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Okay, this should be an easy one for you. All you need to do to participate in this week’s photography challenge is come up with something red!
Photo by Jacek Dylag on Unsplash
That could mean finding a red subject, making your own (oil and water and dye) or using a selective color technique to remove all the other tints in the image except for red.
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.
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
The post Weekly Photography Challenge – Seeing Red appeared first on Digital Photography School.
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(15)Here’s a review from Julia Trotti who has been testing the Sony A7R III mirrorless camera alongside Canon lenses. With mirrorless technology coming to the forefront, but the number of native Sony lenses available being limited, using third-party lenses like this is not far from a necessity.
Trotti has spent her entire 10-year photography career shooting with Canon, but recently got the Sony A7R III and wanted to integrate that camera into her workflow with the Canon glass she already owns. This is a similar boat to that which many photographers moving from DSLR to mirrorless may find themselves in. By using an adaptor (and making sure you keep the firmware for it up to date) you are able to use your DSLR glass on mirrorless bodies.
While adaptors are great, Trotti does point out their shortcomings. She found some issues with focusing while testing the combination, meaning that her workflow was slowed down by having to wait for the lens to catch up with her (thanks to the adaptor).
Trotti loves the Sony A7R III, as well as her Canon glass, but advises that you should be aware of the limitations of the adaptation when it comes to shooting situations where you might only have one chance to get it right, such as weddings.
Check out the full video above to see all of her thoughts and some example photos from the shoot.
The post Real World Test: Using the Sony A7R III with Canon Lenses appeared first on Digital Photography School.
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(1)There’s nothing that I’ve seen so far that compares to the ethereal and mystical beauty of capturing long exposure and photographing fog. There’s something so compelling about the soft silky texture that results from it. So much so, that photographers all over the world are constantly chasing it.
In fact, where I live in the Bay Area, we call these people “fog-chasers,” and they spend their days in popular local spots waiting for it to make an appearance just so that they capture this mystical geological phenomenon. The fog can create mystique and drama. It can add mood, be a soft blanket over a scene, a floor, or a wall. It can take many forms in shapes and create some very compelling photographs.
The main challenges in capturing these fog shots are:
This is the most challenging aspect of doing this type of shot since as a photographer you, unfortunately, have no control over the weather. So, what I do is scour the web for weather sites that can provide me with the information I need.
I also check out the weather on the local news religiously as well as follow weathermen on Twitter and Facebook. Once the word is out that fog is on its way, webcams are the best way to monitor it on the day you want to shoot. You can see what the fog looks like and if it’ll be cooperative for the type of shot you have in mind.
Fog, in general, has a way of turning an ordinary scene into something spectacular. For fog waves, wide landscapes with forest treetops make an interesting subject. So do iconic structures or monuments.
Here in San Francisco, the Golden Gate Bridge is a local favorite. At certain times during the year, the fog gets so low that it flows beneath the arches. It serves as the perfect opportunity to cream a soft blanket from these types of long exposures.
Another local favorite is Mount Tamalpais, which consists of long ranges of hills adorned with redwood trees. The way the fog flows over the treetops creates these spectacular waves as it flows through the peak’s ridges.
Neutral Density filters are an absolute necessity for smoothing out fog and making it appear almost silk-like. The time of day will dictate the density of the filter needed. If it’s bright daylight out you’ll need something quite dark while if you’re shooting at twilight you’ll need something lighter or you may not need a filter at all.
When using an ND filter, make sure to first set up your shot using autofocus, without the filter. Then set the camera to manual focus and add the filter. This way you’ll assure the proper focus for your shot. Alternatively, you can also use back button focus.
Most of the time if the filter is too dark the camera will not be able to focus on a specific focal point. Also, because fog is a moving entity and puts a veil on any element in your composition the camera’s autofocus will most likely fail. Fear not and simply find something in the frame that’s sharp enough to focus on, then lock focus on that spot.
There are two types of fog shots that be taken from the techniques above that will produce different results based on your shutter speed.
A shorter shutter speed will give the fog more texture while a longer exposure will make it look silkier and smoother. You’ll need to experiment to see what looks better to you. Sometimes keeping the shutter open too long will result in the fog looking too messy and it could lose its lines and consistency.
Hopefully, these tips are helpful and will inspire you to get out there and experiment photography fog. The most difficult aspect of this type of photography is first finding it, then capturing it in a way that’ll showcase it as well as the scene it should be complementing.
In order to achieve this ND filters will help you soften the fog flow and turn it into waves. After that experimenting with shutter speeds will create various results.
In the end, it’s your aesthetic as the photographer that will dictate what is most pleasing to you. I hope that the photos that I’ve captured from the years of shooting the fog will inspire and get you on your way to becoming a fog chaser too!
The post 4 Tips for Photographing Fog to Create Mystical Images appeared first on Digital Photography School.
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How do you, as a beginning nature photographer, go about improving? How do you ensure that you gain useful skills as rapidly as possible so that you can start shooting professional quality nature photography?
In reality, it’s often difficult for the beginner to recognize how they should learn nature photography.
But I myself am a nature photographer, and looking back the answers to these questions are clear. So I thought I’d make a tutorial that discusses several things I wish I had known at the beginning of my nature photography journey.
Read on. The sooner you know these things, the sooner you’ll begin to take consistently stunning images.
The first thing I wish I had known when starting nature photography is extremely simple,
Photograph every day!
I cannot emphasize this enough.
If you’re truly serious about improving as a nature photographer, you should try to take at least one photograph of nature, every single day. It doesn’t matter if you take it with your DSLR or your iPhone. Just get out and shoot.
You’ve likely heard that practice makes perfect, and this is part of that. But there’s more to it. By photographing every day, you’ll ensure that your artistic eye remains strong.
What do I mean by that? If you photograph every day, thinking about light, color, and composition will become second nature. You’ll start to see photographic opportunities everywhere.
This is exactly where you want to be as a nature photographer.
This is a huge one, as well. If you want to create great nature photography, you have to view great nature photography.
When you view amazing photography, you develop an eye for light, color, and composition without even realizing it.
This is an essential skill for a budding nature photographer. Plus, there’s an added bonus – it’s really fun!
Start by looking up the type of photographs that you’d like to create. You can use a well-organized site like 500PX. Or you can just use Google. The important thing is that you find photography to look at for inspiration.
For instance, if you’re an up-and-coming macro photographer, try viewing the portfolios of photographers such as Mike Moats and Kristel Schneider.
If you’re a beginning landscape photographer, look at the work of Ian Plant and Thomas Heaton.
If you’re a budding wildlife photographer, look to photographers such as Marsel Van Oosten and Matthew Studebaker.
Then expand from there.
The purpose isn’t to memorize their images so that you can copy them in the field. Rather, the goal is to appreciate great imagery, while recognizing (if only subconsciously) what makes it great.
The goal is also to get inspired.
I’ve emphasized the need to practice photography every day, and that truly is essential. However, when practicing, there’s something extremely important you need to consider. That is the light.
I’ll state it plainly. Photograph the two hours after sunrise, the two hours before sunset, and during midday only if it’s cloudy.
Otherwise, stay indoors.
This generally takes some retraining of the brain. It’s easy to think to yourself, “It’s such a nice sunny afternoon; I should get out and photograph!”
But you need to resist this thought. Because photographing during a sunny afternoon will result in harsh, contrasty images that are almost never desirable in nature photography.
Start spending time observing the quality of the light. Notice how nicely illuminated your subject is when the sun is low in the sky. Notice how lovely and soft the light is on a cloudy afternoon. Notice how harsh the light is under the midday sun.
As a beginning photographer, I often forgot about this rule. So my photographs paid the price. I have thousands upon thousands of photographs that are simply unusable because of the harsh sunlight.
Memorize the rule. You may not be able to see such a difference in your images at present. But in a few years, you’ll thank me!
While light is more important than you think, gear is also less important than you may imagine.
You might think that gear is essential. You may ask me, “Jaymes, if my gear really isn’t important, then why do you spend so much time reading gear reviews and upgrading your equipment?”
But my response is this: gear does matter. High-quality lenses will allow you to capture the detail on a singing bird or the movement of sparring polar bears.
High-quality cameras will allow you to photograph a wolf under the cover of twilight or a hawk flying directly above.
Yet gear is nothing without the photographers that wield it. A good photographer can get stunning images with any equipment. Whereas a bad photographer cannot create stunning images, regardless of their gear.
So focus less on making sure you have the right equipment. Instead, practice using the equipment you do have. Try to eke out as much as you can from it.
Eventually, if you work hard enough, you will get beautiful images, high-quality gear or not.
Beginning nature photographers often have a dangerous misconception about nature photography. That is that the best photographers rarely take bad images.
This belief can lead to discouragement on the part of the budding photographer.
This type of abstract photograph comes amid a huge number of deleted images.
After looking through your memory card, to find that only you’ve managed to nail a single image (out of a hundred!), you may want to give up.
Don’t.
Why?
Because most of the early images you take will be terrible, and that’s okay. This is true for nature photographers of all levels. Of course, at the higher levels, the nature photographer’s standards are higher, but the tip still applies.
This is true for me, as well.
I go on dozens of photo shoots each month and take around 600 images per shoot. Yet I’m happy if I get a single image with which I’m really pleased.
Because uncertainty, guesswork, and reaction are part of the game. This is the nature of nature photography.
So let me reiterate. Don’t get discouraged. Most of your shots will be terrible, but it’s the good ones that count.
Starting nature photography can be daunting for a lot of people. It can be difficult to know how to improve. You want to take stunning images as soon as possible, but you just can’t figure out how.
By understanding the lessons above, you’ll be well on your way to creating beautiful nature images.
Just remember:
Someday soon, you’ll be a great nature photographer.
What are some things you wish you had known when first starting out as a nature photographer? Let me know in the comments area below.
The post 5 Things I Wish I’d Known Before Starting Nature Photography appeared first on Digital Photography School.
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Portrait sessions can vary in many ways, one being the size of the group you are photographing. Don’t be afraid, these tips for posing large families and groups will help you to create the perfect large group portrait no matter the location or the number of people.
Large group portraits typically begin with six or more people. Large groups can include children or be made up of adults, it all depends on the type of session you are photographing.
It can also reach up to 20 people, especially if you are photographing a bridal party or a family with smaller family units all mixed together.
The most useful posing rule for large groups is to use the triangle method.
This is where you pose people, either standing or sitting, or a mixture of both, and if you draw imaginary lines connecting their heads, they would create triangles. This method is the best so that you don’t pose people’s heads one on top of another (totem pole-like), creating an awkward photograph.
Use the triangle method to pose large groups.
This method works for any type of grouping with three or more people. However, for large groups of 10 or more, this posing rule is perfect so that everyone in the photo can be seen. It ensures nobody’s head is directly behind another person’s.
Large families can range from nuclear families where there are more than five people or extended portraits where more than one nuclear family is going to be in the portrait.
The key is to pose the families in different combinations in the same spot so that you can offer your client more poses without having to move them too much.
Always pose the parents in the middle and then pose the rest of the family out from there. The parents are a great focal point in any portrait and from there, you can lead the eyes to the children or other families.
For example, for a portrait of a family of five, begin by placing the parents in the center of your photo first. Then, pose the taller children next to each parent. Smaller children can be put between the taller child and parent, creating the triangle.
Afterward, you can seat the family in the same order as when they were standing. If there are really small children, they can stand and hug another family member from behind. Be mindful of where their heads are positioned so that you create triangles and can see each family member in the portrait.
Pose the family sitting or standing.
In the same spot, you can then have the family stand up and separate a little. This gives them a little more space but still keeps them at arm’s length. Ask them to interact with each other in between posing for the camera.
Don’t forget the triangles in this pose as well! It can look a little off if you pose two family members who are the same height together. Try and move the family members from one side to the other to create more variety.
Give the family some space while posing them standing.
For larger families, walking is a good way to get more natural photos of everyone. Pose nuclear families together.
For example, if you have a family of 16 with grandparents, pose the grandparents in the center, then group the families on either side keeping the children with their parents.
Keep in mind that if it looks a little awkward, it probably will look that way in the photo as well. Taking more time and moving people around will ensure that you get the right posing even before taking the photograph.
Lastly, try posing some people away from the center to give the photo more depth. Facing everyone toward the center is a good starting point. However, with large groups, it’s best to try different poses so that you can offer your clients an assortment of different options.
There is nothing more awkward than people standing together with their arms at their sides. With families, especially large groups, try and have your clients connect with each other.
You can do this by grouping the main people (the parents or grandparents) in the center facing each other hugging, and then group smaller families where each family member is touching another person. This shows connection within small family units in the large family photo and shows warmth.
Resting hands on shoulders, holding hands, hugging and tucking fingers behind, resting a hand on someone’s arm, or having someone lean on another’s shoulders are all good examples of connection.
Connecting people in a photo also gets rid of this most often heard question, “What do I do with my hands?”
For the people that you pose on the edges of the family portrait, be mindful that they look in toward the center so that they don’t seem out of place. If they are male and there are no children present, have them put one hand in their pocket. If they are female, make sure they aren’t standing too short or they will look out of place.
If you are photographing at a venue, say a wedding reception, you may have the chance to use chairs or stools for posing.
In this case, try and place them throughout the photo so that they don’t line up perfectly. You’ll want to space them out according to the number of people in the portrait, always keeping in mind the triangle rule.
Chairs tend to work better than stools because the stool height can create really big valleys in your triangle posing if the person is too tall or too short in relation to those around them in the portrait.
Once you have taken the best-posed portraits of the large group, have them loosen up a bit by asking them to do a group huddle or squeeze. This will get some laughs out of your clients and allow them to let their posed bodies rest for a bit.
Asking the family to take a break can offer some great natural posing. This man had his whole family together after many years and was overcome by joy.
Ask your group to walk around, talk to each other, and just be. Look out for the children in particular, as they’ll usually act the most natural.
This collection of natural posing will often make for the most emotive portraits because they will portray the family just as they are. Even better if they are in a location that is fun or open where they can enjoy a walk or play games.
When you photograph families with grandparents or more than one family unit, make sure to photograph each family separately and together. Pose each family together in the larger portrait first, then, if you have time, mix them up a bit and have some fun.
Ask them to play, run, walk, do a group hug, or anything that will create authentic smiles and expressions from the oldest to the youngest.
Take time to get portraits of the adults as well. Either in couples or individually.
This also helps to break up a session with little children because they can get bored quickly.
Photograph children individually.
Try different combinations with the families, for example:
Not all of those may apply to each large family portrait, but they can help you to add to the collection of poses that you’ll deliver to your clients.
Take photos of the whole family together and then take photos of just the children.
Make sure to get generational photographs like this one of the 4 generations of men in the family.
Before you wrap up the session, ask your clients if there is any portrait or pose that they specifically want. Some large families may bring a prop for everyone to use like shirts. There may also be a combination that you missed or didn’t think of that they would like to get.
Asking, “Is there anything else you’d like me to photograph before we leave?” can also be a great way to end the session once you feel you have gotten all of the best photos.
Giving your clients the chance to make sure they get all of the portraits they want is key for you to do a complete job with their photographs.
Posing large families can seem like a big challenge, however, using the triangle posing method can help tremendously in getting different combinations and poses. This will give your clients an assortment of poses and keep the whole experience fun and light which will make them want to get more portraits taken in the future!
The post Tips for Posing Large Families and Groups appeared first on Digital Photography School.
