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Photography News September 6, 2021
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Photography News September 6, 2021
Photography News September 6, 2021
Quote: “I try to make a connection with the people I’m photographing and then I try to disappear” – Deanne Fitzmaurice Articles: Master Curves from Start to Finish in Photoshop – 23m Visual Design Of A Photograph – 1h 40m Better Photographic Composition – Beyond the Rule of Thirds – 2h 3m How to Create Portraiture that is a Work of Art – Lindsay Adler – 1h 59m (I’ve taken a couple of classes from her, I really like Lindsay’s work) Fashion Shoot Without Fashion Clothing – 17m 7 Steps to Master Forest Photography – Mads Peter Iversen 22m
Thought for the day: Chances of getting a good portrait of one person
With one person it is fairly easy to get a good portrait. I sort of divide people I’m photographing into 3 groups:
People who really know how to pose and are comfortable in front of a camera
People who think they know how to pose and are cooperative
People (usually men/boyfriends) who really don’t know how to pose and fare uncomfortable before a camera. Not all men are this way (see below).
With the first group, you can have fun and play around with lights, shadows, clothes, props, and more. It is likely that the subjects in this group know far more than you about how to make a good picture of someone.
With the second group, you need to work more with them to get the right pose and expressions. Be sure to show them the work in progress and get their inputs on how to improve the pose. Change of hand position/shape, the direction of eyes, etc.
With the third group, people who are stiff/afraid of the camera, etc., deemphasize their face/eyes/hands. Again show them the work in progress and what is working.
Making high-quality pictures of people can be fun and often requires thought and imagination. Results are often better when you put more thought into the image. One of my favorite examples is Karsh’s photo of Churchill. Read paragraph 3 in https://en.wikipedia.org/wiki/The_Roaring_Lion
Artist of the Week/Portfolio: Roger Ballen – Website – Article and Video
The content of this blog post done in collaboration with one of our members, Greg Edwards: http://gregoryedwards.slickpic.site
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Photography News June 7, 2021
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Photography News June 7, 2021
Photography News June 7, 2021
Quote: “If you will just give me two minutes, fully committed, we can get a great photo.” – Paul Elledge talking to Willie Nelson
Articles: D-Day in Photos: Heroes of a More Certain Time 7 Steps to Master Forest Photography – Mads Peter Iversen 22m Sunset Photography Tips – Digital Photo Magazine Learn ALL About Your Camera’s Focusing Modes & Focusing Areas 8m Telephoto Minimalist Photography 11m Minimalist Photography with Judy Hancock Holland 37m
Thought for the day: When will your lenses be too old?
If not damaged by dropping, fungus, sticky aperture and focus, lenses can be used forever. A related question is how long can your current lenses match your current sensors?
Current very high end high-resolution Mirrorless Camera sensors (Canon, Nikon, Sony, others) are in the 40-60megapixel range. Next generation will push this to 80megapixels, maybe this year (2021). 100megapixels will soon follow. But will these super high-resolution sensors get all the optical data they need from the lenses you have?
The lenses released by the leading camera vendors in the past few years work well in the 40-60megapixel range. The newer, more expensive lenses from Canon, Nikon and Sony (GM for Sony) are, I think, designed for camera sensors that have 100 or more megapixels.
Roger Cicala, owner and chief optical geek of LensRentals, does optical MTF testing of lenses for fun. He publishes the results in https://www.lensrentals.com/blog/. Keep an eye out for his tests of lenses you are interested in and understand what MTF actually means.
Most of the time your camera body/sensor will be good for a few years. But your lenses may be useful for decades. Try to match these so neither is crippling the other in generation of your images.
Artist of the Week/Portfolio: Bill Brandt
The content of this blog post done in collaboration with one of our members, Greg Edwards: http://gregoryedwards.slickpic.site
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Photography News February 8, 2021
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Photography News February 8, 2021
Photography News February 8, 2021
Quote: “Painting what I experience, translating what I feel, is like a great liberation. But it is also work, self-examination, consciousness, criticism, struggle.” – Balthus
Articles: Foolproof Way to Never Clip Important Highlights on a Sony Camera Minimalist Photography using Negative Space – 7m A Different Way to Improve Your Photo in Five Seconds 11 Ways To Improve the Sharpness of Your Images, Part 6: Dust and Condensation More on Cropping – Thom Hogan Fine art forest photography – 11m – Mads Peter Iversen
Greg’s Thoughts: Success Rate
I have claimed that, with careful deliberate practice, photographic cross training, goaling and other methods you can improve your photos. Have I improved mine?
I have over 2000 pictures on Facebook and elsewhere and I review them regularly looking for the best photos to use in various online contests. In reviewing them some of my very favorite were early photos. I love some them still today. But my more recent photos are much more likely to be favorites. Why? I think my ‘hit rate’ for better photos is improving.
What do I find most difficult?
— Good portraits (and even harder good portraits of couples)
— Good astrophotography (excluding Green Flashes and simple Moon photos where I’m ok)
— And hardest, good Science Fiction and Fantasy photos that look real, not photoshopped and not a forced scene.
Artist of the Week/Portfolio: Toni Lovejoy – Interview This one of the strongest and best interviews I’ve seen, The internal short video begins at 15m 51s but I recommend watching least the first 20 minutes. This is among the greatest / strongest photograph shows I’ve ever seen.
This newsletter is produced in collaboration with one of our members, newsletter editor Greg Edwards: GregoryEdwards.slickpic.site
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The use of Gestalt in Photography
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The use of Gestalt in Photography
Want to kick your photography up a notch, but you’re unsure on which rules to apply? Making sense of all the many “composition” rules can be challenging sometimes, especially if you’re not a theoretic type of person. However, once you get them down, they will make wonders for your artistic expression without you even noticing it. Chances are, you’ve heard about something called the “Gestalt theory”. Gestalt in photography is a very useful tool that will not only make your photos look better, but it will also deepen your understanding of the visual world.
Leading lines create a sense of continuance…
A quick history of Gestalt theory
In the early 20th century, a group of German psychologists developed a set of theories on visual perception. They referred to them as Gestalt principles and used them to describe the human perception of visual information. The origin of the word is, of course, also German. Gestalt simply means shape, form, or the whole. Some experts in the field say that each individual part of an image has its own meaning. When you pull them together, they make a whole, but not necessarily with the same meaning. So when you use the Gestalt approach in your photography, you’re actually structuring these individual parts in one completed image.
Gestalt principles of photography
Visual input is a part of everyday human life. It’s in our nature to try to make sense of the environment that surrounds us. As photographers, it’s our job to present this visual information in a controlled way. That’s how we take charge of what the viewer sees when looking at our photographs.
You can use more than one principle in a single image (continuance & the law of common fate)
Don’t get intimidated by the technical terms, Gestalt is not that hard to understand and you probably know a lot of these principles already. They’re all around us and it’s just a matter of noticing them. Although there are many concepts, the six main principles of Gestalt in photography are figure-ground, similarity, closure, continuance (leading lines), proximity, and the law of common fate. Each principle is unique but fairly simple to understand. For a more detailed description of these principles, check out our Composition series.
The similarity is one of the easiest principles to apply…
Connecting the dots
How do we use the Gestalt approach in photography? We simply pay careful attention to each and every element in front of our lens. What do you see when you look through the viewfinder? Are there any elements missing? Or maybe there’s too much going on? Are you going to stand up or kneel down? All of these questions have to do with Gestalt theory, and you’ll have a much easier time answering them once you apply the theory to real life.
Allow the viewer to draw their own conclusions by playing with closure…
Learn how to arrange elements in your photographs in a way that will draw the viewer in. You will be able to create visually stunning images, just by making a few small changes in your perception. Take control over your composition and you’ll see the results in no time!
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Shape Definition in Photography
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Shape Definition in Photography
Look around you and all you are going to see are shapes. There are very few things in this world that don’t have a shape. In art and in photography, shape definition is one of the six classic design elements, such as line, form, texture, color and space. As a photographer, you have to know how to control your shapes and forms in a composition. Use them properly, and you will be able to bring a sense of three-dimensionality to your work.
Play with the cropping of your photo
Shapes exist in nature and are generally separated by lines. These are the high contrast areas that close in a specific shape and emphasize it. Differing light and color areas, as well as contrast, define different shapes. You could say that all photography is shape photography. Almost every photograph contains one or more shapes, but truly great photographers use them in their unique way.
Everyone can recognize the shape of a bird, even though it’s only a silhouette
Shape and form photography
Shape and form photography can be geometrical or abstract. Abstract shapes communicate with the viewer on various levels. A simple silhouette, like a bird flying over the sky, can be identified as just that – because it’s a shape everyone is familiar with. You can create abstract shapes by using elements of photography such as blur, distance, shadow or scale. Try to hit the viewer on a more subconscious level and don’t let them recognize the shape immediately. A little bit of mystery can often create a greater visual impact.
Highlight your shape photography with these techniques
There are a number of techniques you can use in shape definition that will make your photographs really stand out. The first step is cropping. Decide which information you are willing to present to the viewer. You can either crop the entire composition or obstruct the subject with another element. The ratio between what you decide to reveal and what you decide to hide will ultimately determine the level of intrigue in a photo. This technique is closely connected to the law of closure.
Bring emphasis on a subject by playing around with elements of photography such as lighting and focus. Focus on a subject and bring importance to it, or blur it out and create a level of abstraction. The level of blur you use is up to you. In addition, intelligent use of depth of field can often bring visually stunning results. Combine this technique with some creative lighting and bring it up a notch. Exaggerate the form by using a strong sidelight.
Determine where your positive and negative space is
Positive and negative shapes
If you are new to shape definition, you have probably been focusing primarily on positive shapes. Positive shapes are created by physical objects, while the ‘empty’ space between them creates negative shapes. You can read up on positive and negative space in detail right here (link). Learn how to read your photographs in a two-dimensional way and it will help you understand the 3-D world much better.
Generally speaking, shapes convey a lot of visual information to the viewer. Symmetrical shapes like circles and squares create a sense of stability and ease. Irregular shapes like triangles and ovals are more dynamic, hence they give the illusion of motion. Whether it’s one or a group of objects, together they should make a harmonic form. Choose to group similar shapes to avoid creating chaos in an image.
Find abstract shapes in conventional objects
Before you take this practice into the field, try studying your work first. Define the positive and negative shapes, examine your lighting and focus and choose your favorite photos. Ask yourself, what is it that makes them good? When you learn to apply a critical eye to your existing work, naturally, your current work will improve.
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Impressionism Techniques in Photography
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Impressionism Techniques in Photography
It’s surprising what we can do with a camera once we quit coloring between the lines and start thinking outside the box.
Whispers are caught as we let time gather on the sensor. In the case above a full second passed while the camera dipped and weaved a bit gathering its data. It takes practice – lots of it. But in time we can sense what we capture, even without our eye to the viewfinder.
The longer exposures allow minuscule amounts of time to stagger a bit – a little more spent here rather than there – as our second collects. It gives more emphasis to some elements and lets other elements leave the barest hint that they were there.
You might think that isn’t possible within a tiny second but if you stop and think about how little motion it takes in intended sharp photography to inadvertently blur a photograph, you soon realize that a full second of time offers a lot of opportunities. 2.5 seconds, even more.
I use ND filers – usually a six-stop unless it is very bright. Then I will pull out the 10. It allows me to play in .5 – 2.5 second time ranges as I shoot.
We aren’t limited to landscape photography when we play with this technique. It’s all about shape and color and tone. Any subject that catches your eye will do.
The table umbrella, collapsed and solitary, is a case in point. This is another 1-second exposure. Instead of sweeping the camera in arc type movements, I quickly ‘placed’ the camera three times. A quick movement, stop, move, stop, move – time up!
It gives the appearance of a multiple exposure shot in a very abstract form.
The camera movement we choose has no rule. Nothing is right or wrong in your choice. It comes down to experimentation and preferences in outcomes. And don’t forget all that practice you have to do to learn what works and what doesn’t. All that practice also teaches what’s possible.
The above shot was taken over 1.6 seconds with a lot of stuttering around. I underexposed to put emphasis on the brilliantly lit sails that multiplied with each slight jerk of the camera.
Another motion technique I use is very slight in and out, or up and down – very quickly. Almost like polishing the pixels in my mind. It blurs things slightly and gives some detailed edges in a smudgy kind of way.
The genre of photography doesn’t matter. Think about the great impressionists – they painted everything from landscape to portrait to architecture to battles to seascapes. Anything that caught their fancy was tried. We all have that same latitude. Every shot is an adventure waiting to be interpreted.
If this type of photography intrigues you, put yourself in a dreamy state. And when you spot something that catches your eye – step outside the box. The camera is waiting for you to ask it to dance. The photograph above used that polishing technique – constant motion but not very much.
Each of us will find our own moves that are unique to us. No two of us will interpret the same way. We’ll choose our shutter speeds and play a bit. I usually try several shots – each unique in my approach. I change shutter speeds and moves and often get inspired by snippets of what I see. My goals are known to change depending on where the results of previous shots lead me. It’s truly an adventure.
In this shot, I spent time in one area and then less time in the next and the next. It gave me imprints of shape and tone and color slightly out of register. There is no mistaking the subject. The lack of clarity – the impression – gives each viewer the freedom to tell their own story – to fill their own imaginations.
In this day of Instagram, iconic shots are everywhere. People go out and take the same photographs, following the same rules and come back with very similar shots. The photographs that catch our eye are the ones that see things a bit differently.
There is no right or wrong way to interpret what you see. You are shooting the story. It becomes you, your camera, and your imagination. Mix that with practice and skills and you can truly make original photography that is unique to you.
Sweep the camera in a bit of a dance – gather the light and celebrate the creation of an original!
Before I close, there is an important caveat to keep in mind. We are blurring things but we cannot forego good shooting principles. We must pay attention to good composition, lighting, and extra attention to lines and shapes. If we throw good photography out the window, we will spend our time shooting bad photography. My own opinion is that impressionistic work, any type of ICM (intentional camera movement) must be pristine in its approach. If it isn’t, we will end up with a blurry mess.
The above was shot over 1.3 seconds and the moves were definitely rocking ‘n roll! Now it’s your turn to ask for a dance!
Please visit www.roxanneoverton.com — where you will find more photography and information on my instructional and travel series photography books.
Instagram: @roxanne_overton_photography
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The holy trinity of photography
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The holy trinity of photography
Have you heard about the holy trinity of photography?
If you want to be considered a great photographer (or even a good one, for that matter) you need to make sure you have these three key elements in your arsenal:
1. Photography equipment e.g. camera, lens, post-processing software, etc
2. Some photography education e.g. tutorials, classes, workshops, photo tours, etc., along with experience in the field
3. Your own portfolio website.
Attention to these three elements is what separates the pros from the amateurs when it comes to photography.
Now, when you are starting out, you might think that the first point on this list is the most important and spend all of your money on gear. That’s what actually camera makers tell you in their ads all the time: want a better picture? – Buy a new camera.
More seasoned hobbyists spend their time and money on the first two areas. They love to buy new gear, but they also want to know how to become a better photographer. They sign up to webinars and classes, buy tutorials and attend workshops, in the hope that they will learn the techniques that will turn them into a pro.
However, it is only the professional photographers who understand the importance of the last item in the list: the portfolio. They understand that the skill of taking good pictures is different from the skill of getting a paid client or of getting recognized as a good photographer. They aren’t concerned with constantly upgrading their equipment or signing up to every single webinar going, they recognize that the end goal is to get their photos seen.
They know that nobody cares what camera you shoot with, what lens you are using, or what classes have you taken. If somebody wants to hire you as a photographer, the only thing they want to see is your portfolio.
Your Facebook and Instagram accounts are great for displaying your latest shots, but your pages look different every day, so you can’t control what clients will see. Most clients will expect a professional photographer to have a portfolio.
Having a portfolio website already gives you a huge advantage over most photographers, and if your site looks professional, you’ve got a good chance of getting in front of a client once they’ve seen what you can offer.
Even non-commercial photographers know that one of the first things they need is a portfolio website. Even if people are not going to buy your shots, you still want to be able to display them in the best way possible and to show who you are as a photographer. Even if your only audience is your family and friends, you still want them to love your photography, don’t you? So do what professionals are doing and build a portfolio website.
A portfolio website is not the sign of a commercial photographer, but the sign of a great photographer. Having your own website will give you a sense of confidence, gravitas, pride, and recognition, it really is that much of a game-changer. The best part is that you don’t need to spend thousands of dollars on expensive equipment or learn complicated post-production techniques to become a great photographer. In fact, this won’t cost you almost nothing at all …
Here at SlickPic, we have been helping photographers get their photos online since 2010, and now we’re offering an incredible deal where our designers will build a stunning, professional portfolio website for you at no additional cost when you join as a Portfolio plan member. See some sites that we’ve built for our customers: https://www.slickpic.com/portfolio-websites/
Our Pro members will have all the tools to build their own site from our easy-to-use website builder. Completely free for you to use and build as many sites as you like, all hosted on SlickPic.
On top of that, this week we are giving away a FREE copy of “Photographers: What You Really Need to Know Before Building Your Portfolio Website” blueprint: https://click.slickpic.com/your-portfolio
And we should know; we’ve been providing portfolio websites and photo sharing tools for great photographers since 2010.
There really is no excuse, so join the SlickPic family and request your website today!
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Composition in photography: Figure to ground relationship
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Composition in photography: Figure to ground relationship
The figure to the ground relationship is one of the most important, but often overlooked concepts in photography. Painters have been using it for ages, but with photography, the methodology is a bit different, so it’s not always easy to translate painting tools. A good figure to the ground relationship is considered when the line between the subject (figure) and the background (ground) is clearly visible.
The line between the subject and the background is clearly visible
Think shapes and contrast
A photograph is a two-dimensional representation of a three-dimensional space. The surface of a photograph is made up of various shapes, which are in some kind of relationship to each other. To better understand figure to ground relationships, try thinking in shapes. Your subject is the main shape that needs to stand out in relation to other shapes. The best way to do that is to enhance the contrast between the subject and the background.
You can easily make the distinction between the subject and the background with black and white photographs
Blur it out
It is easier to recognize the line between figure and ground in high contrasting and black and white images. With color photography, the line isn’t always clear and there are other elements that divert attention. If you are unsure of what constitutes a strong figure to ground, try blurring out your photograph. You can to that by looking at it from a distance – that way your eyes will disregard the details and focus on the colored surfaces. If there is a clear distinction between the surface of the subject and the background, you’re on the right track!
There is another method to this concept which is simply putting your photograph through Photoshop and applying the blur filter.
Light and dark
There are a number of different contrast that can be applied in photography, which we’ve covered in our color theory series. But the most basic contrast that works together with the figure to the ground concept is the contrast between light and dark. Your subject and your background should be in this relationship – one should be light and one should be dark. That way the contrast between them is greater which constitutes a good figure to the ground relationship.
The clear light and dark contrast makes a good figure to ground relationship
All of the above are only tools and not definitive rules. There is more to photography than just following composition principles and theories. You should never forget about your own creativity. A good photograph is usually made up of more than just one simple principle – it is a compound of many different elements that reside in harmony.
By learning and practicing you will be able to employ more than one rule in an image
Think about everything you’ve learned thus far – from color theory to composition rules – all this information is somehow implanted in your subconscious. You don’t have to think about them all the time, on the contrary, it is better not to think about them so they don’t overwhelm you, which will make you miss opportunities. So if there is one rule I would always keep in mind, it’s to keep your eyes open and your camera ready. You will realize that you’ve t a photograph that has an impeccable figure to ground relationship and you weren’t even thinking about it!
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Fun with Multiple Exposures
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Fun with Multiple Exposures
Cameras can capture all kinds of fun and my firm belief is that when we color outside the lines – play and not take things too seriously – we learn.
I’ve been hand blending photographs for years. I love taking pictures of a subject from a lot of different angles. This method usually requires that I keep the subject in the middle of the frame and shoot anywhere from three to 20 shots. I load them as layers into Photoshop and then turn everything off visibly except the bottom layer. I then start blending from the bottom up until I get the image I imagined.
Another
One day I was playing around in Photoshop and found that there were other options where I could auto- blend layers. I could give up control and let Photoshop make the decisions. The intriguing thing here was that I didn’t know what Photoshop would envision. I soon learned that the program took my images to places I would have never imagined.
I could take multiple images of the bridge moving the camera just a little bit between shots – up and down, tipping this way and that – and then ask photoshop to do an auto-blend.
So imagine 14 individual shots like this but with each one taken from a slightly different vantage point.
Then I put them in auto blend to see what Photoshop does.
A rather bland hallway seemed interesting and I specifically shot 10 images for auto blend. They were all variations on shots like this:
I did a mix of still shots and those using ICM, intentional camera movement. The result is kind of elegant:
Playing with this is really fun and it’s surprisingly simple to accomplish in terms of using Photoshop. After you’ve played with it a bit, you’ll find yourself looking for good subject and that can get challenging – planning for what you hope. And you will sometimes get it – and other times Photoshop will show you something you would have never dreamed possible.
Load your photographs as layers in Photoshop. You can do this by selecting them in Lightroom and going to edit > add as layers.
Once in Photoshop, select all the layers > Shift A. Then go to the menu at the top and choose Edit>Auto- Blend Layers
The window looks like the following and these are my settings:
It’s just that simple – so go have some fun!
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Perspective
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Perspective
Has Instagram ruined or helped photography? Like anything, it depends on who you ask. In my case, the question speaks to high quality photography – not the everyday snapshots which abound ad nauseam.
It used to be that I could pack up my camera and travel near or far and take original photographs. Even if I was shooting iconic scenes or structures, I could do it in a way that made the image mine.
Now things have changed. Everywhere I go there are people taking pictures with cameras or phones. If I go to a well-known site, there will be 50 or 100 tripods set up in a row. Some of the results will make their way on to Instagram and some of the results will be very good. The one thing I can count on is that if I line up with them, I won’t get anything original anymore.
I found myself getting a bit depressed over this. I wanted the shots I took to be unmistakably mine. I wanted them to convey what I saw and felt at the moment I clicked the shutter. It occurred to me that if that was my intent that first, I needed to identify what I was seeing – how I was seeing it – what I was feeling – and how could I convey that?
Tall order. But it has led me down new paths of photography and has resulted in unique photographs – in fact, the most exciting photographs I have ever taken.
It became all about perspective. Not in the usual terms of perspective – but in new terms which gave different results. Traditionally, perspective in photography is about camera level – is it eye level – ground level – up on a ladder – or?
This perspective was more total in its content. It was about what was happening. What was the atmosphere – motion or still – my intent? Everything around my subject came into play. I found if I introduced camera motion with a long exposure, I would get interesting/exciting results.
Another way to photograph in an urban area was to look at my subject from a reflection. That way I could add altered reality to what I was going to shoot. Framing my subject in a different context allowed me to see it in a whole new way.
A simple street photo became very untraditional.
Plain windows sharing advertising on a reflecting window across the street take on more interest.
And sometimes, just the reflection itself becomes the subject on its own.
Another interesting perspective is multiple exposure. Taking a good look at a single subject from a few different angles is one way to accomplish it.
It’s also interesting to add camera motion to multiple exposures. An entirely different look and feel shows itself. It’s especially fun and challenging to build these kinds of shots in-camera and not rely on software.
Unexpected results occur when you take some random photographs of a specific area and merge them into a single composite. Everything is related but in a unique way.
An unexpected bonus came from this path. I found all kinds of interesting subjects that I had totally ignored in the past. I was busy looking for that perfect shot – you know – the beautiful, breathtaking image. Now I find breathtaking images all over the place. Common sights seen in unexpected ways net fascinating photography.
Here I worked on capturing the Empire State Building into a meaningful image that differs from what I usually see.
When I get one of those shots, it sends me out looking for more – and they are everywhere!
Experimentation has given me new insights in how I might want to capture subjects. It has given me new paths to explore. In the exploration, I have discovered new ways to see things and my own personal horizons have expanded beyond what had become a bit too ordinary for me.
The New York City skyline has been shot and shot and shot. I wanted to shoot it too.
These new horizons have been exhilarating. Every time I think I can’t possibly come up with a new approach, I find myself seeing some of the same old things in unexpectedly new ways and I figure out how to capture them.
What I have outlined above has been part of the journey I have been on with my photography in more recent years. For awhile I felt guilty when I went places and only took these non traditional photographs. But not anymore. I let all those people on Instagram do that.
PS – you’ll find me and my posts on Instagram too. Please stop by for a visit.
Please visit www.roxanneoverton.com — where you will find more photography and information on my instructional and travel series photography books.
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Don’t Waste Social Media – it’s a powerful tool!
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Don’t Waste Social Media – it’s a powerful tool!
Social Media – loved by some and hated by others – and not used often enough in the right way to benefit your photographic growth.
Seven years ago, I was issued a challenge by one of the most gifted photographers I know. I was whining about how I couldn’t identify a genre to focus on – how I felt my work was stagnant – like I said – whining.
He issued me a challenge that utterly changed my photographic path – accelerated my learning curve – and set me free to explore my own potential. I won’t issue that challenge to you but you may decide after reading this article to issue it to yourself.
He had been ‘working’ this challenge himself for several months and was very impressed with his results. He was hoping I would take it on to see if it worked for me as well.
His challenge was for a one-year period. Every single day.
I also expanded the challenge to include other lessons I had learned that I felt contributed to my own growth in photography in surprising ways.
The challenge was to post ONE photograph a day, every day on a social media platform. It had to be a photograph that I was extremely proud of and I had to understand why I liked it and write a short summary. It had to be the quality of photograph that I was proud to share with the world.
Note – ONE photograph a day. Not a series of snapshots but a quality piece of work. Don’t dilute it with numbers. Give it the importance it deserves.
Here’s an example.
Conversation: I love the strong backlight – how it creates a glow on the walkers. The shot is well anchored with a series of vertical lines that repeat in reality and by implication in the people walking. Burnished colors compliment the scene. Strong feel of energy – people in motion.
It’s been interesting over the years how people who follow my work and read the descriptions assume the words are for them. I’m happy to share them but the words are an important part of this growth path and are written for me. In analyzing why I like the photograph I am posting, I am reinforcing within my mind what is important to me.
As I did this, over time, I found I had specific things I looked for regardless of what subject I was shooting. I learned from my own work and my own preferences what to look for when I was out shooting.
Conversation: I love the curiosity this shot creates. The frame is weighted nicely on the bottom with a soft pattern that helps throw emphasis on the bright area at the top that frame the subject. Sharp focus also draws my eye. Nice lines and shapes strengthen the frame.
I found giving verbal voice to my visual image was a terrific learning tool. I found a way to expand on it. Instead of giving my voice to just my own work, I decided to have personal conversations with myself when looking at the work of people I admired. What was it they were consistently doing that made me pause and gaze in wonder at their captures?
These conversations taught me more about what it was that drew my eye. And the best part is that they inspired me to weave new ideas (not copy) based on these preferences into my own work. I started clarifying and distilling to the heart of what I loved seeing in a photograph.
Here’s an important aside. When studying other people’s work, it’s vital to study only work that inspires you. This can be found on social media but it’s a very small sliver of the photography that is posted.
Be careful with scrolling on the internet. It’s far too easy to feed your brain junk food by looking at photo after photo of inferior quality. This may sound snobby, but it’s not.
What we shoot every time we raise the viewfinder or screen to frame a shot, is a compilation of everything we have felt and seen in our entire lives. It’s what makes photography unique. None of us has walked the same footsteps and we all see differently based on our own collective personal experiences.
If you scroll through endless junk, you are making that part of your experience.
Other places to find inspiring work are specific webpages belonging to stellar photographers and photography art books. The libraries are full of them. Spend time with masters and have those verbal conversations. You’ll be amazed at what you learn.
Conversation: I like how the receding columns on the left pull my eye back and into the image. The blues and yellows make a nice contrast and add energy. The big X is a strong pull and anchors the shot which is really about motion. I like the slight blur of the people – the wisps left over from a passing car. Another thing I like about this shot are the patterns – they are everywhere and enhance the strength of the shot.
Words are important. In sales, it has been proven that words and visuals combined add up to much more than 1+1=2. The combination accelerates the power of each. When I first started looking at the work of others, I actually wrote down bullet points about their work to see how often each of their images ticked off a point. I found the most inspiring work to carry a lot of commonality across the multiple genres they shot. It opened my eyes to possibilities.
I did this for three years. It was hard but I learned so much. I still do it although I cut myself some slack. I skip vacations and occasionally post without a comment.
But I find I miss the exercise. My subconscious knows it’s incredibly valuable and I’m not ready to stop growing. I hunger to explore and improve. So, I post and converse – out loud for emphasize. I look at the work of others and converse – out loud for emphasis. And I stay away from junk – do not evaluated negative things – all of my emphasis is on the positive.
This isn’t my challenge to you. It’s your challenge to yourself should you choose to accept it.
Conversation: I like how vibrant and natural the colors look. I like the contrast they provide coming from opposite sides of the color wheel. I like the horizontal bands that move my eye across the image from side to side – it has an endless feel. I like the interruption of shape in the foreground where the water meets the sand – a lazy curve line that lets my eye explore.
Please visit www.roxanneoverton.com — where you will find more photography and information on my instructional and travel series photography books.
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ICM – Intentional Camera Movement
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ICM – Intentional Camera Movement
All of my life I’ve been chasing what I see out of the corner of my eye; those elusive visions, slightly blurred and a bit magical. But when I turn and focus on them, they disappear into ordinary. I wanted to learn how to capture that state of blur. It’s what caught my eye in the first place – I think it’s worth chasing.
If you stop and think about it, most of what is in our field of vision is out of focus. Our eyes are only able to focus on a very small area. Our true focus has no depth of field. I think that’s why many of us are fascinated by photographs without clarity – or how our eye finds clarity within blur.
I’ve actually trained my eye not to focus so it can explore scenes looking for what catches my eye. Only then do I focus in and see what I have found. Then comes the challenge of capturing it in all it’s blurry beauty.
A few years ago, I got an app for my iPhone that easily allowed me to capture those images in their magical and unfocused state. I could leave the phone shutter open one second or two and I could watch an image build and morph on the screen. I was transfixed. The phone became an obsession as I studied what was happening and learned what was possible.
The next step was to take that knowledge and transfer it to my digital camera. I had to figure out how to get the right settings and the correct motions to fix those moments in time onto my sensor. It was incredibly challenging because unlike the phone, where I could watch a photograph emerge, I had to work blind within my camera.
That turned out to be a bonus because through trial and error – lots of error – I made new discoveries and learned. My limited expectations began to expand and they continue to expand to this day.
This journey into capturing my peripheral vision is still a work in progress. I hope it always will be. But I’m far enough along now to share what I have discovered – what I have learned. Here are a couple of tips and hints.
When shooting blur, it is important to follow some kind of line that will maintain clarity. Our eye needs a place to rest and it doesn’t rest in a state of blur.
Subjects for blur can be anything we see – or don’t see clearly. The first step is to start paying attention to what catches your eye. We never find a subject to shoot in clarity that hasn’t entered our consciousness in a state of blur. In your next ‘aha’ moment, back up and think … what caused me to look at this? What caught my eye? Be mindful.
The next step is to identify if you want to try and capture that moment before clarity. If the answer is yes, then your journey has begun.
Blur photography happens with a longer shutter speed. My favorites are 1/10 – 1/13th for most subjects but I also have other subjects that do well with one or two seconds. I started with the shorter exposures and worked hard on camera control. I personally do not use a tripod – I sort of dance with my camera. Without a tripod, steady hands are important.
Here are two examples of camera settings. One short and one a bit longer. These are Lightroom screen shots.
The only important setting to note is shutter speed. The ISO and aperture are set only to serve proper exposure at whatever shutter speed you choose. Sometimes you can get by without any type of light reduction filter (ND Filters) but usually it is easier to use one. Your camera’s sensitivity and the ambient light will determine what your choices are.
Motion usually needs to be smooth and sure. This takes practice. So be grateful for digital and the trash can. You will use the trash a lot at the beginning.
Like anything worthwhile, it takes practice, practice and experience to be good. If you want exceptional blur results then it takes a lot of practice.
ICM is just one style of blur photography. There are more and each gives exciting and often dramatic results. It’s a new way to look and savor and capture the world around us.
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ICM – Intentional Camera Movement
New Post has been published on https://www.slickpic.com/blog/icm-intentional-camera-movement/
ICM – Intentional Camera Movement
All of my life I’ve been chasing what I see out of the corner of my eye; those elusive visions, slightly blurred and a bit magical. But when I turn and focus on them, they disappear into ordinary. I wanted to learn how to capture that state of blur. It’s what caught my eye in the first place – I think it’s worth chasing.
If you stop and think about it, most of what is in our field of vision is out of focus. Our eyes are only able to focus on a very small area. Our true focus has no depth of field. I think that’s why many of us are fascinated by photographs without clarity – or how our eye finds clarity within blur.
I’ve actually trained my eye not to focus so it can explore scenes looking for what catches my eye. Only then do I focus in and see what I have found. Then comes the challenge of capturing it in all it’s blurry beauty.
A few years ago, I got an app for my iPhone that easily allowed me to capture those images in their magical and unfocused state. I could leave the phone shutter open one second or two and I could watch an image build and morph on the screen. I was transfixed. The phone became an obsession as I studied what was happening and learned what was possible.
The next step was to take that knowledge and transfer it to my digital camera. I had to figure out how to get the right settings and the correct motions to fix those moments in time onto my sensor. It was incredibly challenging because unlike the phone, where I could watch a photograph emerge, I had to work blind within my camera.
That turned out to be a bonus because through trial and error – lots of error – I made new discoveries and learned. My limited expectations began to expand and they continue to expand to this day.
This journey into capturing my peripheral vision is still a work in progress. I hope it always will be. But I’m far enough along now to share what I have discovered – what I have learned. Here are a couple of tips and hints.
When shooting blur, it is important to follow some kind of line that will maintain clarity. Our eye needs a place to rest and it doesn’t rest in a state of blur.
Subjects for blur can be anything we see – or don’t see clearly. The first step is to start paying attention to what catches your eye. We never find a subject to shoot in clarity that hasn’t entered our consciousness in a state of blur. In your next ‘aha’ moment, back up and think … what caused me to look at this? What caught my eye? Be mindful.
The next step is to identify if you want to try and capture that moment before clarity. If the answer is yes, then your journey has begun.
Blur photography happens with a longer shutter speed. My favorites are 1/10 – 1/13th for most subjects but I also have other subjects that do well with one or two seconds. I started with the shorter exposures and worked hard on camera control. I personally do not use a tripod – I sort of dance with my camera. Without a tripod, steady hands are important.
Here are two examples of camera settings. One short and one a bit longer. These are Lightroom screen shots.
The only important setting to note is shutter speed. The ISO and aperture are set only to serve proper exposure at whatever shutter speed you choose. Sometimes you can get by without any type of light reduction filter (ND Filters) but usually it is easier to use one. Your camera’s sensitivity and the ambient light will determine what your choices are.
Motion usually needs to be smooth and sure. This takes practice. So be grateful for digital and the trash can. You will use the trash a lot at the beginning.
Like anything worthwhile, it takes practice, practice and experience to be good. If you want exceptional blur results then it takes a lot of practice.
ICM is just one style of blur photography. There are more and each gives exciting and often dramatic results. It’s a new way to look and savor and capture the world around us.
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Think Before You Shoot — Bring Home Photographs You Love
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Think Before You Shoot — Bring Home Photographs You Love
Travel photography always creates a sense of urgency in me. When I arrive at a new place I can easily be overwhelmed with awe. Sights, sounds, smells and fatigue all conspire to overpower my brain. My urge is to try and capture it all, and it takes conscious effort to slow down and organize my thoughts. The places I’ve been privileged to see are wildly amazing and it’s a challenge to bring home images that match my experience. Itʼs also a challenge to bring home images someone else hasnʼt already taken – to find something original at places like the Taj Mahal.
I know my equipment and use it often – not just my cameras, but lenses, filters, flashes, etc. When I buy something, I learn how to use it. My camera must be an extension of me so that my reactions can be instinctively right. There’s a lot to consider when shooting; learning how to use equipment can’t be on my mind.
Before I leave, I sort through everything and decide what Iʼm going to take with me. Next, I start using it. I make time to go out and take photographs. I run through different scenarios that I might encounter and make sure that using my photography tools is second nature to me. I refresh my mind on how things work if I havenʼt been using them for a while. Good examples might be my flash attachment or specialized filters.
Digital gives us many great gifts in photography but the ease of feedback has to be near the top. Live view and software programs give me the ability to analyze and make changes. Trying different settings and approaches broadens choices and helps capture distinctive views that tell my story. I study other people’s images, the ones that inspire me, and figure out how they move into things. I don’t try to copy what they do. I try and learn how they see things and it helps me expand my own vision.
When I happen into a scene that I want to shoot, my mind runs through a series of questions, “What’s the story here? Who or what is the star? Are there leading lines, shapes or patterns I can use? Is there a ‘moment’ about to happen? Where do I need to be?” What is the light doing? I think before I shoot. I may never pass this way again. I certainly will never be back under the exact same circumstances so I want to make what I shoot really counts.
Every photograph I take is the expression of my inner voice bursting to get out. Photography is visual language. When I want to say something with words, I formulate them to get my point across. When things are blurted without thought, often the point of what I want to say is lost. The same is true with visual language. If it is to succeed, thought must go into our photography procedure.
There are many things to consider as we start this decision-making process. The camera flattens what the eye sees in our three-dimensional world and compresses it into two dimensions. Light is one of our most powerful tools to add back part what the camera takes away. Don’t ignore perspective. Most photographs are shot from eye level. When I gain a different perspective, I see the world change.
Travel brings all kinds of restrictions. I think about what I have to work with, not what I wish I had. Embrace constraints – interesting photography happens because of them. I can battle the weather, the light or the wrong lens and go home empty-handed. Or I can embrace the limitations and work with them, finding an image I might never have suspected was there.
I always look behind me. It’s surprising how often the best shots are at my back. Look around and be aware. Look around and see what’s coming. Then move into position.
Good photographs elicit emotions. When I consider the lines, light, placement, framing and all the other choices I have, my images will more likely express not only what I saw, but also how I felt. Photographs speak to viewers because they tell a story. It’s important to choose the correct elements to make that story intentional and evocative.
The choices of how to capture a subject are almost limitless. When traveling in Cambodia, I came across a lady carrying water from a lake. It was sunset. It didnʼt take much thought to frame and shoot the photograph below.
Itʼs a lovely shot. But there were a lot of people with cameras and phones stopping to take the same photograph. Was there another choice to capture the magic of this moment – the swish of the water – a bit of her dance? For me, the answer was yes.
The gifts of being a traveler with a camera are enormous. We see so much more than other travelers. We note details, light and people; we look deeply. Even without our photographs we bring home richer experiences. We don’t just pass through. We become part of the environment.
A photograph is magic. We can capture a moment in time and subsequently savor it for as long as we want. When it’s done well, others are delighted that we share our work and let them journey with us.
As we think about packing our gear, remember the most valuable tool in our tool box is ourselves. Keep your head, think before you click the shutter, bring home photographs you love; and happy shooting!
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Top 3 Mirrorless Cameras in 2019
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Top 3 Mirrorless Cameras in 2019
Mirrorless cameras are all the rage right now. Compact, portable and built around the same sensors used in DSLRs, mirrorless cameras are capable of fulfilling all your photography wishes.
The main difference between a DSLR and a mirrorless camera is the lack of a mirror, needed to divert light to the viewfinder and show the scene. This makes mirrorless cameras smaller and lighter, giving them faster on-sensor focus and making necessary an EVF – electronic viewfinder, which shows real-time changes to the scene as you change camera settings.
But with so many brands and hundreds of models, it is very difficult to choose the best mirrorless camera that offers the most value. To make your life simpler, here are the 3 best mirrorless cameras for different budgets, which will provide you the best value.
Olympus E-M10 Mark II and Panasonic GX850 – For A Low Budget
The Olympus OMD E-M10 Mark II is a very capable camera at a very budget-friendly price of around $500. The first thing you will notice is that this camera looks like a vintage SLR, without the bulk. At the heart of it lies a 16 MP Micro 4/3rds sensor, with an 81-point contrast detect AF.
One standout feature of the E-M10 Mark II is its 3 inch touch-enabled LCD, which can move up or down for selfies but not fully turn around. The camera also has a Simulated OVF, which mimics optical viewfinders and increases dynamic range of the EVF, giving a more accurate picture of the scene.
I have seen the AF system of this mirrorless work excellently in daylight, especially in Face detect mode, although it falls short when subject tracking. On the video side, the camera can shoot up to 1080/60p and offers zebra warnings and focus peaking, features you will not find easily.
With extra features like 5-axis image stabilization, better EVF, touchscreen, Wi-fi, 3 control dials and the excellent 16 MP sensor, the camera is a very good package for anyone looking for a capable and portable camera for general photography.
My second choice in this category is the amazingly compact Panasonic Lumix GX850. Marketed as the “most affordable 4K Compact camera”, the Panasonic Lumix DC-GX850 features a 16 MP Micro 4/3rds sensor, a flip-up 1040k-LCD screen, Wi-Fi and 4K video. It is available for around $550 with the 12-32 mm kit lens, and comes in 4 different color schemes.
Although the DFD autofocus is great point to point, it does not do very well with moving subjects, especially if the movements are erratic. The little noise that does creep into photos is not a big deal, and nothing that is not found on other mirrorless cameras as well.
Video is of good quality, especially with features like the flippy touchscreen and 4K. But for people looking for more controls and advanced settings, this is not the camera.
The camera’s lack of a dedicated viewfinder, low battery life and lack of manual controls will make you want to upgrade after a few months. But if you are a beginner or a person looking for an easy to use family camera, this will not disappoint.
Sony Alpha a7 II – For A Medium Budget
With a price of around $1500, the full-frame Sony a7 II is a serious camera for a serious photographer. Being a company that is always technologically ahead, the Sony a7 II has many impressive features like in-body 5-axis image stabilization, Wi-fi, S-log2 for video and high-bit-rate XAVC S format with 60p, 30p, and 24p recording options, all at 50 Mbps.
The 24 MP full-frame sensor provides excellent dynamic range and sharp details. The sensor is complemented by an on-sensor phase detect autofocus with 117 phase detect points, along with the usual contrast detect. The only downside is that the coverage is not very good, and you will have to keep your subject in the central portion of the frame.
The one downside of this camera is its bulk. Although it is a mirrorless, the bigger sensor, a better grip and EVF have taken their toll, making the a7 II almost the weight of a flagship DSLR.
Nikon Z7 – For A High Budget
The Nikon Z7 is the most-recent flagship of Nikon, and it can be clearly seen that Nikon went all out on this camera. A relatively compact and portable camera, the Z7 comes with a massive 45.7 MP full-frame CMOS sensor and a very reliable 493-point on-sensor hybrid AF, with a price tag of about $4000 to match.
Apart from the amazing sensor which provides class-leading dynamic range utilizing Nikon’s new Z-mount, the Z7 also comes with in-body 5-stop image stabilization, 4K video, 10-bit HDMI output, a lower ISO of 64 – which can be reduced to ISO 32 – and a high-resolution OLED electronic viewfinder with a touchscreen LCD for easy focus.
There is very little about this camera to find a problem with. The main problem is only the comparatively lower speed of 5.5 fps with Live View updates while shooting. If you aren’t trying to follow action and don’t need live view, the Z7’s ‘High+’ mode can faster. This mode allows full autofocus but locks the exposure settings after taking the first image, shooting at 8 fps in 14-bit Raw or 9fps if you drop down to 12-bit mode.
You can also check out the Canon EOS R full-frame mirrorless camera, and the Sony Alpha a7 III. Apart from these possible alternatives, and maybe the Nikon D850 if you don’t mind a bulkier DSLR with even better AF reliability and speed, the Z7 is probably the one camera for every photographer.
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The 10-Point Guide to Find the Right Trip At the Best Price Every Time
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The 10-Point Guide to Find the Right Trip At the Best Price Every Time
We know a lot of our users are avid travel photographers, so we asked one of our pros to give us his insight into what makes the best trip. These tips have been compiled by a travel photographer who has been all over the world, so these tips will definitely change the way you travel. — The SlickPic Team
As a long term married couple, we are very lucky to be able to travel and go on long haul holidays at least eight weeks each year. In recent years, the way people travel has very much changed and the days of leafing through those brand new travel brochures to get over the post-Christmas blues are long gone, thanks to the Internet.
Today’s travelers have so many destinations available to them as well as so many different types of properties to choose from, it can be a minefield trying to find the right holiday for you. Here are my top ten tips for finding the right trip without all the headaches.
1. Always do your research.
Use as many different sites as you can – do not succumb to the belief that just because a property is listed in the Top 10 on TripAdvisor it will be the right one for you. And vice versa: if it is listed lower down the ratings, it doesn’t mean that it will not be the right one for you.
2. Look at all the photos.
They tell you so much more than words—which is one of the reasons I love posting my destination photos to SlickPic.
3. Contact people who have posted reviews/photos.
Most people are very willing to share information and try to help others have a dream trip. Don’t be shy.
4. Be loyal to a travel agency.
Way back in 2007 we stumbled across a Travel Agent online called Blue Bay Travel/Caribbean Warehouse who at the time were very small indeed. After due diligence on their company, we booked our trip because they were nice and easy to talk to, treated me well, and were very knowledgeable. Since then, we have witnessed them grow into a multi award-winning company and we continue to book 95% of our trips through them to this day. Our loyalty has been rewarded with some great deals and second-to-none service.
5. Practice brand loyalty.
Over the years we have been lucky enough to have found several brands of properties that we have liked so much that we tend to stick within those groups, and this allows us to travel to many properties in Mexico and the Caribbean islands. Our loyalty has been rewarded with some very welcome upgrades and occasionally preferential rates with us being repeat guests.
6. Be flexible.
If you can, avoid main public and school holidays as the prices and airfare is more likely to go up then. If you can be flexible on your dates of travel, research all the flight operator dates and times and if you have a choice of airport, factor all that in. Sometimes flying on a Monday can be much cheaper than flying on say a Saturday—as can the price of accommodation. Try and book well in advance as prices are normally cheaper and you have the best choice of seats on the plane. The next two trips we are going on were booked 12 months in advance and both were fantastic deals.
7. Stay at multiple properties.
When we started to travel for leisure, we always booked one destination for a straight 14 nights. Then a few years ago, we started splitting our trip and staying at two properties during the 14 nights as this allowed us to explore two different properties and experience twice the dining options, etc. We now normally travel for 21 nights and take in at least three different properties so that we can mix and match different styles and sizes of property. Mixing and matching combined with a longer length of trip can drive down the overall rate per night. Long gone are the days when we used to buy an off-the-shelf holiday package. Nowadays we are able to use a travel agent we trust to package together what we select.
8. Book the best you can afford.
As the old adage goes “you get what you pay for.” Consider whether it’s better to stay seven nights in upgraded accommodation with some nice perks than 10 nights in a standard room or vice versa – again, be flexible.
9. Be wary about the price.
If something looks too cheap there is most likely a catch. Brand new properties normally offer heavily discounted rates, but you need to take into account that there will most likely be teething problems – again, you get what you pay for.
10. Take everyone into account.
Remember that regardless of whether it is just a couple’s trip or a family trip—the trip must work for everyone! Some of the best trips we have ever enjoyed have had a degree of compromise so that everyone got something they wanted out of it.
If you come back from a trip but don’t upload your photos to a gallery, did you even go?
A gallery isn’t just to have something tangible to show your friends and family, it’s a way to document your trips, relive the fun again and again, and track your progress in photography. All travelers need a gallery.
Sign up for a FREE Trial now!
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Top 3 DSLRs in 2019
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Top 3 DSLRs in 2019
With new camera models coming out every few months, it is difficult to choose which camera to go with. However, one advantage of growing technology and increasing number of camera models is that now, it is also difficult to choose a camera that won’t suit your needs.
Any average camera body today will give you the results you want. A megapixel count of more than 12, a decent autofocus system and additional features like Wi-Fi, touch screen LCD and shooting speeds of 6 to 8 fps – these are all common now. And if you really know how to use your camera, these basics are all you will need anyway.
But if you are in the market and don’t know where to start and what the options are, this list is for you. Here I’ll be discussing the top 3 cameras in 2019, for all types of budgets.
Nikon D3500 – For A Low Budget
Released only a few months back, the Nikon D3500 is perfect for people who simply want a good camera without breaking the bank. The basic kit with the excellent AF-P 18-55 mm lens comes just under $400.
Although this DSLR is not a huge step-up from the previous D3400, it does have a few important changes. The grip on this one has more space and depth for your fingers, similar to the Nikon D5600. Even the rear controls have been modified, with the ISO button now gone and the setting put in the menu. Another big change is the battery life, which is now rated for an astonishing 1550 shots on one full charge.
At the heart of the Nikon D3500 lies a new 24 megapixel sensor, which is officially 24.78 MP. Further, Nikon has continued the trend of not putting in an optical low-pass filter, which promises to make your images as sharp as possible and bring out the full potential of the sensor.
Other specs include a 11-point AF system, 3 inch fixed LCD display, 1080p standard video, 5 fps shooting speed, Pentamirror viewfinder and Bluetooth connection but no Wi-Fi.
In a nutshell, the Nikon D3500 is perfect for your first step. It gives great image quality using its 24 MP sensor, which has probably the highest dynamic range of all beginner cameras at a similar budget. If you want an easy-to-use and affordable DSLR, this camera won’t disappoint.
Nikon D7500 and Canon 80D – For A Medium Budget
For this section I have 2 cameras because they are both excellent, but one is especially good if you want to focus on videography along with photography. The Nikon D7500 has a price tag of about $1100, while the Canon 80D can be bought for $1000.
I’ll talk about the Nikon D7500 first. It borrows a lot of nifty features from the D500 while maintaining the efficient design and controls of D7200 in a lighter body. Surprisingly, the megapixel count of the Nikon D7500 has gone down from the usual 24 to 20.9 MP.
This is because 20.9 is still enough to give you huge prints, while also making low light performance of the camera and the buffer capacity much better. The new Expeed 5 image processor too contributes to the stellar sharpness and detail, along with the 8 fps shooting speed.
Although the image sensor has been improved, the autofocusing has not. The D7500 has the same 51-point Multi-CAM 3500 II DX system as its predecessor. On the video side is one of the biggest deal-makers of the camera.
Whereas the D7200 topped out at Full HD video, the D7500 can now capture 4K UHD video (3,840 x 2,160) at up to 30p. You also get headphone and mic ports, for better control over audio.
Coming to the Canon EOS 80D, it also makes it to this list because it is one of the best all-rounder cameras in the market. The excellent Dual Pixel AF technology, a big 24 MP APSC sensor and its overall capabilities in both stills and video category make the 80D amazing for both stills and videos.
The phase detect Dual Pixel AF along with the articulating touchscreen makes the camera very good for video. Focus pulls and subject tracking are as smooth as butter. Besides, you also get a long battery life and 100% coverage optical viewfinder. The only downside is the slightly lower dynamic range and lack of 4K.
Nikon D850 and Pentax K1 II – For A High Budget
It gets tougher to decide which camera to go with when your budget is high. So, here are 2 excellent choices for top-of-the-line full-frame DSLRs. The Nikon D850 comes in a little steep at almost $3000, and the very recent Pentax K1 II at a relatively cheaper $1800.
Personally, I think the Nikon D850 is probably the best full-frame DSLR currently on the market. From rough landscape and fast-paced sports photography to portrait and wedding shoots – the D850 can handle it all.
The Nikon D850 balances size and quality with its 45.7 MP sensor and 25,600 max ISO. This sensor provides a phenomenal dynamic range of 14.8 EV at base ISO and is supported by an almost-flawless 153-point AF system. With additional features like AF joystick, a touch rotating LCD display and 4K video capabilities, there is not much this camera misses.
I’ve always thought that Pentax cameras are the most value for money. Built like tanks with features like 100% viewfinders, image stabilization and weather-sealing in even the lower budget bodies, Pentax cameras really deserve more appreciation.
K1 II is a full-frame 36.4 MP camera with a reliable 33 point AF system, which features one of the best well thought-out designs and button layouts in camera history. Like all other Pentax cameras, this one is built like a tank, and can take a dive in a swimming pool without a hiccup.
The K1 II features in-body 5-axis image stabilization, which helps you take sharper photos at slower shutter speeds. It also features the novel Pixel Shift technology, which allows you to slightly shift the image sensor itself and combine multiple photos into one image with perfect detailing.
If fast frame rates – the Pentax goes only up to 4.4 fps – and the lack of video features do not bother you, the Pentax K1 II is a serious professional camera that will survive all your landscape expeditions.
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