reasons to avoid a 35mm lens for street photography
While 35mm lenses are great, there are some important drawbacks worth considering. For instance:
1. They’re too standard
As I pointed out earlier, a 35mm lens on a full-frame camera produces a very natural field of view.
But this may not be to your liking.
A wider lens will capture more of a scene. When you can’t back up any farther, it becomes necessary to attach a wider lens to your camera. And a longer lens will get you closer to the action (it may keep you safer, too).
2. You can’t zoom with a prime
Zooming in or out is often the quickest and easiest way to recompose a photo. With a prime 35mm lens, recomposing takes longer because you have to physically move.
A zoom lens is sometimes much more convenient because it lets you stay where you are and keep taking photos.
With a 35mm prime lens, you can’t always capture those perfect street photography moments. You may find yourself needing a longer lens to get you closer to the action or to remain inconspicuous.
4. The focal length is long on an APS-C camera
A 35mm lens on a crop-sensor camera is about 50mm. This is restrictive and not so flexible to work with – it’s often just too tight for street scenes.
5. f/1.4 is expensive
A 35mm f/1.4 lens is a serious commitment; it is not cheap.
When I needed to upgrade from my 50mm lens, the price difference between replacing it with another 50mm or buying the 35mm was significant. In the end, though, the 35mm f/1.4 was well worth the investment.
Now that you’re familiar with the pros and cons of 35mm street photography, it’s time for some quick-and-easy street photography tips!
1. Know your lens characteristics well
If you work with a lens long enough, you’ll get used to its characteristics. You’ll become intimately familiar with its capabilities.
You’ll get to know intuitively how much depth of field you’ll have in a scene, given your f-stop and distance from the subject. This is a great advantage when capturing images that require a deep depth of field and you need to work quickly.
Don’t be shy about getting close to your subject when using a 35mm lens for street photography. With a 35mm lens, street photography can be more personal. Getting in close allows you to produce photos with a greater sense of intimacy.
Here’s a fun little exercise to try:
Photograph the same scene with a 35mm lens and a 200mm lens. The photos taken with the 35mm lens will have a different, more intimate feel – simply because you’re closer to your subject when you hit the shutter button.
A 35mm lens helps you truly connect with your subjects. You can be close enough to have a natural conversation. If you are farther back with a long lens on your camera, you will not be conversing from a position that you’d naturally have a conversation in.
Also, a 35mm lens is lovely for street portraits and is not so wide that it produces distortion on your subject’s face.
Whatever style of street photography you love, if you haven’t yet tried a 35mm lens, I highly recommend it.
Even if you often work with a standard zoom, I suggest you go out a few times, set your zoom to 35mm, and don’t change it. You may even learn to appreciate this restriction.
35mm street photography may not suit everyone’s style, but I certainly love it.
Now over to you:
What’s your favorite street photography focal length? Do you use a 35mm lens for street shooting? Share your thoughts in the comments below!
The post 35mm Street Photography Pros and Cons (+ Tips) appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
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