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Mirrorless vs. DSLR – Which Should You Buy?

If I were writing this article a few years ago, there wouldn’t really be any competition between high-end DSLR cameras and mirrorless cameras. DSLR cameras were so far ahead that buying a mirrorless would mean compromising on several factors including image size and quality. There was also the issue around the optical viewfinder versus a digital one in a mirrorless camera (more on this later). But these days the story is very different. So which should you buy? Our guide will help you decide.

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What is a DSLR camera?

Before we talk about which is the right camera for you, it’s important to understand the differences between DSLRs and mirrorless cameras. A DSLR camera is a digital single-lens reflex camera. The way in which a DSLR works is that light enters the camera and reflects into the optical viewfinder via a mirror inside the camera body. So when you look through the viewfinder, you are seeing a real-life view of the scene in front of the camera. In other words, an actual reflection (this is the main difference between a DSLR and a mirrorless camera). Then when you press the shutter release button to take a photo, the mirror flips up which allows the light to hit the camera’s sensor and create the image.

When the mirror swings up, your view in the optical viewfinder goes dark momentarily until the mirror flips down again. The benefits of having a mirror in the camera are that you get to see an actual real-life view of the scene. It also gives an extra layer of protection for your sensor against dust and debris.

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What is a mirrorless camera?

A mirrorless camera works in exactly the same way as a DSLR in that light enters the camera and creates an image by hitting the camera’s sensor. But the major difference between mirrorless cameras and DSLRs is the lack of a mirror in the former. Because there is no mirror you can’t see a reflection of the scene in front of you. So, what you see instead is a digital version of the scene. This is why a mirrorless camera viewfinder is known as a “digital viewfinder”. In essence, it is the same as if you were looking at the LCD screen on the back of your DSLR in “live view” mode.

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What’s the big deal about a mirror?

You may be thinking what the whole point of a mirrorless camera is if it simply lacks the mirror of a DSLR. Well, there are a few big advantages to having no mirror in a camera. For one, because there is no mirror, the camera body can be smaller and lighter in weight than a high-end DSLR. But also from a photography point of view, without the need for a mirror to have to mechanically flip-up, mirrorless cameras allow for far more frames per second than DSLRs. In fact, DSLR cameras are no longer able to compete with high-end mirrorless cameras on that front.

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Optical vs. digital viewfinder

The biggest impact of a lack of mirror to a photographer is what they see in the viewfinder. As mentioned above, without a mirror you will see a digital version of the scene in front of the camera. Again, a few years ago this was one of the biggest drawbacks of mirrorless cameras as there was a slight lag between what was happening in front of the camera and what the photographer was seeing in the viewfinder. So, for example for a wildlife or sports photographer, this would be hugely detrimental as it might mean missing the perfect moment with even a minute delay. However, the recent years this has pretty much been eliminated from top of the range mirrorless cameras. Having said that, sport and wildlife photographers still do prefer the optical viewfinders of DSLRs.

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So, which should I buy?

As a Canon DSLR shooter myself, it is getting increasingly more difficult to see the benefits of DSLR cameras over mirrorless. DLSRs are bigger, heavier and in most instances more expensive than an equivalent quality DSLR. Personally, I still do prefer the optical viewfinder of DSLRs but that is just because it is something that I’m used to. At the moment mirrorless cameras still don’t have the breadth of lenses and accessories available for them. But, then you have to ask yourself how many lenses do you actually need? The reality is that the market is moving increasingly towards mirrorless cameras. There are far more models of mirrorless cameras being released these days and far fewer DSLRs. But don’t worry, I believe that there is a long way to go before DSLRs are completely phased out.

So, to answer the question above as to which you should buy, it will ultimately come down to your budget, the type of photography that you do and what you are comfortable with.

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Mirrorless cameras are here to stay and are probably the future of digital photography. As the technology improves more and more functions will be added which will make mirrorless cameras an even more attractive proposition versus DSLRs. Hopefully, this article will help you decide which is right for you.

Photo credits: Kav Dadfar – All rights reserved. No usage without permission. Dreamstime.

3 Test To Do When You Buy A New Camera

A brand new camera can be an exciting purchase. If it’s an upgrade it will mean better quality images and more advanced settings. But buying a new camera also might mean getting used to new dials and controls as well as the camera itself. Cameras are not all the same and some perform better than others in different scenarios and at different settings. The only way to be sure is to test out your camera before heading out on a shoot. So here are 3 quick tests that you can do when you buy a new camera to help you get the most out of it.

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ISO test

ISO is one of the most useful tools when it comes to photography. It can be the difference between being able to capture a shot and not. But it also requires careful use as high ISO will mean noise which can ruin the sharpness of a photo. But that doesn’t mean you should never raise your ISO really high, you just need to be aware of the consequences. So this is a test that I always run on any new camera that I buy.

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A set of images taken at different ISOs.

Simply set up your camera on a tripod at home to take a photo of an object. Ideally, pick somewhere which isn’t too bright otherwise you may not be able to set your shutter speed fast enough. Set your camera to manual focus and ensure that your object is correctly focused. Set your ISO to the lowest it can go in your camera and adjust the shutter speed accordingly. With your camera on a timer, take a photo. Then raise your ISO by a stop or two and take another (you may have to adjust your shutter speed). Keep going, raising your ISO each time until you get as high as your ISO allows.

Once you have your set of photos, open them up on your editing software and zoom in to full size. Look at each photo at different ISOs to see at what point the noise becomes too much and your image begins to look too soft. On some cameras, this might be at ISO 1000 whereas others will be fine ISO 3200. The only way to know for sure is to test out your camera. This will then ensure that when you are out in the field you have an understanding of the limitation of your camera and how high you can set your ISO.

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Left: image taken at ISO 100. Right: image was taken at ISO 102400. This shows the extremes of what high ISO can do to an image.

Image sharpness

Just like ISO, different cameras also produce different results when it comes to image sharpness at different shutter speeds. This is to do with in-camera image stabilization or lens image stabilization. But an additional factor that is often overlooked in this discussion is the weight of the camera. A heavier camera will naturally be more difficult to hold steady. When you combine this with image stabilization, you can begin to see why it’s important to test your camera before using it in a real-life scenario.

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I always take a set of images like this with a new camera or lens to test its capabilities.

So for this test, you are going to use your camera and lenses at different shutter speeds to see how well it performs in capturing sharp images. Unlike the test above, you need to be outside for this one. Find something static like a building or statue (avoid trees and leaves that can be blown around in the wind), focus and then switch your camera to manual focus or lock your focus (you don’t want your focus point changing). Focus on the subject and look to set your shutter speed fast (i.e. 1/200 sec). Take a photo and then reduce the shutter speed and take another photo. Keep doing this until you get to a slow shutter speed.

You will have to play around with your aperture by making it smaller to be able to lower your shutter speed. Again, open your photo in your editing software and zoom in to check the image sharpness at different shutter speeds. You will then be able to get a good idea of what the capability of the camera is when it comes to different shutter speeds.

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Shot at 1/200th sec. The image is sharp and in focus.

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Shot at 1/8th sec. You can see that the edges are soft and not in focus.

Image Size

This test is about the actual image size that your camera produces. Why is this important you may ask? Because different cameras can produce different size files. This means that with bigger image sizes you will have more to play with in terms of cropping in post-production. For example, a full-frame sensor will produce a bigger image size as opposed to a crop sensor. So you will be able to crop an image taken with a full-frame camera more and it will still be big enough to print at larger sizes. Whereas with a smaller sensor camera you may have to rely more on actually zooming in or moving closer to your subject so that you are not cropping as much.

For this test, simply take a photo at the widest focal length of your lens. Try to do this on a bright day and outdoors and use a tripod if you can. Open the photo in your editing software and create several versions which are cropped to varying degrees. Export these as high res JPEG or TIFF files. Then open an A4 and A3 document in Photoshop and drop the different photos into the document. You may have to make the images bigger (or smaller) to fit the page. Zoom in to 100% view and check the image over. This will show you how much you are able to crop an image whilst still keeping its sharpness.

The reason for this test is that the more you stretch an image (i.e. make it bigger) the more resolution it will lose when viewed closely. This test will give you an idea of the cropping possibilities on your photos so that you can ensure you get them more accurate in-camera to avoid unnecessary cropping.

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These 3 tests are pretty easy and quick to perform, but what you will learn from them will be invaluable when you are shooting for real. It will help you avoid those frustrating situations when you look at a photo and realise it’s not sharp. I do these 3 tests every time I buy a new camera which isn’t that often. So in reality you will only need to do this every few years.

Photo credits: Kav Dadfar – All rights reserved. No usage without permission.

A Simple Explanation of Aperture

If there’s one thing about photography that confuses newcomers(and often the rest of us) it’s the idea of aperture. What is it? Why is it so complicated? How does it affect your photos? Well, aperture isn’t complicated or impossible to understand, it’s just unfamiliar. And like most unfamiliar things the more you learn to about it the less intimidating aperture will be.

In this article I’m going to show you just how not complicated aperture can be. You’re going to learn the basics of aperture and how it relates to the focus and shutter speed of your photographs.

Aperture and the Dreaded F-Number

Let’s start off by explaining what aperture is and how it is measured. The idea of aperture in reality is astoundingly simple and there’s honestly only a few things you truly need to know to conquer the subject.

What is Aperture?

OK, let’s just get this out of the way right off the bat…aperture by its very definition is simply a hole. As it pertains to photography, aperture is the hole in the lens where light passes into our cameras. That’s it.

See, not so scary! However, the way aperture is measured is the cause for anxiety in some because, there again, it’s measured in a fashion that most of us don’t readily understand. But don’t worry, much like everything it becomes easy once you understand one fundamental thing….

F-Numbers

Trust me. You are neither the first nor the last  person to be completely perplexed when it comes to understanding the way aperture is measured. The notion of ‘F-Numbers”(sometimes called f-stops) has been the source of a lot of confusion because they simply don’t make much sense in terms of how we normally think about our physical world. In short, the F-Number is nothing more than a ratio between the focal length of the lens and the diameter of the aperture being used. So an aperture of F4 means that the focal length is four times larger than the selected aperture. An aperture of F8 means that the focal length is eight times larger and so on and so forth. Now this is where things get a little weird….The larger the F-Number, the smaller the actual opening. The smaller the F-Number the smaller the actually opening. Look at this quick example:

It’s going to be OK…take a deep breath and realize that it actually makes sense mathematically but you’re not going to have to understand anything more in depth than that for most practical purposes. Just know that it the larger the physical opening of the aperture the smaller the F-Number will be.

Aperture and Depth of Field

There are a surprisingly large amount of factors that determine the final depth of field or your image and aperture size is one of them. Generally speaking, the wider the aperture(smaller F-Number) the more shallow depth of field will become. This means that smaller apertures(larger F-Numbers)  will bring more of the scene into the range of focus than will larger apertures. Take a look at these Chess pieces and see what I mean.

Not only does aperture play a key role in focusing but it also spills over into your shutter speed. Speaking of shutter speed….

Aperture and Shutter Speed

The relationship between aperture and shutter speed is extremely simple and yet extremely important. Simply put, larger apertures allow more light to enter through the lens. More light means faster shutter speeds can be used. This is where the phrase “fast lenses” comes from because lenses with larger aperture allow for faster shutter speeds.

So, faster lenses with wider maximum apertures are capable of shooting more effectively in low light conditions because they allow more light to pass through them.  A lens with a maximum aperture of F2.8 is considered to be “faster” than a lens with a maximum aperture of F4.

Final Thoughts on Aperture

In a way all this might sound like an oversimplification but it’s essentially all you really need to know about aperture. The manner in which aperture selection relates to depth of field and shutter speed will take you a long way in photography. Aperture isn’t scary! Having this simple knowledge will help you better understand exposure, make smarter lens choices and generally control your images much more effectively.

Bare Bones Photography: What Gear Do You Really Need?

What is the end game of photography? To make a photo, right? Not always a print but nonetheless an image of some kind is the final goal of most photographers. The tools needed to complete what can sometimes be a world altering task are simple. At their minimum, you’ll require some type of otherwise light-proof box which has a relatively small opening-i.e. a camera, and some way of recording the incident light which enters-i.e. film or digital sensor. You don’t even truly need a lens(pinhole cameras) to make a photograph but of course that helps immensely.

Now, that list of gear might sound incredibly lacking but when you think about it everything else that we throw into the mix simply expounds on or enhances those basic pieces. There are multitudes of cameras, both film and digital, with equally vast selections of lens and filters for each. Everything else aside, this article will help you if you’re just starting out on your photographic journey in that you will learn what basic photo gear you will actually need…not just what someone might want to sell you.

What You’ll Need

Below is a list of the bare-bones gear that you will need to get rolling in making photographs. Of course there are not real absolutes as you will soon find out but in order to reach the end result, a picture, you will need these few things:

The Most Important Item

The single most important tool you can possess isn’t actually a piece of gear at all but rather the correct mindset. I’m listing this first because everything else is secondary to your ability and to adapt and make the most of whatever camera or lens you have available. When I first started out in photography, eighteen year old me saved $265 and bought a 35mm SLR kit that included one 18-55mm F3.5-5.6. I shot on that one lens for about five years and managed to make some wonderful photographs despite it being a “kit” setup. After I switched to digital photography(I still shoot film as well) the progression evolved much the same way with me beginning with a kit lens and later branching out as I learned more about the craft.

Don’t think that you need incredibly expensive cameras or lenses to get started doing photowork. Granted, there are some things that even the most determined effort can’t make happen without the necessary equipment but you might be surprised how much you can get out of “low end” gear when you approach the problem with creative solutions.

A Camera

The importance of a camera can’t be overstated but that doesn’t mean that it has to be the latest and greatest piece of tech to roll off the line. In fact, if I could back in time I would have spent much less on my first digital camera and much more on the lens. More on lenses in a minute but ironically the camera you use usually plays much less of a role in the final image quality(sharpness/color/contrast) than you might think.

Whether it be film or digital, find a camera that is well built and feels good to you. If you can’t readily handle the camera before you buy then become a review hound and learn everything you can about other users experiences. Luckily, most digital cameras today are so good in terms of ISO performance and build that you won’t really go wrong in most cases. Again, if I can offer a little advice in hindsight, invest more in your glass instead of your camera.

A Lens

The lens is the eye through which your camera sees and there are apparently hundreds of different eyes out there. Like I mentioned earlier, the quality of your lens is a huge factor in the final quality of your photos. If you put a poorly made, blurry and sluggish lens on the most expensive camera in the world you will still get poorly made, blurry and sluggish photos in turn

In short, if you aren’t sure yet which genre of photography you’ll gravitate towards, what’s called a “normal” focal length lens will be the best bang for your buck. The term “normal” refers to a lens approximately equal to the field of view of the human eye which is arguable in the 30-50mm range. Most kit lenses included with cameras hover in the normal range. In any case, find the fastest lens(small F-number/large aperture) that will fit the most situations be it landscape, portraiture or street photography. Fortunately, a fast 50mm lens remains of the cheapest lenses you can currently buy.

Finishing Up

Yes, that really is all you need. While there are a few accessories like film or memory cards that you’ll require the overall basic gear to start making images really is as simply as that.

As you progress you will learn what makes you tick photographically and you can adjust your tools accordingly. Find a camera, find a lens, and start shooting.

The Case for Black and White Photography

Brace yourself because here it comes…it’s another discussion about black and white photography. Don’t worry, it’s not going to be the same old “which is better?” or even worse, another “how to convert your photos to black and white” type of articles. Admittedly, I have written on both of those subjects extensively before but this time will be a little different.

Today, we’re going to strip down the idea of black and white photography and attempt to locate how this tried and true area of photography has managed to maintain its status in an arguably over saturated(pun intended) world of photographic modernism.

Monochrome and the Film Difference

It’s not secret that the black and white side of photo work is deeply rooted in film. Still, even though it makes for a solid title for this section, the term “monochrome” has been somehow mismanaged to the point where it is widely considered synonymous with black and white. This is wrong. Monochrome means “one color” or essentially an image made of shades of only one color. This color could be anything from black, yellow, red or pink. Grayscale might actually be a more appropriate term for true black and white. Even then the lines become somewhat blurred because it’s incredibly difficult to completely abolish all color toning from a black and white film negative. Take a look at these images of a 4×5 black and white negative(complete with film borders)and I’ll show you what I mean.

The first photo is a color rendition of the negative. You’ll notice that is is toned quite blue based on the development. This is due to a few factors but the point is virtually all black and white photographs aren’t exactly black and white. Rather, they are toned based on the type of film emulsion and the development techniques used. Now, look at that same piece of film after I have digitally converted it to black and white in Lightroom.

See the difference? I say all of that to say this: modern digital photography often paints a one dimensional representation of black and white images. True black and white photographs aren’t usually black and white at all or not even monochromatic. Instead, they are a carefully mapped presentation of tonal ranges. Remember this the next time you click a button to make your photo black and white. Sure, it might remove the color but the work shouldn’t stop there.

Speaking of color…

Is Color Necessary?

Yes, color is needed. Is it always needed? Absolutely not. There are times when a photo is suited to black and white and times when it is not. Well, who decides? That question is also deceptively simple to answer. It’s you, you’re the one who decides. Does the color play a role in the emotion or feeling you mean to convey or does it get in the way? These are most certainly murky waters to wade.

Today, we don’t even have to approach color or black and white photography the same way as we did thirty or even twenty years ago. Take the very site you’re reading this article on right now. LifePixel specializes in infrared converted cameras that brings the world of color into a new realm of creative exchange. Infrared cameras see light differently than our own eyes. As a result, completely familiar colors become foreign and black and white pictures take on a completely new feel. When you think about color and how it relates to photography you must understand that even the things we see are wholly subjective to our own perception.

Some Closing Thoughts…

If you haven’t been able to tell by now the purpose of this article isn’t to promote the merits of one type of photo over another. There’s plenty of room even now for both color and black and white photography. In fact, a lot of it comes down to personal taste and how we perceive the world around us. At the same time, remember to look deeper into your work and find what gives it meaning to you. Does color play a part? Does it make more of a connection in black and white? Whatever direction you choose just make sure that the original intent of the photo shines through.

Speed Up Your Processing with Lightroom Import Presets

We all know about presets in Lightroom and all the great things they can do your post processing. Presets help make your editing easier and make achieving a constant styling much more efficient. The biggest benefit of using presets is that they speed up your post processing so you can get back to making photographs, baking muffins, building model airplanes, or whatever it is you might rather be doing instead of sitting in front of your computer screen. But did you know you can use presets jumpstart your post processing efforts before you even import your photos into Lightroom?

In this article I’m going to show you how easy it is to apply presets to your photos as they import into Lightroom. These presets aren’t even limited to develop presets…oh no. You can even add in metadata presets like copyright information and keywording along with camera and lens profile information. This is the kind of thing that the pros use and you should as well. If you find yourself editing large batches(weddings, portraits, events) of similar photos then you’re going to love using import presets in Lightroom. Let’s get started.

Applying Presets on Import

It all starts here in the Import screen of Adobe Lightroom.

If you look to the right you’ll notice an ‘Apply During Import’ panel.

This is where all the magic will happen. Click on that tab to open up your options. From here we’ll have a few choices.

Develop Presets and Camera Calibration

Applying develop and camera calibration* presets as you import your photos into Lightroom couldn’t be easier. The process is essentially the same as it is while editing your images in the Develop Module. To begin, make sure you have the photos you wish to import with the preset. Next, click the ‘Develop Settings’ drop down. This will bring up a list of all the develop presets you have currently installed in Lightroom.

From here it’s simply a matter of selecting the preset you want to apply to the images you’re importing.  After you’ve made you’ve made your choice click ‘Import’ and your photos will be brought into Lightroom with the chosen develop preset freshly applied.

**To apply camera calibration settings to your photos on import simply save them in a develop preset and then use the same steps as above.

Copyright and Metadata

Import presets aren’t limited to develop settings. We can also apply keywording and metadata(copyright information/location/creator) to each and every image we import. This helps to better organize or photos and perhaps more importantly, it allows us to protect them from unwanted use. Adding in keywords is super easy as you can type them right into the keyword box. Alternatively, you can add in keywords alongside your other metadata.

Assigning metadata to images is just as easy as applying develop presets. To start, click the ‘Metadata’ drop down arrow.

Select your preset or to add a new one click ‘New’. This launches the new metadata preset dialog box.

It’s here where you can add in virtually any information imaginable. When you’re finished be sure to name your new metadata preset. In the example above I’ve left the title as ‘Untitled Preset’ (I’m lazy) but it’s always a good idea to title any preset you make in such a way that you can immediately know what it contains. Once you’ve created the new preset it will then become selectable from the metadata preset drop down menu. After you’ve applied it, click ‘Import’. Your new metadata information will automatically be applied to each image you selected to import just as the develop settings were in the previous example.

Some Final Thoughts….

Import presets are a great way to easily jump start your processing workflow. By applying certain develop and metadata presets on import you can yourself a lot of time by having the settings you use the most already applied before any work actually begins. This becomes especially useful when you find yourself editing a large number of photos at once. Not only can import presets making editing a breeze but they can also play a big part in protecting your photos by attaching important copyright information to your photos. If you haven’t already give import presets a try and see just how much they can help you and your photography.

Remembering Why You Shoot

There are times when the most simple of explanations eludes us. When it comes to photography, or more specifically to the point of making strong photographs, we must be fully aware. Not just aware of our settings and camera placement but also our intent. Oddly enough, it’s frightfully easy to lose this awareness during the very process of doing the thing which we love. What I’m so gently hinting at here is this: do you know why you make photographs? Are you aware on an internal level why you you shoot what you shoot?

In this article we’re going to take a look at why we can so easily lose sight of our purpose while making photos. This artistic straying can happen gradually or on a picture by picture basis. Perhaps more importantly we will also examine how you can regain your a creative awareness and become a more deliberate, purposeful photographer.

Obsessing with the Technical

When you think about it there are arguably very few absolutes when it comes to photography. So, why does the pursuit of technical perfection occupy such a large corner of our creative minds? Never place more emphasis on the technical aspects of photography than you do on expressing the feeling of a scene.

How many incredible photographs have you seen that are underexposed? Over exposed? Maybe they are slightly out of focus. The worth of those photographs or any other image doesn’t lie in the balance of a histogram or tack focus. They move us because they were made with intent and show the truth and beauty of a moment. Don’t put so much attention into the way you capture a photograph that forget why you wanted to shoot it in the first place.

Burnout

If you make photographs long enough there will come a dark and wretched day when you simply become tired of it all. It might happen sooner than later or it might take years but to some degree or another you will have to face burnout. When you become tired of shooting there just doesn’t seem to be anything out there to make pictures of that interests you. You just don’t get the joy from the process as you once did.

Don’t worry…this literally happens to us all and it isn’t limited to one event. There are highs and lows throughout a photographer’s journey. The key remedy is somewhat paradoxical, however. To beat burnout you take a break but not altogether stop shooting. Try to take a rest from your camera(and it from you) and breathe for a while without making photographs. When you begin to say “Man, I wish I had my camera with me” you will know you are cured. Do this as needed or as directed by a photo writer….

Self-Doubt

The best way to forget why you make photographs is by trying to make them them exactly the way someone else does. Be mindful that there is an incredibly fine line between inspiration and emulation. Never allow yourself to sacrifice how you want to capture a photograph based on the idea that it’s not the “right way” or just because it might not look like someone else’s version.

There could be an entire book written on this point but I’ll do you the favor of brevity. It’s perfectly alright to absolutely love the way other photographers images might look; that’s great, learn how to make yours in a similar way. But only do this if it fits with your own vision. Don’t do it for ‘likes’, shares, or any other reason that would otherwise cause you to shoot with anything but your own photograph in mind.

Final Thoughts….

Today, it’s easier than ever to allow yourself to forget why you make your photographs. We are constantly bombarded by new and better equipment that make us lose sight of what makes a good photo. Sometimes we simply become tired of shooting and this causes us to forget why we love making images at all. And what maybe be the most common danger, sometimes we doubt our own instincts as photographers. All these reason, and no doubt others, can make us forget our own intent. Luckily, they can all be overcome and if you find yourself in any of the circumstances I’ve mentioned then I hope this article gives you a helping hand. Have fun with what you do and always remember why you do it!

 

Review: K&F Concept TM2534T Professional Tripod

Often times I open my photo gear reviews by talking about what a great time it is to be a photographer. Really, I should specify that it’s an excellent time to be a buyer of photography products. There’s just simply so many choices out there these days than there was even ten years ago for the budget conscious shooter to obtain high quality tools to help them and their work. This is especially true when it comes to choosing a tripod.

Enter the K&F Concept TM2534T tripod, which is a recent entry to the budget line, but not necessarily budget quality, world of advanced hobbyist to professional grade tripods. I’ve spent the last few weeks working with the TM2534T. I’m going to show you what I liked and didn’t like about this unique tripod offering from K&F.

Out of the Box

I pleased to immediately see that the tripod comes with it’s own padded transport bag which has an included shoulder strap. The tripod itself looks great with a classy red/black color scheme and discrete logo placement, which I like. For a tripod with an extended height of 72 inches it is quite compact when folded.

It’s feels solid in hand without being overly heavy. All the paint and finishes on the tripod look very well done. The official specifications from K&F are as follows:

  • Folded height: 14.76in/37.49cm
  • Extended height: 72.24in/183.48cm
  • Weight: 3.48lbs/1.58 kg
  • Load rating: 17.64lbs/8kg

Also included is a short center column conversion attachment with bolt and a nifty storage bag for the ball head.

Build

The TM2534T is hefty and it feels quite sturdy with it’s all aluminum construction. The adjustment knobs are solid and lock the ball head in place securely.

Leg locks are the twist variety and feature rubber seals to protect against sand or dirt entering the locking mechanisms. The locks secure the four section legs securely. There are three angle options for the legs at 25, 50, and 80 degrees. These locks also lock crisply and allow for great versatility for low angle work.

One of the legs is padded and this leg is also the removable monopod. This is a great feature which essentially makes this tripod a two for one deal.

The entire center column assembly can also be attached to the convertible monopod which gives a total height of 77.56in(197cm) if you choose to carry it in this configuration.

Speaking of the center column assembly, it is somewhat puzzling. It’s not that the concept of the two piece center column isn’t a good idea, in fact, it adds an extreme amount of articulation especially for top-down product photography. The entire ball head and center column gives the user the ability to cover virtually in angle imaginable.

However, from a practicality standpoint the added stress points in the assembly don’t seem to be a worth while feature when you take into account the added weight and possibly stability issues. That being said, the ball head itself works smoothly and offers great fluid motion for panning.

The feet of the tripod legs give a great compromise between stability and variable surface suitability. They are rubber boots that terminate in a point that can dig into soft ground while protecting fragile floor finishes.

Also worth mentioning is the base plate that included with the tripod. It has rubber cushioning at the attachment surface as well as a “D” ring screw head which makes attaching/removing the plate MUCH easier especially when a coin or screwdriver isn’t readily available.

Real World Performance

This tripod worked as a tripod should during all my uses. The legs locked securely and remained so during shooting. There was no drift in the ball head during long exposures and all the movements worked smoothly. Something I want to again address is the center column assembly and just how much practical use it adds. The overall height the additional length of the column adds isn’t something most photographers of average height will likely need. Even with the added articulations it allows isn’t enough to justify the added chunkiness and bulk it adds to the total package.

 

 

In the time I’ve used this tripod it has held up to indoor and outdoor shooting well, with only a small amount of wear being noticed at the angle adjustment locks which is largely superficial.

I feel that the TM2534T should have no problem in terms of durability during heavy outdoor or studio use.

Final Opinion

For all practical purposed the TM2534T tripod from K&F Concept is solid option for those needed a well made platform for a wide range of shooting situations. It offers great looks, incredible articulation and versatility, all wrapped up in a package that’s great to look at and won’t break the bank. The overly bulky center column isn’t something that I feel is exactly worth it’s added weight and ungainliness but that is something the user will need to decide. Check it out for yourself and see if it fits your particular needs. It’s going for under $150US at Amazon* or the K&F Concept website.

*Note* The Amazon description lists the tripod(TM2534T) height incorrectly as 66in.

A Quick Guide to Local Adjustment Presets in Lightroom

If you use Adobe Lightroom, I’m sure you’ve heard of develop presets and how they can jump start your creativity. But did you know that you can also create and save local adjustment presets just as easily? In this article I’m going to show you how to create and save your own local adjustment presets so you can make the most of your editing time in Lightroom.

What are Local Adjustments?

Local adjustment presets work a lot like develop presets in that they allow you to save certain combinations of edits for quick application later. The biggest difference between the two types of presets is that normal development presets generally work globally(affects the entire image) whereas local presets affect only the portions of the image you choose. These edits are applied either with either the local adjustment brush, graduated filter, radial filter, or a combination of the three. The great thing about local adjustment presets is that each preset can be applied by any of the local adjustment tools in Lightroom.

Here’s an example using the picture above. This is how it looked originally.

Let’s say we want to only lighten the leaf without disturbing the rest of the photo. Not only that, but the area could also use a little bit of a boost in clarity and sharpening. We can use the local adjustment brush and combine all this edits into one and apply them at the same time.

Now, that looks better.

This is an edit you might have use for in the future since adding a little exposure and clarity can might an image really pop. Instead of taking the time to go back in and adjust the sliders each and every time why not save this adjust as a preset? Saving local adjustments is even easier than saving a regular development preset because there’s no new folder to make and name, no check boxes to tick or untick. Everything is already set up for you and all you’ll need to do is make your adjustments and then name your new preset.

Saving the Preset

First, click the ‘custom’ drop down at the top of the local adjustments panel….

Find the bottom of the ‘Save current settings as new preset’ option at the bottom of the drop down menu and click on that.

Now it’s time to name your awesome new local adjustment preset. Just as with any other type of preset it’s a good idea to come up with a descriptive name that immediately tells you what the preset does. For this preset I’ve chosen ‘+Exp Clarity Sharp’.

And that’s it! Your new preset will appear as a freshly made preset name in the local adjustment presets dropdown menu.

Final Thoughts on Local Adjustment Presets…

Like any other preset in Lightroom, local adjustment presets save you time by eliminating the need to change multiple adjustment sliders each and every time you want to use a particular edit. Making a local adjustment preset is one of the easiest tricks you can use to speed up your post processing. Remember, every preset you make can be used with all the local adjustment tools in Lightroom. That means the adjustment preset we made above can also be applied using the radial and graduated filter as well. Local adjustment presets are great. Use this guide and find out for yourself!

How to Add Instant Contrast in Photoshop

Adobe Photoshop is a beautiful thing. It allows an incredibly wide range of artists, designers, creatives, and especially us photographers to inject a little bit of creative juice into their work and see it come to life. And while Photoshop can be enormously complex there are so many simple, straightforward edits you can use to instantly transform your photographs.

One of these goes back to the basics of photo editing: exposure and contrast. There is a great way to quickly add contrast to your images by using PS blend modes, more specifically the “soft light” blend mode. You may be thinking “But why not just add contrast with the contrast adjustment?” Well, you can for sure…but it’s not exactly the same. And why not expand your photographic editing horizons to try something new?

Soft Light Blend Mode

The soft light blend mode is one of seven PS blends that make up the “contrast” group. These modes all use varying mathematical wizardry to accomplish a similar effect which is to make darks darker and lights lighter in relation to one another. While that is an incredible over-simplification it’s not entirely inaccurate.

The soft light blend mode bases itself on whether pixels are lighter or darker than 50% gray. If a pixel in your image is darker than 50% gray it will be darkened further. If a pixel is whiter than 50% gray it will be lightened. The result? More contrast. Not only that, but this contrast is wholly dependent on image and it’s tonal makeup.

Adding Contrast with Soft Light Blend Mode

First, duplicate your base photo layer by using the keyboard shortcut ‘Ctrl+J’(Cmd+J for Mac).

Next, select the soft light blend mode from the blend mode drop down list. Alternatively, use the keyboard shortcut ‘Ctrl+F’ to do the same thing a little faster. You will instantly notice a fairly drastic change to your photo. Namely the increased amount of contrast.

To really control the amount of contrast I highly recommend adjusting your layer opacity until you reach the overall level of contrast for your particular image. In the case of soft light the opacity and fill accomplish the same outcome so it is your choice which to use.

The real fun begins when you decide to add a layer mask. Don’t worry! Masks aren’t something to be afraid of(in most cases) and they allow you to completely take charge of how an edit is applied in PS. You’re about to see how easy it is right now.

Adding a Layer Mask

To add a layer mask to your soft light blend layer simply click on the “add a mask” icon at the bottom of the layer panel.

Guess what? You’ve just added a layer mask! It’s that simple. Now, you’re free to paint in or out the soft light contrast to virtually any degree and location you choose. Just adjust the size and opacity of your brush to achieve the desired effect.

Add in some a quick increase in exposure and we’re left with the finished product. All done within a matter of minutes.

Some Final Thoughts….

One of the fun and interesting aspects of post processing is discovering all the different methods of achieving certain editing effects. Adding contrast to a photograph is one of the most basic edits a photographer can make to instantly add power to a photo. There are many ways to do this and you’ve just learned one. Try using the soft light blend mode technique to add contrast in a smarter, more controlled way. The soft light blend mode in PS makes it easy to quickly and effectively add punch to your images and it is something I use to some extent on virtually every photograph I process.

 

Making Fall Colors Pop with Adobe Lightroom

Here in the Northern hemisphere Autumn is in full swing. The colors of the leaves are changing and giving their last big show as we head into winter. The frosty mornings and golden hues offer outstanding opportunities for photographers to capture these beautiful Fall colors before they’re gone until next year.

In this article we’re going to talk about how you can make those bright Fall colors really pop in Adobe Lightroom! It doesn’t take much to make your images of the season standout. Let’s get started!

Bringing Out the Color

The main focus of majority of Autumnal photos is of course color. Bright Earth-tones and muted flavors of of brown and gray intermingle together to produce an incredible palate of gold. Here’s how to make all those beautiful tones come to the forefront in your image. We’ll begin with the Vibrance and Saturation sliders in the basic Development Panel of Lightroom.

Vibrance

The vibrance slider brings out the mid tone saturation of colors. It comes in handy when you want only the less saturated colors in the photo to be amplified. Look at this image before the vibrance was adjusted.

And now after

With +50 Vibrance

The key use of increasing the vibrancy of a photo is to maintain a natural and pleasing look to the colors that need to be intensified.

Saturation

Saturation and vibrance are closely related but at the same time affect different aspects of your image. Whereas vibrance boosts the colors which are less saturated, the saturation slider increases the color saturation of all the colors. This means that if a color is already well saturated it will become even more so when this slider is used. Here we have an image with color already well saturated.

If we boost the overall saturation, it leaves the image looking overly saturated with the color appearing fake and unnatural.

With +40 Saturation

The saturation is increased to the point of looking gaudy. So, be very careful when applying the saturation slider to the entire image.

The HSL Panel

If you want to get a little more advanced when edited your Fall photos then look no further than the HSL panel in Lightroom. It’s here where you can take full control of color.

The aptly named HSL panel adjusts the hue, saturation, and luminance of color. This is the master control station for color within your photo. Use this to not only affect the brightness and saturation of specific colors but also their hue. Here’s a photo before any HSL adjustments.

And now with the orange luminance and saturation increased…

The hue adjustments make colors appear more or less true to their original tone. For example, blue can appear more green or more purple; oranges more yellow or more red. Here we’ve changed the oranges to a lighter, more yellow hue.

While here, to a darker red hue.

Some Final Thoughts on Fall Photos…

Fall is a wonderful time of year for photography. If you’re seeking to make your images of Autumn to stand out from the crowd, try these simple tips that will help all those beautiful colors of the season shine through! Don’t be afraid to adjust the hues of the colors until they reflect how you felt about the scene. Likewise, don’t hesitate to actually DECREASE the saturation and vibrance of the colors in order to reach the final look that you want.

Working with Texture in Photography

As a word, “texture” carries quite a few meanings. For photographers, texture is a concept that is often difficult to explain. It’s almost as if it has to be shown instead of merely described. Texture is simply the pronounced visualization of the surface feel of an object which is photographed. Now, you may be thinking “well, everything has texture…”. While this is true, the way in which that tactile nature of whatever you’re shooting can play a huge role in the overall mood and expressiveness your final image. Understanding texture in photography means learning how to recognize the importance(or lack of) the portrayal of the physical surface of a substance will impact the viewer.

I know I know…how boring can you get, right? Just hang in there and read on. You might be surprised just how much incorporating and focusing on textures can strike increased interest in a photo. We’ll talk about how the directional properties of light morph the textural feel of a scene and how you can put that to work for you. Let’s get started!

Communicating Texture

How do you transmit a physical sense into a two dimensional photograph? It all comes down to the type of thing you happen to be shooting and how you position your focus and your camera. Generally, there must be some degree of angle involved between the subject and the camera. This essentially places the surface of whatever your shooting into profile and thereby better displays whatever the irregularities might be into sharper relief. Here, have a look at this. It was shot with the camera directly overhead and perpendicular to the cloth.

This is a rather mundane example but it does a good job at displaying the relationship between camera angle and texture. Notice how with the straight on camera position all the texture within the cloth is muted and visually flat. This next image is made after moving the camera to approximately a 45 degree angle to the subject.

This places all the nonuniform attributes of the cloth at an angle and makes its texture more pronounced. If you want to amplify the texture of a scene, try different shooting positions and avoid photographing the subject from 90 degree angles.

The Effects of Light

Extremely closely related to camera position is the directionality of the light falling on your subject. Shadows are key when showcasing texture. The textures of an image will be enhanced by the addition of contrast which is, afterall, the differences between lights and darks in a photo. The direction of the light will determine how and by how much the contrast of the texture will be determined. The more contrast, the more obvious the texture will become. If you’re ready for another effective yet basic example, you’re in luck. These next two images are of the same floor tile. The first was shot under very diffused natural light from above.

The next photo was shot with the window blinds open which produced a much harsher directional light. And the camera angle was lowered to enhance the lighting effect even more.

All the textures within the tile are brought out due to the shadows produced by the side lighting and camera angle. These were not at all evident with the previous lighting conditions.

Using Depth of Field

Photographs that center around textural elements work well when shot in abstraction and/or with shallow depth of field. The small plane of focus adds contrast to the texture by framing it with foreground and background blur. Here’s an image shot using an aperture of F8.

The entire subject is in focus. And while the texture is evident it’s not readily defined. Next have the the same little pine cone but this time shot at a much wider aperture of F2.8.

The softening around the edges help to focus the attention on the textures of the cone and seperate it from the rest of the frame. While not a rule(what are those?) wider apertures generally work well to isolate and draw focus to the evident textures present in a subject.

Final Thoughts on Texture…

Let’s face it, talking about texture in photography isn’t the most exciting thing in the world. Still, ignoring it completely means ignoring one of the most powerful techniques for adding interest to your photographs. Texture is all around us and can be made the centerpiece of your images if you understand how to put it at the forefront. Using textures effectively will open up so many more shooting opportunities that you might not have considered before now.

The Great Minor White and Infrared Photography

Born in 1908, Minor White was something different in terms of how and why he photographed. He incorporated as much of his own beliefs and philosophies into his work as he did photographic technique. His work is a mix of his mentality and the emotion he felt towards a scene or subject. He injected a part of himself into all the photographs he made. Bestowed by him are such words as “The photographer projects himself into everything he sees, identifying himself with everything in order to know it and to feel it better.” and one of my personal favorite quotes about us photographer’s mentality “…all photographs are self-portraits”.

Minor White-By Imogene Cunningham

It was with the existential mindset that White approached his photographs and perhaps there was none of his work as idealistically surreal as his adventures into the world of infrared. Not only was he a prolific photographer in the artistic and technical sense but he was one of the early practitioners of infrared photography who brought it’s incredible appeal to the masses. The IR images he made, just like his other works, projected a world blended with both the physical landscape and his own personal creativity.

By Minor White, 1958

By Minor White, 1955

By Minor White, 1955

Minor White and Infrared

How did Minor White make his IR photographs? With magic…. Well no, not exactly magic, but it certainly looked that way. Minor White used black and white infrared film, usually large format 4×5, to capture his dreamlike scenes. The infrared or more accurately “near-infrared” light spectrum falls around the 700-1200nm range and infrared film is manufactured to be sensitive to these wavelengths. However, seeing as IR film is also still sensitive to other wavelengths of light, IR filters must also be attached to the camera lens in order to filter out other types of unwanted light that falls in the more visible spectral range. It’s this filtration of the normally visible light and the inclusion of the near IR spectrum which we generally don’t see which gives IR photography their ghost-like quality. Development of the IR is surprising the same as many other conventional black and white films and requires basic darkroom techniques and chemicals.

IR Lens Filters

IR 35mm film

 

 

 

 

 

 

 

 

 

You may be wondering, “So why can’t I just use an IR filter on my digital camera to make IR photos?” And that’s good question. The answer lies in the very construction of most modern digital cameras themselves. IR wavelengths are generally unwanted and in conventional photography and therefore modern digital cameras have a built in IR filter that is placed in front of the image sensor to block out IR light. Even if an IR filter was placed on the lens the resulting transmitted IR light would in turn be filtered out by the camera’s own internal filter. So, how can you enable your digital camera to make IR photographs? Read on….

IR Photography in the Digital Age

As I mentioned earlier, the largest obstacle that stands in the way of making IR images with your currently digital camera is the built in IR sensor filter inside your camera. So if you want to venture into the world of IR photography this filter must be modified through an infrared camera conversion process.

New IR translucent filter being installed

This means that your camera’s sensor is now sensitive to incoming IR light. There are also many other possibilities to expand your infrared horizons with today’s digital camera bodies. Full spectrum, color IR, and a host of other tailored IR imaging effects can be produced depending on the type of conversion and IR lens filter combinations you happen to choose. The benefits to Find out more about infrared conversion possibilities here.

A Final Word About Minor White and Infrared Photography

The work of Minor White was profound, beautiful, innovative, provocative, and at times quite sad. His ventures into the world of IR photography showed us a the wonderment that is all around us, yet invisible all the same. His images speak volumes to the life he lived and to the way he approached the art of photography.

Today, we have so many ways to practice IR photowork whether it is with film and filters or with our digital cameras through a dedicated IR conversion. If you are considering the latter route, be sure to learn as much as possible about the possibilities and limits of digital IR conversions. Make sure whoever you trust your beloved camera to has the reputation for quality that you and your gear deserve. Read more about IR digital camera conversion here at LifePixel and be sure to check out what people just like you have to say about the level of service offered by the LifePixel team!

Previsualziation: Knowing Before the Shot

Previsualization, or simply “visualization”, is one of the most simply yet alarmingly difficult aspect of making your own photograph become more than just the some of their parts. When we “previsualize” our images it means that the appearance of the final outcome before we ever click the shutter button. The method of previsualization was championed by the photographically indomitable Ansel Adams who believed the best way to convey wholeness within a photograph was to strive to see it in your minds eye from the get go. Everything else would then be a matter of what needs to be done in order to reach your personally desired outcome.

But how is it done? Or more importantly, how can you learn to do it yourself? Ansel gave us a lot to go on and we can learn a lot from his legacy. At the same time, we can mesh together with modern digital techniques and expound into something I like to call dynamic visualization. We’ll get more into that in just a minute. But first, let’s talk about how you can begin to visualize the finished photograph before you actually make it manifest itself from your camera.

Learning to “See”

Teaching yourself to see the finished product on the front end of the process isn’t an easy thing to accomplish, especially not right out of the gate. The ability to visualize a finished photograph is somewhat paradoxical due to the fact that a large component of the skill involves shooting a lot of photographs. This means that visualization is a product of repetition. Each time you make a photograph, you see the effect of shooting at the technical factors you have selected. Pay close attention to what settings you use!

Once you begin to mentally catalog the cause and effect relationship between your techniques and their respective outcomes you will then gradually learn to approximate the particular look of a finished image before it is actually shot.

Be Patient

The largest detriment in learning how to visualize your finished photos is that confidence-killing frustration that often sneaks in from perceived failure. Will you be able to anticipate the exact outcome of your photographs each and every time? Of course not. Failure is an incredible teacher and this is especially true when it comes to learning the skill of photographic visualization.

So, don’t allow yourself to be discouraged by the tedium. Shoot as often as you can, practice seeing the finished photo in your mind, observe the results, and then apply those outcomes to future photographs. I assure you that being able to see a finished photo(or close approximation) will slowly begin to happen on its own.

Dynamic Visualization in the Digital Age

I want to speak briefly on the progression of the visualization process as it pertains to today’s digitally integrated world of photography. The technique is one I have coined as “Dynamic Visualization” and is a direct evolution of the visualization idea of Ansel Adams. It involves the instant feedback we now are capable of achieving with our digital photographs. As we no longer have to wait for development of our film to be completed before we see the results of our efforts, the process of visualization changes. We can now allow the readily displayed outcome of our photos to directly impact the mechanism of visualization in a much quicker and more dynamic fashion.

What I mean here is that we immediately view the image we have just captured and that quick feedback can organically spur our creativity in real-time. This can lead to alternative compositions and exposure combinations that we might not have otherwise considered, thusly changing the final visualized image in our minds. This dynamic visualization could in fact be the continuation of Ansels visualization method. We first visualize the finished photo we want to make, receive real-time feedback from our digital displays, and then use that information to mold alternate(possible better) visualizations.

Final Thoughts on Visualization

The hard truth about learning visualization is that it takes time, effort, and patience. There are no real shortcuts when it comes to teaching yourself to “see” a photograph before it’s made. Shoot as much as you can and observe the results carefully. See the results of your work and study your own work. Visualization happens as much by physical labor as it does by mental flexibility. The key is to keep trying until that visualization “aha” moment makes its way to you. Just keep shooting!

Editing Secrets Revealed!: Five Lightroom Tricks

Adobe Lightroom is one of the most widely used software programs out there. When it comes to editing your digital photos it’s extremely difficult to beat Lightroom when it comes to ease of use, versatility, and powerful post processing tools. It’s safe to say that most of you reading this likely have had some experience using Lightroom but do you know about some of the hidden capabilities of the software? Well, maybe I shouldn’t say hidden. Perhaps “lesser known” is a better way for my point to be phrased.

In this article, we’re going to show you five lesser known tricks to be found in Adobe Lightroom. You might even wonder how you’ve managed without them for so long!

#1: Direct Histogram Adjustments

You know how to adjust exposure using the adjustment sliders in Lightroom but did you know that you can make exposure adjustments directly to the histogram?

Yeah, really! Not only that, but you can work with the blacks, shadows, and highlights independently. To do it, simply hover over different areas of the histogram and pay attention to the bottom left corner of the histogram. This tells you which area of the histogram you will be adjustment. At the far left is the blacks region…

And to the far right will be the whites region.

To adjust an area, click on it and hold as you drag left or right on the histogram.

In the middle areas you will have shadows highlights and overall exposure. All independently adjustable in the exact same way.

#2 Visualizing Spots in Clone/Heal Mode

The clone and healing tools are a great way to remove unsightly dust and dirt specks that show up on your finished digital photo. It’s easy to just make some of those things go away with a click or two.

Did you know that there’s a super easy way to make removing those spots a lot more precise? It’s aptly called the “visualize spots” mode and to access it click…you guessed it, the visualize spots box at the bottom of the view window when in clone/heal mode. You can also use keyboard shortcut (A).

Your image is instantly converted to a black and white relief. Spots show up in white.

You can control the sensitivity of the spot revelation by using the slider.

#3 Sharpening Mask

Don’t introduce unwanted noise by sharpening your entire photo! There’s a smarter way and it’s by using the masking slider when sharpening your images in Lightroom.

Holding down the ‘Alt’ key(Option key on Mac) while adjusting the masking slider sensitivity will convert the image to a black and white relief similar to the visualize spots mode from earlier.

Now it’s just a matter of healing or cloning out the spots!

#4 Developing Video

For some, the downside of Lightroom is that it doesn’t work well with video editing. Video isn’t supported in the Develop Module so you have to rely on quick develop settings and presets to process any of your video files. Or do you? There is in fact a work around to help you edit your videos more precisely in Lightroom. First, make an image capture from your video.

Then make any adjustments to that image capture just as you would a normal photo. When finished, go back to the Library module. Then hold down the ‘Ctrl’ key(Command on Mac) and be sure both your edited image capture AND the video thumbnail are selected.

Now, click on ‘Sync Settings’

A dialog box will appear showing the available settings which can be synced. Make your selections and click ‘OK’. And boom! You’ve just developed your video.

#5 Custom Name Plate

This last trick is possibly the easiest…and the most arbitrary. You can customize the “name plate” in Lightroom along with a couple other things. The name plate is that little bit of text in the upper left hand corner of the view window.

Here’s how to change it. Simply right click on the name plate and choose ‘Edit identity plate’ from the drop down.

This will open the identity plate edit dialog box.

Select ‘Personalize’ from the dropdown at the top left.

Now change the font color, style, and size to whatever you want! You can even upload a custom logo image form here as well!

Final Thoughts…

Lightroom, as powerful as it is, offers some hidden gems if you just know where and how to find them. The secrets of Lightroom aren’t limited to just the ones we’ve shown here! Have your own tricks that you’d like to share with the class? Post them in the comments below!

Four Ways to Rekindle Your Photographic Spark

As you progress more and more on your photographic journey you will encounter problems and challenges. Some of those challenge you expect while some can take you fairly by surprise. You will go through ups and downs, strikes and gutters. This cycle of peaks and valleys can affect you creatively, financially, even physically. Most common of these is the fact that sometimes we lose a little bit of our enthusiasm for the craft. This is normal and most definitely a problem you can overcome through all kinds of ways. In this article, we’re going to talk about a few ways that can help you rekindle your photographic spark.

Understand that it Happens to Us All

The first step to overcoming any problem is to understand that you have one and that it’s a natural part of growing as a photographer. Simply realizing that your loss of photo making zeal isn’t the end of the world can actually snap you out of your slump.

An important thing to remember is that whatever the reason you’ve lost your spark, you can get it back. The opposite is also true. If you continually find yourself dreading a shoot or not getting excited to get home to edit an awesome sunset image, ignoring the problem will only make it worse. Take a breath and work to identify what’s happening.

Learn about Great Photographers

We all have reasons why we got into photography. And the majority of us have certain “icons” whose work speaks to us especially loudly. The giants of the photography not only produced legendary photos but they also left behind lessons that we can learn from in order to strengthen our own craft. Take the time to learn the methods of the established masters.

Find books they’ve written and invest as much in your learning as you do in your gear…well, maybe not that much. When I get a little less that spritely to get out and make images, I open up a book of Ansel Adams photos. After seeing a few images of Half Dome and Taos Pueblo and I’m ready for action!

Shoot Something Different

If you find that you’ve grown tired of shooting, maybe you’re just tired of shooting the same things over and and over again. Sometimes it helps enormously to take a refreshing dip into another end of the creative pool.

Break the monotony and give yourself a fresh pair of eyes. If you shoot a lot of landscapes, then try some portraits. Shoot a lot of portraits? Try some landscapes. Changing things up a bit can open up entirely new creative outlets for your work.

Leave the Camera

Completely ceasing your shooting might sound counter intuitive but at times we can can photographic burnout. If this is happening to you try leaving your camera at home. Just focus yourself on the events, people, and environment around you without viewing everything through a viewfinder.

Live and breathe without making photos for a few days or even a few weeks. Much like switching up your shooting material, walking away from the camera for a while can hit your reset button and jump start your enthusiasm for making photographic once more.

Final Thoughts….

Whether most of us will admit it or not, we aren’t always super excited about making photographs 24 hours a day, 7 days a week. We have highs and lows of creativity and artistic energy levels. At some point you will experience this reduction in your photographic spark to some extent. Just remember that when it happens, and it will, that there are ways to combat the lack of motivation. While it all depends on your situation, some type of healthy change is usually the best remedy. This change can be taking a break from shooting or reading an autobiography about your favorite photographer’s life. Recognize that things just don’t feel right and take steps to bring yourself back into the photographic fold.

I love helping people overcome their hurdles so check out a couple more of my articles here at LifePixel, How To Be Successful in Photography and Real Talk: Reasons Your Photography Isn’t Improving. They deal with similar situations and can give you that lift that you need to get back into the game.

Simple Ways to Improve Your Astrophotography

For eons, mankind has looked up into the night sky in wonderment. All the stars and celestial bodies which hover over our heads have always held a nearly indescribable allure. Since the advent of photography we have looked for ways to photograph all the beautiful happenings of our galactic home.

 

You might think that making photographs of stars or even our own galaxy requires special equipment or extensive knowledge of mind numbing photography concepts. Nothing could be further from the truth. In reality, it all comes down to a few simple techniques and basic camera gear. In this article we are going to look at a few key points that can help you start making great photographs of the night sky right now!

Use a Tripod

Having a stable shooting platform is always a good idea for any type of photograph. The introduction of sharpness-robbing camera shake is one of the largest hurdles to overcome for any photo maker and it is especially true in astrophotography.

Always use a tripod(like the one from this LifePixel article) so that you can eliminate as much motion as possible in your images of the night sky. Speaking of motion….

Make Use of the 600 Rule

We often forget that even though our cameras seem to be perfectly still they, and ourselves, are moving along through space at around 67,000 miles per hour(30 km per second!). That’s not exactly slow. What this means for our astrophotography is that we are constantly working in a moving environment. Depending on the type of night photograph we want to end up with there is a very simple way to make sure all those stars stay in place. It’s called the “600 Rule”.

This was shot at a 7 min 30 second exposure using a 14mm lens. Note the the visible star trails….

Well, it’s more of a guideline for exposure rather than a rule. Since, the earth is moving so fast, longer exposure times results in “star trails” which is the streaking of starlight due to motion. This can be a good or a bad thing. Luckily, we can estimate the longest shutter time we can use based on our lens so that we don’t see star trails. Conversely, we then know what the approximate minimum exposure time needed so that we do see them. And it really is a easy…I promise. The 600 Rule states that the focal length of your lens, be it 14mm, 50mm, 85mm, ect., should be divided into 600. Here’s the equation:

600/focal length of lens = Maximum Shutter Time in Seconds

See! That wasn’t so bad. There are a few versions of this rule which use different numbers such as 400 or 500. They all yield similar results so use whichever one works best for you. I use 600 but this is simply a preference.

Include Interesting Elements

Make your astrophotography more than just pictures of stars by including elements into your foregrounds. People, buildings, trees, even light pollution(unwanted artificial light) can add wonderfully interesting elements to your astro photos.

The fence and building light in the background works to lead the viewer up towards the beautiful Milky Way.

Make use of your entire environment to bring a unique perspective. Sometimes it helps to see just how small we really are in a wide universe.

Use a Remote Shutter Release or Timer

We’ve already learned that camera motion is our enemy when shooting long exposures. Even a small amount of camera shake can ruin a perfectly composed nightscape. You might not realize it, but the impact vibration of pressing the shutter button can cause enough motion to appear in your photo. To combat this, consider using a remote shutter release. Most cameras today have wireless remote capabilities(even budget cameras) and the remotes like these are cheap.

This wireless remote cost me about $11

No remote? Try putting setting your camera to a 2 second or even 10 second timer. This will make sure your camera is as still as possible.

Closing thoughts….

Astrophotography is an almost magical goal for some photographers. When I first began making photographs one of my personal goals was to make a photo of the full moon. It doesn’t take much to be able to make wonderful images of the night sky. Follow the simple tips in this article and you will see…dare I say…ASTROnomical improvement in your photographs! Photography jokes are fun….

First Look at K&F Concept Large Professional Camera Backpack

When K&F Concept was first brought to my attention I will admit that I had never heard of the company before. The world of camera gear and gadgets is of course, “saturated” to say the least. So, when I took a closer look at K&F, I was pleasantly surprised at the apparent quality of many of their offerings.

I just received their “Large Professional Camera Backback” and after a quick once over I’d like to share my thoughts on this surprisingly outstanding(and affordable) gear bag.

So, grab a snack and take a seat. Hopefully you will be as happily surprised as I was to have a look at this nifty camera bag from K&F Concepts.

First Impressions

After a hurried unboxing, the bag emerged as a welcomingly unassuming backpack.

I was expecting it to be somewhat larger(it is a “large afterall) and I was glad to see it wasn’t bulky. The material itself resembles a stone washed denim and looks great. I like the look of the pack. Urban, casual, and streamlined. It would find itself well at home on the sidewalk during a street photography outing or as a refined travel option when shooting on the go. The bottom of the bag’s exterior is lined in black faux leather that adds not only aesthetic appeal but also protects the part of the bag that is likely to contact the ground the most.

The straps are nice and wide and very comfortable with a mesh backing that works to keep your shoulders cool.

There is an adjustable sternum strap which is awesome for distributing weight when you might overfill the pack. The nice thing about having an adjustable sternum strap is that it works with all manner of body sizes. Lady photographers also won’t have to worry about any unfortable “binding” from the strap.

All the zippers and straps are robust and work smoothly.

Space, space, and more space!

If there’s one thing that stands out with this K&F Concept backpack is the monumental engineering in regard to usable space. The storage real estate on this bag is outstanding. The bag itself is a flip open design which gives you front and rear access to the gear you need. We’ll start with the main compartment….

There are lots of padded partitions to keep your camera, lenses, flashes, and whatever else secured. The two main separators are padded but benefit from the addition of a rigid spine which helps keep larger lenses and camera bodies in place and helps the pack keep it’s shape loaded.

I was able to fit a smorgasbord of odd and end gear into the bag with no problems.

Gear shown: Canon 7D, Sony Zeiss Vario Tessar 24-70mm f4, Nikkor 85mm f1.4, Nikkor 50mm f1.8, Rokinon 14mm f2.8, Sigma MC-11 Converter, Canon 430EX Speedlight…stll lots of room left….

Flipping over to the front compartment we have lots of space for a laptop, tablet, paperwork, you name it.

There is room to hold so much here as well depending on your needs. Everything is secured with a large velcro strap. I was able to fit a 13 inch Chromebook into the pocket and had no worries about it being protected.

Tripod Carrier

Perhaps my absolute favorite feature of this backpack is the inclusion of a tripod carrier. There is strap and nifty fold-down flap(which sports has a zippered pocket) that serves to firmly secure your tripod to the bag.

This will work great with travel sized tripods such as the Vanguard VEO 235AB Travel Tripod I reviewed here LifePixel. The only thing I would have liked to have seen was the inclusion of a quick release clasp on the tripod tripod strap for quicker attachment and release of the tripod.

Closing thoughts….

The K&F Concept Large Professional Camera Backpack appears to be a great option for those who need a stylish gear carrier that can fit a monumental amount of camera equipment into a package which is wonderfully manageable. The appearance and comfort of the pack is great. I look forward to using this pack more in the field but if the initial impression of this pack holds I can highly recommend it for those needing a cost effective backpack-style camera bag.

Artistic Abstractions

How do you view your camera? How many different ways do you hold, move or otherwise use your camera to make a photograph? I believe people can get stuck in a rut by limiting how a photograph is made. For some people it’s cranking up the ISO and shooting hand-held in every situation, for some it’s always using a tripod, others shoot only black and white, and so on. I don’t believe there is anything wrong with any of these individual things, my point is that there is a whole world of possibility out there and a whole lot of fun to be had by exploring new and interesting ways the camera can be used to create art.

Moving Camera with Stable Subject

With this technique, you have to be the active one. Take your camera and choose a relatively slow shutter speed so that the camera movement produces a smooth blur of colour and light. I’ve found that too fast a shutter speed produces choppier images, and too slow a speed either results in overexposure, or an image with a complete lack of definition.

Try panning your camera vertically. This technique works well with structures that have strong vertical lines such as trees and power poles. Horizontal pans work well with scenes that have strong horizontal lines such as lines on a highway. Another fun exercise is to try and move your camera on two different axes during the exposure. You could be holding the camera with both hands, pointing up to the sky while standing in the shade of a tree. As you make your exposure, pull the camera towards your chest (vertical axis) while rotating the camera and moving it from one side to another (horizontal axis). Any of these techniques require a bit of practice. The fun of this kind of experimentation is that no matter what happens, even the “mistakes” can sometimes be beautiful.

trees at lake kathlyn

Moving Camera with Moving Subject

As with the previous technique, here you are using the relative instability of hand-holding to help with the creation of art. I find low-light situations best for these experiments as the darkness means longer exposure times. This results in a greater potential for painting with light. Here I like to photograph light sources while I’m the passenger in a vehicle someone else is driving. The car window goes down, I make sure my camera strap is around my neck and I point my camera at the lights passing beside me.

vehicle lights

Stable Camera with Stable Subject

If you find yourself with your camera and zoom lens on tripod with a still-life subject, try moving your lens from wide-angle to telephoto (and vice versa) during the exposure. You’ll get all sort of radiant lines in your images.

vase with glass beads in front of woodstov

Stable Camera with Moving Subject

My favourite thing to photograph in this instance is fire-spinning. Typically I’ll have my camera on a tripod, pre-focused on a determined spot and manually set my camera for how many ever seconds are appropriate for the level of light I’m shooting in. Before I release the shutter (on a 10-second timer), I’ll have a whisk with fine steel wool stuffed inside that I’ll light. After the wool starts to glow, I’ll release the shutter and then start spinning the whisk (typically on the end of one of my dog’s leashes) as I walk to the pre-determined spot in front of the camera. I’ll then whirl the leash until the camera’s finished exposing. This is fun to do in any number of different settings, but doing it while either standing on snow or in water produces some amazing results.

fire spinning on dennis lake

The Art of an Abstraction

The best thing using any of these suggested techniques is the abstract images that result. In and of themselves, the images are fun expressions of light and mood. Sometimes though, the abstract you make will be suggestive of something else. This is where the fun of using image editing software to further enhance your vision comes into play. One of my favourite techniques is to duplicate and create a mirror image of the original photograph. Time and time again, I am amazed at what this simple effect creates. I particularly like it when I see something recognizable. Who would have thought some smears of light and colour could turn into a butterfly?

abstract butterfly

So ask yourself the next time you go out with your camera, “what would happen if I did this?” Add an element of play to your photography and see what happens.

 

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