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Dude Be Nice – Mastering the Art of Constructive Criticism

Several years ago, one of the local high schools near me put on an anti-bullying campaign called “Dude, Be Nice!” During the time that the campaign was going on, I’d often see students, parents, and teachers wearing navy blue t-shirts with the slogan in huge white lettering across the front. I loved seeing those shirts around town because they served as a reminder to me that I almost always have a choice as to whether my words tear someone down or build them up.

Since then, the phrase “Dude, Be Nice!” has become a kind of life motto for me (I even managed to get my hands on one of those t-shirts), and I think it is an especially relevant foundation for learning how to offer quality feedback in photography. Being nice is always the most important part in offering constructive criticism that is meaningful and will be heard.

Here are a few other tips that will help you master the art of constructive criticism:

Be Conscious of the Setting

Have you ever seen a photographer share an image on social media, saying how much they love this particular image, only to have some random person comment with criticism? Sometimes the comments may be constructive criticism, other times they’re just plain criticism like, ‘This photo sucks, and you’re a terrible photographer.” We don’t need to get into the dynamics of what might cause someone to leave the latter sort of comment because that’s just not worth any of our time.

One thing that we should spend a bit of time thinking about is whether the person you’re responding to is actually asking for constructive criticism. There are a lot of great Facebook groups for new photographers to give and receive constructive criticism. That’s an appropriate place to offer thoughtful feedback about another person’s image. However, a photographer’s personal Facebook page may not be an appropriate place for that sort of feedback. You obviously have the freedom to say whatever you’d like, but I’d argue that offering criticism (even if it is constructive) when it hasn’t been asked for is very rarely helpful.

Use a Compliment Sandwich

Most of us have heard about the concept of a compliment sandwich before. This idea isn’t new or groundbreaking, but I want to reiterate just how effective it can be in terms of providing constructive criticism that is actually heard by the recipient. For example, if we take my own image above, here’s an example of how to offer the same piece of criticism in several different ways:

Straight Criticism: Your composition sucks. The baby should be either in the center or following the rule of thirds.

Constructive Criticism: The photo would be stronger if you composed it differently. I would have put the baby in the center of the frame so that there was the same amount of greenery on either side.

Compliment Sandwich:  The vibrant colors of the flowers are a really unique and fun contrast to the usual neutrals you see in newborn photos, I like it a lot! One thing that could make the image stronger would be to adjust your composition so that the baby is in the center of the frame. Or, you could adjust the other direction so that the baby is more off-center, following the rule of thirds, which would make your composition look more intentional instead of accidental. Overall though, good job on exposure, focus, and coloring!

As you can see, the essential criticism is the same in all three examples. However, when you use a compliment sandwich, that same criticism is framed in a way that serves to build the recipient up which will make it more likely that they are able to hear and internalize your feedback.

Ask a Question

Another really good method of offering constructive criticism is to phrase your criticism in a question. For example, you might ask something like, “Why did you choose to apply a matte treatment to this image?” Or, “Why did you decide to focus on the left petal of that flower rather than the center of the flower?”

Framing something that may be a criticism in the form of a question helps to diffuse the psychological impulse that when we receive criticism, we’re being attacked. In addition, it requires the photographer to think about whether the element that you’re asking about was a conscious decision or an accident. This will help determine whether the criticism is coming from a stylistic difference (more on that in a minute!), or whether it was not an intentional decision, and an element that they may not have thought about before.

Be Aware of Stylistic Differences

The novel, “The Road” by Cormac McCarthy received a Pulitzer Prize for fiction in 2007. It also breaks almost every conventional grammar rule known to man. Does the fact that it doesn’t follow the traditional rules mean that it’s less valuable? Nope. On the other hand, does the fact that it won a Pulitzer mean that it’s going to be everyone’s cup of tea? Again, nope.

Whether you’re talking literature, art, music, or photography, there are lots of different styles or genres that will appeal to different people. The fact that I don’t personally prefer HDR photography doesn’t mean that there’s no value to HDR images.

When giving constructive criticism, it’s important to consider whether or not your criticism is rooted in stylistic differences. For the most part, I’ve found that constructive criticism based primarily on stylistic differences is not a productive use of anyone’s time.

Offer a Suggestion or Solution

I’m a firm believer that learning how to offer constructive criticism is beneficial to both those giving and receiving the feedback. It forces the giver to think about an image in greater detail, and to really identify things that you like and dislike about an image (and why). When constructive criticism is done well, it allows the recipient the opportunity to hear from others about their photography, affirming the things they do well and identifying areas that may need improvement.

One of the ways that you can make your feedback even more beneficial to the person on the receiving end is to offer advice as to how to either correct or prevent the problem that you’re providing the feedback on, in the future. Whether you’re suggesting a remote shutter release in order to prevent camera shake in astrophotography or cropping an image in post-production to improve composition, giving someone else the tools to better their craft is one of the qualities that separates constructive criticism from quality constructive criticism that is likely to make an impact.

It also makes YOU a better photographer, as it forces you to think in advance about how you’d handle different challenges and circumstances in advance, and create a game plan for how you’d handle them.

Conclusion

If you’re offering someone else constructive criticism, don’t forget that it is really hard to put yourself out there! Be kind, and encourage one another. Make sure that constructive criticism is actually wanted before you offer it. Utilize a compliment sandwich when possible. Frame your criticism in the form of a question, and be aware that some criticisms boil down to stylistic differences. Most importantly, if you want to offer quality constructive criticism, offer a suggestion or solution that will help to correct or prevent the issue you’re seeing.

Then, chime in below–what was the most helpful piece of constructive criticism you’ve ever received? Why was it helpful? What was the least helpful? Why?

The post Dude Be Nice – Mastering the Art of Constructive Criticism by Meredith Clark appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/mastering-art-constructive-criticism/

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Tips for Location Scouting to Get the Perfect Sunset Photograph

Location scouting to find the ideal spot is just as important as what camera settings you use. Don’t miss this important first step in order to get your perfect sunset photograph.

Scouting is part of the photography process

“Hi. Are you a photographer?” a young voice called to me.

“Hello,” I turned back and replied to a smiling and inquisitive face. It was a little girl with a point-and-shoot camera.

“Yes, I am,” I nodded in affirmation. The backpack and tripod were a dead giveaway.

“This is so beautiful,” and after a moment of watching me, “Aren’t you going to take a photo?” the girl continued, as she scrutinized me searching for something in between granite boulders on the beach but not taking photos.

Composing for the water channel.

Mother Nature had put on a mesmerizing show of stormy clouds and light at Camps Bay Beach in Cape Town, and it seemed that almost everyone had their cameras and cell phones pointed towards the far horizon. Our brains are programmed to do routine work subconsciously, like changing gears of a car.

For a landscape photographer, scouting for a good location is part of the job. It can be a challenging, albeit fun routine, and I was doing exactly that an hour prior to what was going to be a stunning sunset. In fact, I find it quite therapeutic to search for a good spot. You pay attention to details and discover small wonders in the process.

Lightning strike while location scouting.

The question from the little girl triggered a lot of possible answers in my mind. “I am trying to make a good photo,” could be one of the answers, but it would have confused her even more, so I told her that I was looking for an interesting pattern of rocks for my sunset shot. My quest resumed after she and I finished chatting.

Nature’s wonder.

What makes a good photo?

In my journey of landscape photography thus far, I have learned that the main characteristics to look for are good light and composition. After you find these, you need good camera settings and technique to capture the moment.

What can you do to take a better photo?

The light is not within your control. But you need to gain knowledge of the terrain, keep an eye on the weather and clouds, and possibly go around dawn or dusk to get softer colors and light.

The choice of composition is yours based on your own style and preferences. As a landscape photographer, you need to have an aesthetic sense that attracts viewers to your images, a style that will become your own. Composition is a topic in itself, but obviously, the key is choosing a location that provides good subjects (e.g. a waterfall, mountains, icebergs, boulders, trees, rocks) or something that appeals and possibly tells a story.

Camera settings and techniques come with experience. Do not compare it to the value of the equipment you own – the simplest equipment can take a great shot. The only way you can get better is by taking photos, learning more about the basics, and correcting yourself after making mistakes. If you can invest in the best camera, filters, tripods and other accessories, then that’s a bonus. Whatever equipment you own, you must know its full capabilities and how to make good use of it.

Camp Bay boulders.

How did I make a good photo that day?

The day I met the girl, I was at one of the most picturesque beaches in the world, Camps Bay. The location and subjects were there, but I still had to work to narrow down my composition for the sunset.

I needed to make decisions such as; Am I going to set up on the sand or in between the boulders? Should I go on the mossy rocks or stand in the water?

The light, as per my assessment of the weather forecast, was going to be perfect if the clouds allowed the sun to peek through the horizon. I brought the lens and camera of my choice, filters, shutter release, and tripod to take photos in low light.

After some exploration, I settled upon a water channel between two massive granite boulders. My test shot looked promising. My hunt for an agreeable foreground was finally over. The water would make interesting patterns through that small ally, and the leaden clouds and orange sun would be my background.

Test shot with minimal post-processing.

I took another test shot and soon realized that the sun was going to be behind the boulder on the left, and I would miss it in my photo as I had miscalculated the angle. I re-evaluated the scene and adjusted my perspective to align the composition with the drowning sun. Careful use of camera settings, a polarizer, and a soft graduated ND filter yielded a result that I was satisfied with. Mission accomplished!

The water channel.

Conclusion and video

As you will see in the video (and image) below, I took an additional photo of this channel from a higher vantage point as well.

So the next time you see a landscape photographer rushing to and fro on a location, you must know that he is busy making a photo, as pressing the shutter button is only the last part of the job!

I hope these tips are helpful. Please share your questions and comments below.

Water channel from above.

The post Tips for Location Scouting to Get the Perfect Sunset Photograph by Mujahid Urrehman appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/tips-location-scouting-perfect-sunset-photograph/

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How to Organically Grow Your Instagram Following

Instagram is unquestionably one of the biggest social networks today, and it’s undeniable that every photographer should have a presence here. But if you’re like me, you’ve probably struggled to amass a following beyond your existing friends and colleagues. So how do you truly (and organically) grow your Instagram following? Here are some tips.

1. Keep your Instagram posts consistent

When I first started my personal Instagram account, my posts were all across the board. From pictures of my breakfast to photos of a recent vacation or cute dogs I met in my neighborhood, there was no consistency to my Instagram feed. My followers didn’t know what to expect when they looked at my feed, and thus there was no incentive to follow me. As a result, I decided to revamp my approach to Instagram.

My personal Instagram shifted to focus purely on food, restaurant, and event photos as an extension of my professional photography portfolio. Since making this shift, my personal account has seen a drastic jump in followers, as well as interaction with my individual posts. I’ve also built a community of food, restaurant, and event Instagrammers, many of whom I’ve even met in real life at InstaMeets (more on this below). As for my travel photos, those now live on a brand new Instagram account that I’m still growing from scratch. While overall followers for this account are still minimal, interaction with posts has steadily gone up using the rest of the tactics below.

The lesson here is that keeping your posts consistent in either style or subject matter will give people a clear incentive to follow you. People will follow you when they’re interested in the photos that you post, so you must give them an idea of what to expect, and when to expect it. Make sure you post at least several times a week, or maybe even more often if you can come up with enough content or have a larger following. Also pick one or two themes to focus your photos on, for example, food photography or travel photography. This will help you pick out relevant hashtags to post.

Use Add Accounts if you have multiple accounts

Many Instagram users are electing to have at least two separate accounts; one for their personal posts, and one for their more professional, targeted posts. If you go this route, Instagram has made it easy to switch from viewing and posting from multiple accounts via Options > Add Accounts. You’ll have to sign in to your second account; afterward, a dropdown menu will appear under your profile name and you can flip between your accounts.

2. Hashtags are key

In order to have your posts be seen on any social network, you have to understand how new content gets discovered. For Instagram, it’s all about hashtags. But don’t just invent hashtags out of thin air. Instead, you leverage existing hashtags that are both relevant to the photo you are posting, and hashtags that have been used by other people. Note that Instagram allows a maximum of 30 hashtags per post, so add as many as you can!

So where do you find relevant hashtags to use? Here are some ideas.

Websta – Top 100 popular hashtags

Check out the Top 100 Popular Hashtags section on Websta. This will give you a sense of how popular certain hashtags are. The more photos or posts that are tagged with these popular hashtags, the more eyeballs are scanning them, meaning there’s a higher chance of gaining more likes for your content. However, you’re also more likely to get spam comments on your posts, which is why you should not only use super popular hashtags but also drill down into more niche hashtags, per the steps below.

Find hashtags on leading Instagram profiles

As mentioned above, it’s important to focus your Instagram posts around specific topics, such as food or travel. Not only does it help you figure out what types of photos to post, but it also gives you ideas of other Instagram profiles to emulate. For example, an account focusing on food photography might look up Instagram handles for leading food publications such as Bon Appetit and Food and Wine. Follow these handles and also study their Instagram posts. Do they use a bunch of hashtags? Consider using them too. And most importantly, check to see if they offer a hashtag that you can use for a chance to be featured on their account. If so, start using it! More details on leveraging Instagram hubs over in

For example, an account focusing on food photography might look up Instagram handles for leading food publications such as Bon Appetit and Food and Wine. Follow these handles and also study their Instagram posts. Do they use a bunch of hashtags? Consider using them too. Most importantly, check to see if they offer a hashtag that you can use for a chance to be featured on their account. If so, start using it! More details on leveraging Instagram hubs over in this article.

Pro tip

It’s totally fine to reuse the same hashtags on your posts, as long as they are relevant to each photo. But instead of typing in your hashtags over and over, consider keeping them in your note-taking app (ie. Evernote) and simply copying and pasting them into your new Instagram posts. Yes, it’s time-consuming, but it is much more efficient than typing in your 30 hashtags to every new post.

3. It’s all about engagement

When it comes to Instagram, you have to give a little in order to receive. While experimenting with my brand new Instagram account, I noticed that simply adding hashtags to my photos simply wasn’t enough. My very first Instagram posts had a bunch of hashtags, but only gained 6 or 7 likes. Suddenly, my third post jumped up to 39 likes. What changed?

One of my first Instagram photos, posted before doing any interaction.

Immediately after I published that post, I spent five minutes scrolling through my Instagram feed and interacting with as many posts that caught my eye. The interaction was simple in the form of adding likes and a quick comment or emoji. This not only gave me new ideas of accounts to follow but also seemed to bring more people to my profile since the number of likes on my posts immediately skyrocketed. The bottom line; be an active Instagrammer, not only by adding new posts, but also interacting with your followers or new people you discover.

Another Instagram photo, posted the same week with many more likes thanks to interaction with other Instagrammers.

4. Attend InstaMeets and Meetups

The absolute best way to organically grow your Instagram followers is to meet them in real life. Thankfully, Instagram has picked up on this and has a section on their site where you can find local InstaMeets or even coordinate one for your area. Also, consider checking Meetup for local Instagram meetups or photography clubs that might hold an Instagram-specific meetup. Attend these events to connect with local photographers, and be sure to follow each other on Instagram and interact with each others’ posts.

5. Cross post on other platforms

One of the best ways to get more viewers (and hopefully follower) of your Instagram account is to put it in front of as many people as possible. There are many ways to do this. Here are a few ideas:

Cross publish to other social networks

When you make a new Instagram post, cross-publish it to other networks such as Facebook, Twitter, Tumblr or Flickr by selecting the respective icons when you create a new post.

Setting up linked accounts on Instagram.

Add an Instagram widget to your website or blog

If you have a website or blog, there’s a good chance that you attract brand new visitors via search engines on occasion. Make it easy for these website visitors to connect with you on social media platforms like Instagram by embedding your feed into your website. For websites hosted on WordPress, there are many free Instagram embed plugins that can do this for you.

Add Instagram to your email signature

Whenever you send emails, there’s an opportunity to get your Instagram in front of the email recipient via your email signature. Use a service such as WiseStamp to include a link to your profile or even embed your feed into your email signature. Just make sure that your Instagram feed is full of images and content that you don’t mind being seen by people you email.

6. Try out Instagram’s newest features

Like most other social networks, Instagram occasionally rolls out new features. While not all of these features may stick around or be worth your while, you could certainly experiment with them to see if they can work to your advantage. At the time of this writing, here are two brand new features worth trying out.

Instagram Stories

Instagram Stories is like Snapchat where you can post a photo or video that can only be viewed for a limited period of time before it is deleted. What’s the point? For professional photographers or brands, Instagram Stories can be great for posting behind-the-scenes shots from photo shoots. They’re also great for posting mediocre photos that might not be worth permanently adding to your Instagram portfolio but assist in building your brand’s personality.

Multiple Photos

Finally, Instagram is allowing users to post up multiple photos at a time. If you’re thinking, “Wait, Instagram already lets me do this with the Layout By Instagram Collage app,” this is slightly different. Instead of displaying photos in a collage format, you can view up to ten photos in a slideshow This gives you greater flexibility in publishing longer form visual stories and not having to choose just one photo out of a batch.

Posting multiple photos via Layouts by Instagram Collage app.

Posting multiple photos via the multiple photos feature.

Bonus Tip: Enable your Instagram Business Profile

Another new feature Instagram recently rolled out is the ability to convert your personal account into a business profile. Currently, this feature is only enabled if you link your Facebook page to your Instagram account; after doing so, a button should appear at the top of your profile asking if you want to switch to a business profile.

Why switch to a business profile? Well, you’ll get some enhanced features that can help you craft a better Instagram strategy such as:

The ability to add custom buttons to your Instagram profile that allow visitors to go directly to your website, call you, or find directions to your location.

Get Insights or stats on your most popular Instagram posts, total impressions, and basic demographics about your followers.

In Conclusion

Organically growing your Instagram followers isn’t as difficult as it may seem. But don’t expect it to happen overnight. Craft a consistent, long-term approach that incorporates some of the tips above and your Instagram interaction will slowly but surely start to increase!

Do you have any tips for growing your Instagram following? Please share them in the comments below! Follow dPS on Instagram here too.

The post How to Organically Grow Your Instagram Following by Suzi Pratt appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/organically-grow-your-instagram/

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7 Photography Debates – Which Side Are You On?

Photography is a diverse profession/hobby, and as such there will always be debates around some of its more controversial topics. The important thing is that there is no right or wrong answer, just differences of opinion and ways of working. There have been numerous debates over the years and some of the most famous photographers have taken criticism for their decisions over a photo.

For example, South African photographer, Kevin Carter was criticized for his famous Pulitzer Prize winning photograph of a starving Sudanese toddler with a vulture lurking in the background. People felt he should have been helping the child rather than taking the photo. Whether his actions were right or wrong will no doubt be debated for many years to come.

Here are both sides of seven photography debates. Which side do you agree wit or relate to in each?

#1 Should you ask permission before taking someone’s photo?

YES – Taking someone’s photo is a personal experience and if someone doesn’t want to have their photograph taken they should have the option of being able to refuse. By asking permission not only are you showing courtesy and respect, but you are also often able to capture more candid and personal photos. People will be more accommodating, and it will also means that there is less chance of offending the person you are photographing which in turn mean less chance of a confrontation.

NO – By asking permission to take someone’s photo you are missing the opportunity to capture them and the situation in its natural state. When the person you are photographing is aware of the camera it might make them nervous and the photo will feel staged. Asking permission also means you might miss the key moment which makes the photo powerful. The other advantage of not asking permission is you can work quickly and so won’t have to answer questions regarding the purpose of the photo.

#2 Should you tip someone who poses for you?

YES – If you photograph someone they are giving up their time (no matter how little) for you, so they should be rewarded for it. If you are planning to sell the photo then you are basically gaining commercial value out of that person’s time, so it’s only fair that they are compensated. But even if you are planning to use the photo for your personal use, it is still right to offer that person some payment as a thank you.

NO – Unless that person who is modeling has done so under an agreement with you that they will be paid, then they are doing the modelling out of kindness. Even if you are planning on selling the photo, there is no guarantee that the photograph will sell and so it isn’t fair for you to have to pay for something that may not earn you any money.

#3 Is a model release necessary?

YES – Not only will a model release make the photo more valuable commercially, but it means having to either ask the person permission before taking their photo or after you have taken it. It also means that they can be compensated for their time and have agreed to let you use the photo. This will also protect you from potential usage issues.

NO – Unless you are planning on selling the photo for commercial purposes (i.e. advertising a product or service) then a model release isn’t necessary. It also opens up a whole new potential problem of having to explain to that person what the model release is and why it’s needed. This will be difficult if they don’t speak the same language as you.

#4 Post-production – is it cheating or not?

YES – A photograph that has been edited in post-production isn’t a true representation of what might actually exist. For example, removing objects that are in the frame (such as dustbins, power lines, etc.) is basically creating a fake scene which is misguiding the viewer. Even enhancing saturations and adjusting highlights and shadows is manipulating a true reflection of the scene and what has been captured.

NO – Even the most advanced cameras are not capable of capturing images like the human eye sees, so any enhancement or adjustment is needed to make the image feel more real. Also, any editing or enhancement of a photo is simply improving on what’s already been captured and not a figment of someone’s imagination. A photographer is trying to capture their vision in a photo and sometimes that may not be possible without post-production.

#5 Better gear equals better photos?

YES – Simply put, the better quality of camera and lenses you have, the better the quality of your images will be. For example, a full frame camera will give you more pixels which in turn means more detail and sharper and more vibrant images. This means your images can be made bigger. Better quality lenses also help the sharpness of your images. There’s a reason why professional photographers use expensive camera equipment.

NO – While a better camera and lens might give you bigger images that can be blown up and used in a larger size, it’s the quality of the composition, lighting, and creativity that matter more. Even the most basic camera is capable of capturing amazing looking photos that will wow people. But a mundane or poor photo will still be a poor photo even with the most expensive camera equipment.

#6 Photograph for yourself only

YES – You should always photograph what you like and what you enjoy doing. After all, photography is an art and in the same way a dancer would specialize in something they love so should a photographer. Listening to other people only sets you up to become something you’re not rather than being yourself.

NO – As much as everyone would love to just do what they enjoy like any profession, sometimes you have to make sure you take photos that will sell or what a client has paid for. That does mean listening to others, looking at trends in the market, and going beyond your comfort level. But even if photography is a hobby, you will still benefit from taking advice and trying new things that might end up improving you as a photographer.

#7 Digital photography has made photographers better

YES – The explosion of digital photography has meant that photographers have to become better and see and photograph things in new ways. The advancements in digital cameras and lenses have meant more control for the photographer and as a result, images that portray their vision better.

NO – Digital photography means that photographers can be lazier in both the composition and the taking of the actual photo. With photo editing software photographers don’t have to wait for the clear shot as they can simply remove that person that’s in the way in post-production. Digital photography has also meant that photographers can be less sure about a photo as there is no cost implication of just snapping away. In the days of film, every photo wasted was a few cents gone so as a photographer you had to be much more selective.

Summary

There’s no doubt that everyone who reads this article will have different opinions on these debates. Like all topics which drum up a debate, there is no right or wrong answer. So, what do you think? Which side of the arguments do you sit on?

Share your thoughts, reasons, and arguments for and against below.

Editor’s note: Let’s keep it friendly and be kind to others though please – even if we disagree, we can still act like adults and keep it civil.  

The post 7 Photography Debates – Which Side Are You On? by Kav Dadfar appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/7-photography-debates/

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Comparing a 50mm Versus 85mm Lens for Photographing People

As a writer for Digital Photography School, one of the most frequently asked questions I receive from beginner and intermediate photographers is, “If I have to choose just ONE lens to buy right now, which one should I choose?” We’ve previously discussed the differences between a 24mm lens and a 50mm lens for photographing people, and in that same vein, it’s time for another lens showdown!

In this article, we’ll be discussing the differences between an 85mm and a 50mm lens for photographing people. Once again, I’ll walk you through several sets of similar images taken with each lens so that you can easily see the differences between the two. Hopefully, you can walk away with a better understanding of which lens might be the best upgrade for you.

To keep things consistent, all images in this article were taken with a Canon 60D, and either the Canon 50mm f/1.8 lens or the Canon 85mm f/1.8 lens. The Canon 60D is an APS-C sensor (cropped sensor) camera, so in order to determine the functioning focal length of these lenses on this camera, multiply the lens focal length by 1.6 (multiply by 1.5 if you use Nikon). So on a cropped sensor camera, the 50mm lens functions roughly as an 80mm lens, and the 50mm lens functions as a 136mm lens.

1. Differences in Depth of Field

This image was taken with Canon 85mm lens at f/1.8.

One of the biggest differences between the 85mm lens and the 50mm lens is the distance that you’ll need to stand from your subject. With the 85mm lens, the minimum focusing distance is 2.8 ft, and with the 50mm lens, the minimum focusing distance is 1.15 ft.

This means that in general, you will be standing further away from your subject with the 85mm lens, than you will with the 50mm. In turn, this decreases the depth of field, which means that images shot with the 85mm lens tend to have much blurrier bokeh than images shot with the 50mm lens, even when using the same aperture.

This image was taken with a Canon 50mm at f/1.8.

You can see the difference clearly in the cherry blossoms in the background of the two images above, both of which were shot at f/1.8. The cherry blossoms are fairly well blurred in both images, but the shape of the blossoms is more defined in the image taken with the 50mm lens, and the blossoms are significantly more blurred and creamy in the image that with the 85mm lens.

Of course, everyone has a different preference when it comes to bokeh. Some prefer the more uniform creaminess that the 85mm lens offers, while other photographers prefer to have a little more definition in the background.

Left: 85mm lens | Right: 50mm lens.

You may even find that you prefer different approaches in different applications! For example, I usually favor the more uniform bokeh of the 85mm lens. However, when I’m photographing in the grass, I prefer the bit of texture which the 50mm lens provides (see the examples above).

This is purely a matter of preference, so start making mental notes about which type of images you tend to prefer when you look at other photographers’ work. If you find that you are always drawn to the creamier texture, then the 85mm lens may be a better fit for you. If you prefer a bit more texture in the background, you may want to consider the 50mm lens instead.

2. Differences in Framing

This image was taken with 50mm lens.

In addition, spend some time thinking about the content of your backdrops. Using an 85mm lens will result in an image that is more closely framed on your subject. On the other hand, shooting with the 50mm lens will result in an image that includes more of the background (though not nearly as much as shooting with the Canon 24mm lens).

Do you happily hike up to the top of a mountain for a photo session? You might want to consider the 50mm lens in order to more fully capture the trees and vistas in the background behind your portrait subject(s).

This image was taken in exactly the same place as the previous one, only using the 85mm lens instead of the 50mm.

On the other hand, do you often find yourself trying to disguise the background in your images? Do you shoot on location with backgrounds that are sometimes out of your control and/or unpredictable?  In that case, you may want to consider the 85mm lens.

When you combine the decreased depth of field of the 85mm lens with the closer framing of your subject, the 85mm lens is stellar at creating beautiful portrait images at almost any location.

3. Differences in Shooting Distance

This image was taken with 50mm lens.

Remember when I said that when you’re using an 85mm lens you’ll be standing further away from your subject than you would be using a 50mm lens? Here’s another reason why that’s important to know, I almost never use my 85mm lens inside our home.

Our house is just over 1,000 square feet, and depending on the room, sometimes I physically cannot back up far enough to use my 85mm lens. Aside from official photography business, it’s important to me to be able to capture little day to day moments of our family, and so having a fast lens that I can use indoors is a must-have for me.

As much as I love my 85mm lens, it just isn’t a great fit for that purpose given the size of our home. Your mileage may vary.

This image was taken with 85mm lens.

On the other hand, when we’re outdoors I often prefer my 85mm lens. In that situation, standing further away from my subjects is a good thing. I can let my kids play and have fun without being all up in their business. Having a bit more space between them and the camera means that they’re able to relax more easily, which in turn leads to more genuine expressions and candid smiles.

Conclusion

As you can see, both of these lenses are great for capturing portrait-style images of people – I personally keep both in my camera bag and use them with near equal frequency.

That said, if you’re only able to purchase one lens right now, both lenses have situations in which they outshine the other, so it’s important for you to think realistically about your preferences and the way you’ll use a portrait lens most often in order to get the most bang for your buck!

If you have one of these lenses – which do you use the most for people photography?

The post Comparing a 50mm Versus 85mm Lens for Photographing People by Meredith Clark appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/comparing-50mm-versus-85mm-photographing-people/

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Why There are 6 Types of Lightroom Previews and How to Use Them

Previews are an essential part of the Lightroom workflow. But with so many different types of Lightroom previews, it’s easy to get confused. For example, do you know the difference between minimal, standard and 1:1 previews? Or what a Smart Preview does? Or why 1:1 previews are useless in the Develop module?

The differences are more than academic. The way you use previews makes a big difference to Lightroom’s speed and efficiency. If you want Lightroom to run at optimal speed, you need to build the right previews. Let’s take a look at how to do that.

Why does Lightroom build previews?

If you open a photo in Photoshop, there is no preview. You are looking at the photo itself. So why does Lightroom need previews? The answer lies in the fact that Photoshop and Lightroom edit photos in different ways.

Photoshop is a pixel editor. It changes the pixels of your photo and saves those changes in the file. Lightroom is a parametric editor. It doesn’t change the original photo file in any way. Instead, it keeps a record of any changes made to the photo in the Catalog. As the original photo is unchanged, Lightroom needs to use previews to show you how your photos look after you have edited them.

Let’s take a look at each of the different types of Lightroom previews.

Library module previews

There are several types of preview you can build in the Library module. Previews are used by Lightroom to display your photos in the Library module. They help you view, zoom, rate, and flag photos – all the organizational stuff you want to do in this section.

Whenever you import photos into Lightroom it gives you the option of selecting the type of preview to build. There are four choices. The first two (Minimal and Embedded & Sidecar) are relevant if you want to import photos quickly and are happy with a low-resolution preview.

Minimal previews:

These are the smallest previews possible. Minimal previews save space and time but don’t give you a high-quality Library module preview.

Embedded & Sidecar previews:

This option uses the preview built into the Raw file if there is one.

Minimal and Embedded & Sidecar previews are temporary. If you choose either of these options Lightroom builds its own better quality previews as soon as it can. This slows down the browsing process in the Library module. For this reason, I only recommend selecting Minimal or Embedded & Sidecar previews when you need to import photos rapidly.

The next two options are ones you are most likely to use. They give you good quality previews that you can use to view photos.

Standard previews

Builds a preview for viewing images in Loupe View, but without zooming in. You can set the size of standard previews in the Catalog Settings. The best option to pick is Auto. With Auto, Lightroom builds previews that match your monitor resolution.

Lightroom takes longer to build Standard previews than it does to create Minimal or Embedded & Sidecar previews. But the benefit is that the Library module runs much faster.

The only problem with Standard previews is that they are not designed for zooming into your photos. When you zoom in, Lightroom has to build a 1:1 preview. So there’s a delay that slows the Library module down in displaying your image full size.

1:1 previews

The best quality previews of all are 1:1, but it’s the one that takes longest to build. This is a full-size preview that lets you zoom into your photos at 100% when looking at them in Loupe view. With 1:1 previews there is no delay when you zoom into a photo.

The only drawback of 1:1 previews is that they take up a lot of hard drive space. Lightroom handles that by discarding 1:1 previews after a set amount of time. The default is 30 days, but you can change that in the Catalog settings if you need to.

Smart Previews

Adobe introduced Smart Previews in Lightroom 5. A Smart Preview is a high-quality, highly compressed preview that measures 2540 pixels along the longest edge. Smart Previews are used by Lightroom CC to synchronize with Lightroom mobile and Lightroom web.

The option to create Smart Previews is available in the Import window.

Smart Previews are different from the other Library module previews because they can also be used in the Develop module. The advantage of this is that you can develop photos using Smart Previews when the hard drive containing your original photo files isn’t connected to your hard drive.

This feature lets you use Smart Previews to develop photos while you are traveling. All you need is a laptop, a copy of your Lightroom Catalog and the preview files containing Library module previews (1:1, standard, etc.) and Smart Previews. So you don’t have to take the hard drive containing the original photos and worry about losing it while on the road.

If you’re a Lightroom CC subscriber Smart Previews also let you use Lightroom mobile and Lightroom web.

The Lightroom folder contains the Lightroom Catalog and the preview folders you need to run Lightroom on any computer.

Smart previews save space and can be built later as well

Earlier I said that Smart Previews are both highly compressed and high-quality. This sounds like a contradiction but it’s true. I don’t know how Adobe have done it but the result is that you can’t tell a Smart Preview apart from a full-size preview in terms of image quality. The only difference is that a Smart Preview is smaller.

You can build Standard, 1:1, or Smart Previews at any time in the Library module by selecting the images and going to Library > Previews and selecting the preview type required. The option to build Minimal or Embedded & Sidecar previews only appears in the Import window.

Develop module previews

When you switch from the Library module to the Develop module the preview Lightroom uses to display your photos changes. Lightroom renders high-quality previews that let you see the result of actions like adding sharpening, applying noise reduction, and retouching images.

These previews are cached rather than saved in a preview file, otherwise, they would rapidly eat up most of your hard drive space.

Creating 1:1 previews in the Library module makes no difference to the speed at which Lightroom renders previews in the Develop module. But if a Smart Preview exists for the photo Lightroom uses the Smart Preview instead of rendering a Develop module preview under one of two conditions.

a. The hard drive containing the original photo file is disconnected from the computer.

b. You have Lightroom CC 2015.7 or Lightroom 6.7 or later, the hard drive containing the original photo file is connected to the computer, and you have the Use Smart Previews instead of Original for image editing preference enabled in Preferences (see below). Note that if you zoom into 1:1 Lightroom stops using the Smart Preview and renders a full-size preview instead.

Smart Previews are smaller than full-size previews. That enables Lightroom to run faster when Smart Previews are used in the Develop module. The speed increase can be quite significant. If you don’t need to zoom into your photos at 100% magnification then the benefits are considerable.

Conclusion

Lightroom previews are somewhat confusing, especially for newcomers to the software. This is hardly surprising considering there are six types of them! So let’s keep things simple. These are my recommended previews to use.

When you import images into Lightroom, choose either Standard or 1:1 previews. If you intend to zoom into your images while viewing them in Loupe view, you definitely want to pick 1:1 previews. Otherwise, pick Standard.

If you’re a Lightroom CC subscriber and you want to view the images in Lightroom mobile or Lightroom web then tick the Build Smart Previews box. Do the same if you intend to use Smart Previews in the Develop module.

Any questions? Let me know in the comments section below.

If you’d like to learn more about Lightroom, then please check out my popular Mastering Lightroom ebooks.

The post Why There are 6 Types of Lightroom Previews and How to Use Them by Andrew S. Gibson appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/6-types-lightroom-previews/

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Low-Key Photography – Highlighting Darkness

Black is the new black. Low-key photography is a style where the main elements are darkness and negative space. It’s an excellent way to create a certain mood or to use contrast to highlight a subject, such as an item, gaze, or outline. These dark images might suggest a dark mood – loneliness or danger – but they don’t have to! Darkness can also be used to create a sense of safety or adventure, for instance.

You can create a low-key photograph in a variety of ways. It can be an underexposed or high-contrast photo; it can be made in the studio, at home, or outdoors; the subject matter can be anything from a landscape to a tiny detail. The main thing is to create something overwhelmingly dark. As darkness is the absence of light and light is the main ingredient of photography, this is a pretty simple recipe.

Still, low-key photography might be a bit of a challenge for a complete beginner, as you need to know how to manually control the exposure of your pictures. But don’t let that discourage you from trying.

Technically speaking, you should make sure you don’t have a lot of light reaching the sensor, by using shutter speed, aperture, and ISO – the histogram should be heavily left-biased. Most of the time these kinds of photos can be made using a very low ISO, so always start with that if you can – that way, you can make sure your photos are as high-quality as possible.

Let’s use some examples to get an idea of how low-key photographs can be created. When you browse through the pictures, try to pinpoint the mood of each photograph and what role the darkness plays in it. Is it playing a supporting role – for instance, creating an opportunity for something else to be the focus? Or is the darkness the main point of the photograph?

Let’s begin!

Using flash or shooting in the studio

Using a flash might seem like a surprising suggestion for a style which is defined by a lack of light. Yet, it’s perhaps the easiest way to accomplish exactly what you want, since it gives you precise control over the amount of light that’s used (and where it falls). A black background helps, but isn’t required. The important thing is that there’s a large enough difference in light levels between the highlights and the rest of the image.

ISO 100, 1/125th, f/10.

This photo was made in a studio, with a black background, two flashes, and a good friend. Leather or another textured, dark material works really well for this kind of photography.

ISO 100, 1/125th, f/8.

To get this profile image, I used two flashes behind and slightly to the right of the model, one higher up and one lower down. This photo could have worked with most backgrounds, as long as the flashes are strong enough.

ISO 100, 1/125th, f/8.

To light a very specific area of this scene, I used a snoot over my flash.

Using natural light for low-key portraits

To get a low-key portrait in natural light, the most important thing you need to watch out for is that the light source is confined by something, such as a window or a door. You also want the spot where the subject is located to be much darker. The examples below show this in two different ways.

ISO 400, 15 seconds, f/7.1,

Calling this ”natural light” is perhaps a stretch, since it’s coming from inside a house at night. Still, the same applies; it’s a restricted light source shining into a relatively dark space. This time, the space is outdoors and the light source is indoors.

ISO 640, 1/200th, f/2.8.

Here, the subject is sitting in a room with daylight shining through a window with curtains. The background was actually a white wall, but since the light from outside wasn’t shining directly onto it, it was dark enough to turn black in this picture.

Using natural light – textures

Low-key photography is a great way to bring out the feature of a subject that is hard to notice when it’s well lit.

ISO 400, 1/60th, f/2.8.

I found a lot of subtlety in the whites of this wilting flower once I underexposed the shot. The background was very busy, but it became almost completely black once I exposed the shot the way I wanted. I added a slight vignette to darken some lighter spots in the corners of the shot. Another nice thing about this style is that it’s easy to extend a black background if you want more space or to make slightly lighter parts black in post-processing.

ISO 3200, 1/200th, f/5.6.

Sometimes there are also nuances to be found in the blacks. This crow, and its beak, were on a table next to a window (the joys of knowing biologists!) which only got indirect light from outside, so the light levels were very low. Still, it was enough to capture the shades and shapes of the beak.

ISO 4000,1/125th, f/4.

The lighting of these crow feathers was the same as for the above photo. The focus on an all-black scene let all the textures and tones be expressed.

Low-key landscapes

Do you prefer landscape photography? No worries, the low-key photography style works wonderfully for that, too! A night scene usually works very well, but clouds are also very useful. They might make the sky less bright, but they also create interesting light patterns on the ground.

ISO 500, 1/250th, f/8.

An overcast day and an industrial, urban scene provided a great opportunity to capture something dark.

ISO 100, 1/320th, f/8.

The clouds added some nice texture to the sky. But what I was most grateful to them for in this picture was the spotlight effect they created on the landscape.

Conclusion

Experimenting with low-key photography is a great way to get creative – there are so many ways to do it! I hope this basic introduction has whet your appetite to try it out. I’d love to hear from you and see some of your creations in the comments section below!

The post Low-Key Photography – Highlighting Darkness by Hannele Luhtasela-el Showk appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/low-key-photography-highlighting-darkness/

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5 Composition Tips for Landscape Photography

So what exactly is composition in photography and why is it such a big deal? Composition is the way you intentionally arrange or put together the visual elements in an image, in and around your subject. The goal is to catch the viewer’s interest and keep it wandering around your photo. While some people have an innate ability to “see” and compose great images, it is a skill that can be taught.

Once you have identified your subject, here are a few useful precepts you can use when composing your next great image.

1. Simplicity

Now that you have your subject in mind, the first question is how do you showcase it so there is no doubt of your intent? Keeping it simple is a good approach, as clutter can distract or even make it difficult to identify your focus. Most times in landscape photography, you have no control over what is around your subject. Here the use of lighting can reduce clutter, as the brighter areas of your photo will draw the eye in. You can also find an angle that helps you remove any

Most times in landscape photography, you have no control over what is around your subject. Here, the use of lighting can reduce clutter, as the brighter areas of your photo will draw the eye to them. You can also find an angle that helps you remove any strong elements that can detract the focus of the object. Thus use only what you consider necessary components. Good composition is as much about what you leave out as it is what you include.

Good composition is as much about what you leave out as it is what you include.

2. Lines

You have no doubt heard the term lead-in lines – which are lines that direct the eye where you want it to go. This is a powerful tool in composition and can add a three-dimensional feel to your image. It does this by creating movement and can take away that static/flat feeling.

Lines can be literal (such as roads, streams, power lines, or fences) or implied (those that link different subjects in the frame). While diagonal lines are considered the strongest, you are not limited to it as experimenting with horizontal, vertical and converging lines can also be a source of inspiration.

3. Oddities

If you have more than one subject in your image, choose an arrangement with an odd number of subjects (at least three e.g. three rocks or trees). Similarly, you can frame or surround your main subject with two objects to add visual stimulation. Odd numbers within a frame are said to be more pleasing and comforting to the eye.

Side Note: In landscape photography, even numbers in the frame can seem less natural and informal, although an even number of subjects can produce symmetry. This is just something to keep in mind if you are breaking the “rule of odds”.

4. Interest

The easiest way to create interest is by having a foreground element in your shot which adds extra depth and dimension. Following on from the point above, you can feature a subject in the foreground, middle, and background, keeping them harmonious or having subjects that complement each other. Complementary subjects are those that have some association (e.g. they are the same color, similar appearance, or add to your story in some way). On the opposite side of this, you can use juxtaposition to create some tension in your image.

Other ways to add interest can be showing the scale of the scene by including an object or person or even by framing your photo in an interesting way.

5. Rules? What Rules?

Most composition articles start with the rule of thirds. This rule divides the image into thirds horizontally and vertically and suggests that you arrange your subject and other important elements near these division lines or at their intersections. The objective is to be more visually pleasing, as placing your subject in center of the frame stops the eye there and takes away from the movement you are trying to create and use to your advantage.

It is a classic rule that is widely used with great results, so it is an excellent place to start as a beginner. However, what if you want to create a perfectly symmetrical image, such as a mountain with its perfect reflection in a lake? What if you have just as much interest in the sky as in the ground? An image like that will clearly not follow the rule of thirds, would it?

When you are out in the real world looking at the scene before you, these rules become more like handy suggestions. You need to allow your subject to influence your composition and not force it to conform to the “rules”. Therefore knowing the rules helps you decide when it is okay to break them, this is a skill you will develop over time.

Conclusion

Composition is important. To get a sense of how important, think about the impact of what you perceive as a really good or bad image. First, analyze the elements and how they work or do not work together. Identify the subject(s) of the photo and break it down into which compositional “rules” are present or broken. Are there lead-in lines? Is there a point of interest in the foreground or odd numbers present? Remember to move around your scenery and try different angles for your composition and in time you will know which rules to apply or ignore.

Please share any images you have created that use one or more of these tips, in the comments below.

The post 5 Composition Tips for Landscape Photography by Nisha Ramroop appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/5-composition-tips-landscape-photography/

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Digital Photography – Is it the Death of Prints?

Fotografía, foto, photograph…all ways of saying the same thing. But what is this thing that we all strive to become better at doing and in turn share with the world? There was a time not so long ago that the idea of producing a photograph involved a good bit of skill, patience, and hard work in darkrooms making prints.

The only way for one’s work to make its way in front of the eyes of someone else was for it to be printed. Today, the capability of communicating our images to others digitally has virtually become boundless. We are accomplishing the same old thing in decidedly new ways.

So, are we slowly bearing witness to the death of prints entirely? With the advent of digital photography, the world of photo making changed. The medium morphed into something more translucent for the masses. The craft became less organic; less physical. Making photographs, dare I say, became “easy.”

That’s not to imply that there aren’t incredible advancements being made to the photographic art directly as a result of digital photography and sharing. What we’re talking about here is a possible disconnection between craft and craftsman (or craftswoman) which happened slowly.

Perhaps that disconnection is an inevitable natural step as we evolve as a photographic culture. Have we entered into the stages of some type of weird photogenic altruism? Are we missing something by not printing our work?

To print or not to print?

As it turns out we likely are shorting ourselves by not regularly printing our photographs but not in the way we might think. Why go through the problems of manifesting prints when they are, in the eyes of many, unnecessary for most people who shoot with digital cameras.

Printing costs money whereas digital storage cost nothing or next to nothing. Physical prints can’t be “shared” or “liked” on social media. They aren’t something that we can readily copy and paste somehow. And therein lies their value. Not in a monetary sense even though art prints and portraits are still profitable for some. The worth of seeing your own photographic work printed comes from something else.

Digital photography is wonderful in terms of production, cost, and convenience. But it very well may be that it also lessens our own perception of the power derived from photography, which causes us to stop short of the full scope of the art.

The finality of a print is something that gives us as photographers total control over the end product of all our hard work. The print represents a cathartic culmination of everything that we know about making an image and we present that image to world confidently. Prints don’t rely on screen resolution, color modes, or other variables that plague the viewing of our work digitally.

How many times have you viewed a photo on your laptop, your cell phone, or your home computer screen only to notice that in fact, you are viewing three different versions of the same photo? If you’re like me, it causes no small amount of photographic anxiety.

The resurgence of prints?

Lately, there has been somewhat of a possible resurgence in the understanding about the benefits of physical photographic prints. Take the increased popularity of Instamatic cameras which hearken back to Lomography and Polaroid-type cameras. Even Leica and Fuji now manufacture cameras that make singular self-developing prints that are one-of-a-kind expressions. Fuji has taken it one step further by also developing a photo printer which wirelessly prints images from your cell phone onto its Fuji Instax instant film.

The rise in the popularity of the instant medium could mean that we are yearning to slow down and be more committed to our photography. We have become accustomed to swiping right, scrolling up, and clicking over. Could it now be that we are beginning to favor the exclusivity that comes from possessing a print instead of a digital file? Only time will tell what direction the trend will follow.

Final thoughts….

Digital images and physical prints are the twin manifestations of the same artistic vision. Should you always print your work? Perhaps not always. Not every digital photo you make will always be worth a print…but that’s up to you.

Whether or not the digital camera revolution signaled the end of traditional prints is not the issue here. Instead, digital photography, even with all its outstanding contributions to the photographic arts, has possibly caused us to lose sight of the endgame. Sure, sharing your photos so easily with the world is great. It’s an important part of the art of photography. But at the same time, we shouldn’t stop there.

Print your work from time to time. If you have an image that speaks to you just a little bit louder than the others, print it; hang it on your wall, sell it, share it with a photo gallery. Do something more meaningful than just looking at it on your screen.

The post Digital Photography – Is it the Death of Prints? by Adam Welch appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/digital-photography-death-prints/

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How to Create Abstract Images With a Soft-Focus Look Using Vaseline

As a rule, sticky substances and photography don’t mix. For a beloved camera, any liquid substance is a cause for concern. So naturally, I was surprised when I stumbled upon a neat trick used by glamor photographers back in the day. Actresses of the 1920s and 30s were photographed in the soft-focus style that photographers like Alfred Stieglitz and Edward Steichen developed.

Arnold Grethe and Victor Georg, photographers of Vanity Fair used hazy focus, diffusion filters, and other techniques to soften the portraits of actors, particularly women. This stylized softness was adopted by American filmmakers who before then had stuck to the sharpest focus possible. Doris Day, queen of romantic glamor portraiture was rumored to have insisted that photographers use diffusion filters to soften the focus of her photographs. And sometimes, in a pinch, photographers applied Vaseline or petroleum jelly to the lenses.

An abstract photograph of yellow flowers, taken with Vaseline or petroleum jelly applied to a clear filter. The waves in the image reflect the density of the petroleum jelly applied to the lens.

How to make a soft-focus look with petroleum jelly

Creating a diffusion filter with petroleum jelly is actually quite simple, and a lot less messy than it sounds. First, raid your bathroom cupboard for some Vaseline. If you don’t already have a supply, you can purchase a tub from your local pharmacy.

Next, you’ll need to apply the jelly to your lens. There are two ways to go about this. One method is to first stretch a layer or two of cling wrap over the front of your lens, forming a barrier between the jelly and the lens. Fix the cling wrap with a rubber band and double check for holes in the plastic before you start applying the jelly. The potential risk of this method is that the plastic might rupture, causing the jelly to ooze all over your lens instead.

Alternatively, if you have a spare clear filter handy, you could smear petroleum jelly all over that instead. This is a little simpler and you can remove the jelly with alcohol wipes later. Either way, DO NOT apply the petroleum jelly directly to your camera lens – it won’t end well.

This abstract photograph of water was taken with only a thin level of petroleum jelly applied to the center of the lens filter.

Method of application

Start off by adding very small amounts of petroleum jelly to your lens or cling-wrap rig. You can apply the petroleum jelly with your finger, a brush, or some additional plastic for varying results. I’ve found that if you use your finger to apply the jelly, it can leave abrupt areas that affect the softness of the resulting image. Even in very small amounts, the softening effect of the petroleum jelly is quite pronounced. The more you add, the more abstracted the resulting photograph will be.

The direction in which you apply the petroleum jelly also has a significant impact on the outcome of your photograph. Swiping the petroleum jelly in one direction could result in a completely different effect to that of jelly applied in the opposite direction. Experiment with different application methods by tracing different shapes into the lens with your finger.

I also pack some alcohol or glass wipes in case I want to remove a portion of the Vaseline for artistic purposes.

The direction that the petroleum jelly is applied impacts how the resulting photograph will look. For this image, I applied streaks of petroleum jelly around the outer edges of the filter. I then used a tissue to clear the center area. This resulted in a clearer view of the subject in the center of the photograph, and streaks of color on the edges.

A balance between abstraction and soft-focus, this effect was achieved with different densities of petroleum jelly distributed over the lens filter.

For this effect I used my finger to draw zig-zag patterns in the layer of petroleum jelly on my filter. The resulting image is clearly shaped by the sharp edges I traced.

An abstracted image of tree branches with diffused light peaking through the leaves.

When finished, carefully remove the cling wrap or filter. You can wipe the filter down with some alcohol wipes before stowing it away for later use.

Try it

Give this fun abstract soft-focus technique a try and share your results in the comments section below.

The post How to Create Abstract Images With a Soft-Focus Look Using Vaseline by Megan Kennedy appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/create-soft-focus-look-vaseline/

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3 Useful Accessories for Landscape Photography

With photography being more popular than ever been before, it’s no surprise that there are also a whole bunch of accessories available on the market. Many of these are completely unnecessary items that you’ll most likely never need. In this article, I’ll introduce you to three accessories for landscape photography that you can manage without BUT will probably be used more than anything else. I wouldn’t be surprised if they end up as your favorite accessories that you can’t imagine photographing without.

L-Bracket

I’ve been using an L-Bracket for so long that I don’t even consider it to be an accessory anymore. For me, it’s become part of my equipment and I honestly don’t remember what my camera looks like without one.

An L-Bracket is a plate that is fastened to your camera body and serves as a connector between the tripod and the camera. The L-bracket is used instead of a regular quick release plate as it’s a much more flexible option. A clamp is placed on the tripod’s head to connect it with the camera.

Advantages of an L-Bracket

Now, you might be asking, “Why is that a better option than the regular plate which comes with the tripod?” Simply put, it eases your workflow.

Let’s say that you’re standing in the middle of a river and photographing a waterfall. You’re taking a horizontal image and you’ve got a good composition. After taking some images you realize that a vertical image will work better for that scene. With a regular plate, you’ll need to adjust your tripod head so the camera is tilted vertically. By doing this you most likely have to set up the composition all over again since you’re camera has now moved several inches to another side.

With an L-bracket, however, you avoid this problem. Simply disconnect the camera and clip it back into place vertically. In this case, the tripod hasn’t been moved which means you still have the same composition, just vertically instead.

Manfrotto L-bracket mounting a camera vertically on the tripod.

It wasn’t until I “lost” the clamp (connection between camera and tripod) in Iceland that I realized how valuable this tool has become in my workflow (I did find it again later at the airport – in my backpack…) Being able to seamlessly switch between a vertical and horizontal format has made this my favorite accessory. It does add some extra weight to your equipment but it will also protect the camera if you should be unlucky and drop it (still, I don’t recommend dropping it!)

Spirit Level

While this is a built-in function in many high-end DSLR cameras, a spirit level is an accessory that I strongly recommend one if you own a camera without the virtual horizon function.

Capturing images with a straight horizon can be difficult without a spirit level, especially when you’re photographing a scene that doesn’t have a defined horizon (in which case the grid view will help a lot). The spirit level is a handy little tool that will make this process much easier.

The spirit level is placed on the hot shoe (where you connect a flash to the camera). Many choose to leave it there at all times to avoid accidentally forgetting it at home. It’s not the most popular tool for those who don’t use a tripod since it’s placed on top of the camera. If you’re using a tripod, however, it can be essential.

Pre-Moistened Wipes

The last accessory I recommend is one that I have in my backpack at all times. In fact, I get worried if I only have one left.

Pre-moistened wipes are a landscape photographer’s best friend out in the field. We all know that creating beautiful images of landscapes often involve being outdoors in less than ideal weather. Either it’s windy, rainy or large waves are spraying you, having a couple pre-moistened wipes nearby will help you keep the lens clean at any time.

Dust spots or dirt on the lens are constant battles and when it gets really bad it has the potential to ruin an image. (Unless you’re a post-processing ninja who’s willing to spend hours in Photoshop cleaning it up.)

I tend to always have a couple pre-moistened wipes plus a microfiber cloth in my pocket when I’m shooting out in the field. Most of the time, regular microfiber cloths will work great but in the most challenging conditions, you will want to use wet ones. This is especially true when photographing seascapes and the lens gets a thin layer of salt over it.

Zeiss lens cleaning wipes.

What are your faves?

These are some of the accessories I recommend for landscape photography. What are your favorites?

The post 3 Useful Accessories for Landscape Photography by Christian Hoiberg appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/3-accessories-landscape-photography/

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How to Crop to Exact Pixel Size Using Photoshop – with Phil Steele

If you’ve struggled to resize images to an exact pixel size watch this video tutorial by Phil Steele. He will show you exactly how to crop your images to fit a specific pixel size (like for a Facebook banner, etc.) using one quick step in Photoshop.

Crop to pixel size using Photoshop

Phil also mentioned that it’s a good idea to sharpen your image after cropping. Here is some help on that topic:

Photoshop Tip: Using the High Pass Filter to Sharpen Images

Smarter Sharpening in Photoshop using Adobe Camera Raw

If you want more Photoshop tutorials, try these:

How to Understand the Curves Tool in Photoshop

How to Use the Levels Tool in Photoshop

How to do Digital Blending in Photoshop to Create a Composite Photo

How to Create a Rim Light Effect Using Photoshop

How to Add a Sun Flare to Your Images Using Photoshop

How to do Non-Destructive Editing in Photoshop

Want more from Phil? Check out his Photoshop Basics course here. 

The post How to Crop to Exact Pixel Size Using Photoshop – with Phil Steele by Darlene Hildebrandt appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/crop-pixel-size-photoshop-phil-steele/

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Weekly Photography Challenge – Tunnels

Check out: The Light at the End of the Tunnel – 18 Totally Tubular Images.

By Thomas Hawk

Weekly Photography Challenge – Tunnels

If you live in a city there are likely a few options for you to go find some tunnels to photograph.

Always remember – safety first, please! Do not enter a tunnel that has active traffic or trains! 

Country dwellers think outside the box. Where can you find a tunnel? Perhaps a drainage pipe for a stream? what about a covered bridge? If you can’t find one can you make your own tunnel?

Time to get creative and share your images of tunnels.

By Claus Tom Christensen

By Caden Crawford

By Jimmy

By followtheseinstructions

Share your images below:

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

Share in the dPS Facebook Group

You can also share your images on the dPS Facebook group as the challenge is posted there each week as well.

The post Weekly Photography Challenge – Tunnels by Darlene Hildebrandt appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/weekly-photography-challenge-tunnels/

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The Light at the End of the Tunnel – 18 Totally Tubular Images

Tunnels have a unique lighting situation – they are dark in the middle, with the light coming from one end.

They can also be a great place to create or take unique photographs. Here is what 18 photographers created with photos of tunnels:

By Tore Bustad

By Metropolitan Transportation Authority of the State of New York

By Susanne Nilsson

By _ Liquid

By Indigo Skies Photography

By Rex Boggs

By ??? tocausan

By Matt Niemi

By Andi Campbell-Jones

By Hernán Piñera

By Vincent Lock

By darkday

By darkday

By Vaidotas Mišeikis

By pieter musterd

By Rahigrim Monasterios

By Simon & His Camera

By darkday

The post The Light at the End of the Tunnel – 18 Totally Tubular Images by Darlene Hildebrandt appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/light-tunnel-18-tubular-images/

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5 Hacks and Tricks to up your Landscape Photography Game

Landscape photography is something that most photographers do. You may be a beginner or an advanced landscape photographer, you may have your own style, or you prefer certain subjects, but there’s always room for something more, something different.

This article is meant to show you five ways in which you can experiment with landscape photography. The techniques will force you to think differently about the surrounding landscape and will uncover new potential shots in places or situations where you might not have considered even getting your camera out.

Let’s see what these five landscape photography hacks that will up your game:

#1 – Long exposures in unusual places

When you think about long exposures you may be thinking of water flow, night photography, or everything that is in low light. The thing is, you can do a long exposure on anything that moves or changes over time. If something is still, then there is no point of doing this technique.

Sometimes you’ll need a Neutral Density filter of 6-stop or maybe even 10-stops if you want to do this during the day when the light is bright. In this case, you would need an ND to dim it down. The idea is to seek subjects that are moved by the wind for example; it works better if some elements of are still and some are moving. Maybe leaves or some thinner branches are moving and the thicker tree trunk is still.

Place your camera on the tripod, use the ND filter if necessary, and take the shot. You’ll get a simple, yet powerful image that represents not only a glimpse of time but few seconds. You can also try this with crops blown by the wind.

#2 – Move your camera while shooting

You usually try to stay still when you shoot so that’s why, as a landscape photographer, you use a tripod. But sometimes it’s interesting to bend the rules and see what the unexpected offers. You can try and move the camera while shooting. Move it from up to down or maybe you can rotate it slightly while the shutter is pressed.

This technique will produce more of an impression of what you see and certain movements work better with certain types of subjects; for example, move your camera up and down if you have straight tall trees. It also helps to have an exposure time of about one second.

#3 – Zoom your lens

Another element that usually stays the same while you press the trigger is the focal length. But what would happen if you changed it during the exposure? Of course, it helps a lot if you have longer exposure time so that you’ll have time to actually zoom.

You have two options with this technique. You can just zoom in or out and you get an interesting effect like everything is “running” to the edges of the photo.

Or you can first zoom your lens in all the way and hold the zoom ring. While you press the shutter button keep the zoom ring fixed and rotate the camera so that the lens zooms out. Don’t forget to keep the hand that is holding the zoom ring still; you are actually zooming out by moving the camera. You’ll get a twisted effect that I find it works better on pines or similar trees.

#4 – Use graduated filters in unusual ways

As a landscape photographer, you likely know how to use graduated ND filters to balance the brightness of the sky with the foreground, but you can do so much more with them too.

In the old days, photographers used to dodge and burn certain areas of a photo to lighten or darken those spots. The technique is still used today in post-processing.

But what if you could do this right in the camera using two graduated ND filters to darken the margins of an image. You only need to place the grad ND filters at a 90-degree angle, one facing left and the other facing right. You don’t even need to have the same filters; you can use a 2-stop and a 3-stop, for example. This will create a light beam effect.

#5 – Create Cinemagraphs

Cinemagraphs are the new thing, and they look cool. You may be wondering what is a Cinemagraph? Well, it’s a combination of still photography and video. The result is a video, but because of this combination, I included this idea here. Here’s an example of what they look like:

In short, the technique requires you to record a video, preferably with the camera on a tripod, freeze one of the frames and make it a photo, and then creating a mask that reveals only one element that moves. It looks better if you make the video loop-able but that is not absolutely necessary. The effect plays with your mind because everything is still apart from one element that moves.

Conclusion

I hope you’ll find these ideas interesting and you’ll use them to open new horizons and explore new techniques. I think experimenting plays a big part in photography and landscape photography is no exception.

Share your landscape tricks and tips in the comments below.

The post 5 Hacks and Tricks to up your Landscape Photography Game by Toma Bonciu appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/5-hacks-tricks-landscape-photography/

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How to Photograph in the Harsh Midday Sun

It’s all about the light! The golden hour when the sun is just above the horizon shining its low angle golden rays on the scene; sunrise and sunset when the clouds light up pink, orange, and red; and the blue hour when the sun is below the horizon but it is not yet totally dark. Those are the best times to photograph.

But midday? That’s when tourists make snap-shots, right?

Well, yes, but that doesn’t mean there aren’t options for you too. You just have to know what to do when the sun is high in the sky shining its harshest light on a day with no clouds to soften the rays.

We don’t always have the option to shoot on the edges of the day when the conditions are best. On a recent trip, I was in between two destinations and had a few spare hours to visit a small village on route. It turned out to be an amazing location, but the light was harsh and the buildings were white. I could barely look at them let alone photograph them. I had to put my harsh light tactics to the test.

Here are some midday photography tips to help you:

1. Look for shade

The first thing I did was look for shady spots under trees and on the opposite side of the bright white buildings I was facing. Shade provides a nice soft, even, light, which is perfect for colorful subjects and ones with interesting shapes. I especially like to photograph flowers under soft light because the delicate nature of the subject lends itself to soft light.

2. Look for shadows

Subjects with really distinct shapes will also have very distinct shadows in the harsh lighting conditions of midday. So you can make your photograph all about the shadows. Look for patterns in shadows, leading lines made by shadows, and shadows that create interesting shapes in your frame. Remember, you don’t necessarily have to include the object itself, sometimes just the shadow makes your photo a bit more mysterious.

3. Look for reflections in water

Whenever there is a body of water near a subject that has harsh light on it, you’ll get a bright reflection. This works best when the subject being reflected has a lot of color. Ideally, the subject will be in direct light and the water will be in the shade. Again you don’t have to include the object with the direct light on it. Sometimes photographing just a reflection can make an interesting abstract image.

4. Use the time for scouting

When all else fails, rather than photographing, you can use the time to scout out locations for the future. Walk around, find a great subject and play with different compositions. Make “sketch” images by trying different compositions and choosing which one has the most impact. Then, when you find it, make a note of the exact location and make an image so you remember your camera angle.

It’s also a good idea to take note of how long it takes you to walk to that location, what the trail or route is like, and anything you may want to make note of should you need to return in the dark, like before sunrise for example. You’ll thank yourself later when you don’t have to guess at a location and composition before you can really see what is in your frame.

5. Rest up

When you’re on a long trip, sometimes it’s best not to wear yourself out by doing three photo shoots a day. Of course, you’re going to go out for sunrise and sunset. During the day you might want to clean your gear, get out some maps and do some planning, research stuff on the internet, or even take a nap.

Sometimes the best thing you can do for your photography is simply to have a rest so you have lots of energy for your next outing.

Conclusion

What tips to you have for working with the midday sun in your photography? Please share them in the comments below.

The post How to Photograph in the Harsh Midday Sun by Anne McKinnell appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/photograph-harsh-midday-sun/

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Let’s Have a Laugh! – Using Humor in Photography

Go on! You know it is good for you! Let’s have a laugh! This article is about using humor in photography.

Clearly, somebody has something to laugh about – even in the rain.

This article is not so much Five Handy Tips, as it is more a case of Three Gentle Nudges. Maybe you are like me and can be a bit too serious about your photography. I am suggesting that you let go a little. Even one photograph which makes you smile has got to be worth letting go, relaxing a little. It may be that it is only you who is caused to smile, but I absolutely think that is worth it on its own. Then again, you might make tens, hundreds, even thousands of others smile. That has got to be a good thing, hasn’t it?

1. It is not that funny

Please notice that above that I said smile, I did not say laugh.

You think you’re funny, don’t you?!

I once asked the teenage daughter of a friend of mine why she liked a particular teacher. She said that the teacher was funny. She gave the example that he would lean against the board, put a piece of chalk in his mouth, and pretend to smoke it as if it were a cigarette. Even 20 years ago, this was a bit dodgy, but the thing which really struck me was … it was NOT that funny! Mildly amusing, worth a smile, but not really what you would call funny.

Captions for a postcard, please.

That may be the first lesson which we need to learn in respect to seeking humor in photography. It is unlikely that you will ever, in your whole life, take a photograph which is going to cause people to roll on the floor, kick their legs in the air, and clutch their ribs with laughter. You will have done very well, to even cause a mild chuckle.

Much more likely is that you will raise a smile. But, frankly, that is enough. I think you should relax about it and be happy to raise one single smile. Surely, if you manage to make just one other person smile, that is a good thing.

2. The great snapshot!

Though I have admitted above that I can be too serious about photography, I have long been a strong advocate of the snapshot. That is a photograph, taken quickly, with little premeditation, with no great artistic pretensions, with any camera which is at hand.

Those girls do!

If you have a daughter, it is very likely that you have an image like one the above. I wonder, though, is that image in your mind, or did you actually take the photo? Whether it is your big “proper” camera, your phone, or pocket camera, I would encourage you to abandon all other thoughts. Just get on with it, and take that snapshot.

Pink Cadillac? Taken through a window, with whatever phone I had 10 years ago.

I would have thought that the above meets most peoples’ definition of a snapshot. It certainly lacks any artistic pretentions. But, a pink Lamborghini has got to be something which makes most people smile, even if they have very little interest in cars.

The fact that it is parked in handicapped reserved parking is only funny because the evidence would seem to be that there was, in fact, plenty of parking available. The whole thing is also somewhat of a reflection of the culture of the location in which it was taken.

Listen to Wayne

One of my favorite quotations was born in ice hockey, but very applicable to photography.

I think this is a good thought to have in your mind for any type of photography. It is especially pertinent in respect of these type of snapshot photographs. Just for a moment, abandon your aspirations as a serious photographer, and simply take the shot. There is almost zero chance of any downside, no negative consequences, and you might just manage to create an extra smile or two in the world.

3. No thinking here, please

This is an extension of the above point. It is consistent with saying, “take the shot”. However, can I urge you further in that direction?

Do not question the process of taking the photograph in any way at all, please. Don’t think about it, just point the camera and push the button. I think we are in the territory of sports again, and the Nike slogan “Just do it” applies here. Take the shot. (Is anybody else hearing Judi Dench as M, from a recent James Bond film, or is it just me?).

Al-fresco hairdressing.

You should not overthink it. If you see something which pricks your interest even slightly, which even starts to elicit a smile … raise the camera and take the shot. You don’t know why it might be funny, you do not even know for sure that it is funny. Again, my advice to you would be, take the shot.

Do as you are told!

Just enjoy it

I took the above photograph a few years ago, in Malaysian Borneo. It is not printed and displayed on my wall, nor is it of great importance to me. But it does pop its little head up now and then, and when it does, it makes me smile. Does it make you smile at all? If so, why does it make you smile?

It makes me smile because of what I assume is the obvious reason, the irony of telling people to walk by means of a notice on a motorbike. That is why I took the shot. Years later, I realized that it is also the declamatory nature of the exclamation mark which makes me smile. You are not being asked, you are being told to walk, by someone from the comfort of sitting on a motorbike.

Yes, of course, in this context, “walk with” has a different meaning, but you should not worry too much about letting the facts get in the way of a bit of humor, should you?

Relax!

I did not think about anything like all of the above as I was taking these photographs. As I suggest, if you see something which even makes you think about smiling – photograph it! It is not likely to be that funny anyway, the humor might only fully reveal itself later, so take the shot, it’s only a digital file.

Which way are you going?

Further thoughts

I would like to talk about unguarded moments, juxtapositions, discovered photographs, constructed photographs, kids, smiles eliciting smiles, distortions of reality, and the strange things people do. But for now, can you please just take this article as a firm nudge to be open to possibilities.

In summary

Do not worry about trying to be funny. It is unlikely that you will take a photograph which will actually make people literally LOL (Laugh Out Loud, just in case anyone is not sure).

Stop being a serious photographer for a moment. It is a snapshot!

Take the shot! Do not think about it for one millisecond, just do it.

Let’s dance! 

Go on! Have a go! I hope you have been nudged in the right direction. I don’t think I am alone in wanting to see something of a humorous nature from you. Please share your humorous images in the comments below.

Editor’s note: keep it clean, please. No nude or partial nude photos, or images which are disparaging, disrespectful, or hurtful to any other person. 

The post Let’s Have a Laugh! – Using Humor in Photography by Richard Messsenger appeared first on Digital Photography School.

from Digital Photography School https://digital-photography-school.com/laugh-humor-photography/