Nikon Releasing 900 Dollar Full-Frame Mirrorless Camera?

The post Nikon Releasing 900 Dollar Full-Frame Mirrorless Camera? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

According to Nikkei, Nikon plans to release a mirrorless camera before the 2019 fiscal year is out.

And it’ll likely be a budget option, one that comes in at about half the price of the Nikon Z6.

Here’s the direct (translated) quote from Nikkei:

Nikon will introduce a new mid-price mirrorless camera product in fiscal 2019. The same interchangeable lens can be used in the product that corresponds to a sister model such as the high-end model “Z7” launched by the company in the autumn of [2018]. It is expected that the price will be in the 100,000 yen range, which is easier for the general consumer to pick up than the leading 200,000 to 400,000 yen model. The aim is to develop the demand of users other than existing enthusiasts.

Regarding price: 100,000 yen falls around 900 dollars, which would be a dramatic reduction in price compared to the Z7 and even the Z6, Nikon’s two current full-frame mirrorless models.

A 900 dollar full-frame mirrorless option would likely be welcomed by those DSLR shooters who just can’t afford the current Nikon mirrorless prices, but are looking for something lighter than their current DSLR setup.

But we also have to ask:

What Z-level features will Nikon leave behind in order to cut costs?

First of all, we can’t be sure the new mirrorless option is full frame. The original report doesn’t say this outright. But the claim that the new product “corresponds to a sister model such as the high-end model ‘Z7′” suggests the new camera won’t be fundamentally different. And an APS-C Z mirrorless body would be fundamentally different.

But even if the camera is full frame, other important features might be dropped.

For instance, might we see the loss of an EVF? Personally, I would see this as deeply frustrating. Mirrorless EVFs are one of the strengths of mirrorless systems. I wouldn’t like to see it go.

What do you think? What will this new mirrorless camera be like?

And would you be interested in purchasing it?

The post Nikon Releasing 900 Dollar Full-Frame Mirrorless Camera? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Make Easy Panoramic Images with Microsoft ICE

The post Make Easy Panoramic Images with Microsoft ICE appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Vista at Dead Horse State Park, Utah. Fourteen images stitched in Microsoft ICE.

You’ve no doubt seen panoramic images and perhaps even know how to make them. Whether using the tools built into programs like Lightroom and Photoshop, or perhaps another dedicated panoramic creation program, or even the sweep-panoramic capability of many cellphone cameras, you’ve used this technique to make images larger than you could make them in a single shot.

In the past, the choice was not as great, and the main stitching programs not as diversified in their capabilities. The programs that did exist to create panoramas were complex, sometimes expensive, and didn’t always work well.

When the first version of Microsoft ICE (Image Composite Editor), a program from the Microsoft Research Division of the software giant came out, it had all the things I sought in software utilities. It was simple, it worked well, and it was free – bingo! Although other options have come along for photo stitching, I still find ICE, (now at version, a favorite.

Panorama images are not new nor a product of the digital age. This image was made from Rincon Point in San Francisco in 1851 using multiple photo plates seamed together.

Image stitching – What is it?

When working with panoramic programs you will read the term “image stitching.” It is an apt phrase for the process by which a series of photos are composited together to make a larger image, much like scraps of fabric stitched together to make a quilt. The mark of a good photo-stitching program is how well it can piece the separate images together without showing the “seams.” Check another box for Microsoft ICE – it does that job extremely well.

The Mars Rover uses robotic cameras and panoramic stitching techniques to make high-resolution images.  NASA Photo

Considerations when photographing a panorama

The quality of a finished product is usually dependent on the raw materials that go into it. The same is true of creating a panorama photo. The better your technique in making the individual images, the better your finished panorama will be.  I will not be doing a deep-dive into panorama photography techniques, as that is a whole subject itself, but instead, I’ll list some of those things you’ll want to consider when making your shots.

One real benefit of ICE is that even with less than perfectly created images, it will still do a respectable job in creating a panorama. Of course, with better images, the result will be better too.

Here are some techniques to help you when shooting your images for a panorama:

Camera settings

As you sweep across your scene, making multiple shots, there will be variations in the light. If you leave your camera in an automatic mode, each frame will be slightly different too. ICE has what is called Exposure Blending and uses an advanced algorithm to compensate for this. Thus, it smooths the seams between individual images. However, if you give it better images to work with the result will be better too.

The best practice is to put your camera in full manual mode, find and set an exposure that is a good average for the scene, and lock that in.  Try to pick an aperture for maximum depth of field as well.

The same goes for focus. Find a point where as much of the image will be in focus, (the “hyperfocal distance,” typically a third of the way into the scene), focus there and turn off autofocus.

Lens selection

There is no “just right” lens focal length to use when making panoramic images. The field of view that represented in your stitched image will be dictated by how many photos you make and the sweep of your pan, not the lens focal length.

One might think a wide-angle lens would be a good choice, as fewer shots would be required. But that’s not necessarily true. The best choice is a lens with the least distortion as any lens distortion will be magnified as you stitch images together. Thus, a good, basic 50mm prime lens could be a great choice.

Sometimes, depending on the scene you want to capture, a longer telephoto might work well. Lens quality and minimal distortion trump wide focal lengths here.

A panoramic tripod head allows you to mount the camera so that the lens nodal point is centered over the pivot point of the pan. Thus, minimizing parallax errors.

Nodal point and parallax issues

Wazzat!!?? Yes, you can get complex very quickly and encounter cryptic terms if you want to when making panoramic photos.  Attention to detail results in higher quality panoramas. And, if you decide to pursue this technique, you will want to learn about these things in time.

Very briefly, the nodal point is the spot within a lens where the light rays converge.  Setting up your camera such that the pivot point of your pan is at that spot will produce an image with the least distortion.  This is most important in images where objects in the shot are both close and far in your scene.

Parallax is the difference in the apparent position of an object when viewed along two different lines of sight.

To see a quick example, hold your hand out at arm’s length with your thumb up.  Close one eye and put your thumb over a distant object.  Now close that eye and open the other. You will see your thumb “jump” off the object to a different position.  This is parallax.

When setting up your camera, pivoting around the nodal point will reduce or even eliminate this. And serious panorama photographers will purchase special panorama tripod heads to get this exact spot for any given lens they might use.

Highly serious gigapixel panorama photographers making images with hundreds of composite images might even use motorized computer-controlled heads like the Gigapan to make their shots.

Check out some of the Gigapan images like this made from some 12,000 individual shots. Alternatively, look at this taken from a similar setup on the Mars Rover.

Bringing it back down to Earth, you need not get nearly that sophisticated if you don’t want to.  There are less expensive heads for panoramic photography if you choose to try that and many Youtube videos and instructional articles on setting nodal points.

For starters, you needn’t even worry about all of that to give panoramic photography a try. The beauty of ICE is that even with something as simple as handheld images shot with a cellphone camera, it does a very nice job of assembling a panorama image.


Here are some things to do when making your images for use in a panorama:

  • Consider your composition – Good composition is just as important in making a panorama image as any other photo.  If your cellphone supports the sweep panorama feature, you can sometimes make a shot with it to help pre-visualize what you want to do with your DSLR.
  • Level the tripod – You will know your tripod wasn’t level if you get an “arched” looking composite panorama.
  • Mount your camera in a vertical (portrait) orientation – You will get a taller aspect ratio in your final shot and an image less “ribbon-like” when you assemble your panorama.
  • Hand-marker – Shoot a photo of your hand in front of the camera as the first and last in your panorama sequence. This will make it much easier to determine which images belong to a panorama “group.”
  • Camera Settings – Use full manual exposure and focus for the reasons outlined above.
  • Overlap – As you pan making each shot, overlap each image about a third so ICE will more easily find the match points when making the composite.

This is the screen you will see when first opening Microsoft ICE.

Bringing it into ICE

Bringing your images into ICE and letting it assemble your panorama is the easiest part and a big reason to like this program. ICE accepts most Raw photos, .jpg of course, and even layered Photoshop files.  You will need to know this is a Windows-only program and won’t work on your Mac. However, there are plenty of iOS alternatives. One which is also free and well-regarded is Hugin.  I can’t say I have any personal experience with it, however, being a PC guy.

Here’s where you will find the download for ICE. Be sure you get the proper version, 32 or 64-bit for your particular PC. The program will work in Windows 10, 8, 7 or even Vista SP2. There is a lot of good information as well as an interesting overview video on the page.  The installation usually goes quite smoothly.

After you have the program installed, there are various ways to bring your images in for compositing into a panorama:

  • Running ICE as a stand-alone – ICE can be run just fine as a stand-alone program and you can bring your images in from wherever you have them stored. You can do this either by opening ICE and clicking New Panorama from Images or by opening another window in File Explorer and dragging and dropping the images into ICE.
  • Launching ICE from a Folder – Typically, once you install ICE, if you select all the images you want in your pano from a folder and then right-click, you will see an option to Stitch using Image Composite Editor.  Select that, then ICE will launch with your selected images brought in.
  • Using ICE as an External Editor from Lightroom – You can set-up Adobe Lightroom to use ICE as an External Editor.  This is my preferred way as I often do some basic pre-editing to my shots in LR before bringing them into ICE.  Once you have set-up ICE as an External Editor, select all the images in the pano group you will be using. Then, in the Lightroom menu, click Photo -> Edit In -> Microsoft ICE.  You will have the option to Edit a Copy with Lightroom Adjustments.  Pick that, click Edit, and ICE launches with the images ready for compositing.

There are four basic steps in ICE; Import, (the images have been imported here), Stitch, Crop, and Export.

Four basic steps in ICE

1. Import

If you’ve used one of the three methods above, you’re likely already seeing your images in ICE ready for Stitching. If you are running ICE in stand-alone mode and have not already imported your images, you will see three Options across the top of the screen:  New Panorama from Images, New Panorama from Video, and Open Existing Panorama. Choose the first option, navigate in Windows Explorer to where your images are located, select those that make up the panorama group, and click Open.  Remember, ICE opens Raw files, Tif, Jpg, PSD, and perhaps some other image file types.

You will find that in most cases, the default setting for ICE works well. If you are confused about some of the terms and menu options, you can click Next (at the top right of the screen), and ICE proceeds to the next step using the defaults.

If you choose to try some other things, here are a few options:

Rather than use Auto-detect in Camera Motion, you may wish to use Rotating Motion. It will give you more options for adjustment later. I have not found the Planar Motion options to be useful, (and to be honest, don’t really understand them. Such will be the case with ICE for most people – there are options and terms that will take more knowledge of the process. And, while they might have applications, most times will not be necessary.  Keep things simple, and you’ll most often be pleased with the result.)

This is the Stitch step. Ice has composited individual images.  Don’t be overwhelmed by the Projection options. ICE will almost always choose the correct one by default. If you wish to try the others, go ahead and see what you like best.

2. Stitch

Click Next or select option 2 – Stitch from the menu. The screen will show Aligning and then Compositing Images with progress bars as the work is done.  Depending on the size, number, and complexity of your images, this could go quick or could take several minutes.  Once done, your stitched image will appear.

Depending on the camera motion type chosen, you may have another set of options under Projection with terms like Cylindrical, Mercator, and a collection of other types you may not understand. I suggest trying the different options and seeing which makes your panorama look best and the least distorted. You can also zoom into your image with the slider or by using your mouse scroll wheel. Clicking and dragging above or below the panorama will allow you to adjust the shape further. Try various things – whatever helps to make your panorama look best.

3. Crop

Click Next, or Crop to move on. Here you can crop the image to choose what to include in the finished panorama. Usually, you will have some rough edges, depending on how you shot the images and composited them. If you click Auto-Crop, the program will crop to the largest points where it can make a rectangular image. You can also manually drag the sides of the crop.

Auto-Complete works like the content-aware fill in Photoshop and will try to fill in missing pieces in the image. Sometimes, especially with things like the sky, it works amazingly well. Other times with more complex patterns, not so much.

Give it a try and see if you like the result. You can always turn it off if you don’t like it.

The Crop Step. You can crop manually, Auto crop, and use the Auto Complete feature if you like.

Note how the Auto Complete feature has filled in missing parts of the image at top and bottom.

4. Export

Once complete, you will want to save your resulting panorama.

Because you have stitched together what are often high-resolution images to start with, your panorama file can be huge. That’s great if you need to print a wall-sized poster. If you don’t need something that big, consider turning down the Scale by inputting a smaller number. If you know what size (in pixels) you want the finished image to be, you can also enter that number in the Width or Height boxes, and the other will adjust to maintain the aspect ratio.

For example, to print a 12 x 48-inch poster at 300 dpi, you would need an image 3600 x 14,400 pixels.

If your panorama at 100% is over 20,000 pixels wide, that’s overkill and may result in a much larger file than you need.

Or, if you’ll be displaying your panorama on the web where you may only need a file 2400 pixels wide, why make a monster file?

You can also input numbers into the width or height, and the image will adjust the other setting to maintain the aspect ratio. Your use for the panorama will dictate how large you need to output it.

The Export Step. If you were to export this image at 100% scale as a .tif image it would be 19772 x 5833 pixels and be 149MB. For use on the web, you could drop to something like 2400 x 708 (scale just 12.14%) as a .jpg at 75% quality and it would be just 372k. Export your images according to how you will use them.

You also have the option to choose the file format. ICE can output as .jpg, .psd, .tif, .png, or .bmp. Again consider how you plan to use the image. A .tif file will be much larger than a jpg. If you choose jpg, you can also choose the compression level with the Quality settings.

When you’ve made your selections, click Export to Disk and ICE will give you the option of where to save the file. If you came from Lightroom, you will still need to specify the output location. ICE does not automatically put the resulting panorama back into the Lightroom folder where you started.

One option not immediately evident is the ability to save a panorama project. Before exiting the program, look in the top left corner of the screen for the icons there. The last two, which look like disks if hovered, will say Save Panorama and Save Panorama As. These allow you to save your project as an .spj file. This is an ICE file type which can be loaded back in using Open Existing Panorama from the main menu. This could be useful if you intend to make various output sizes or file types from your original images.

32 images shot in two rows to get more of the sky.

ICE does a great job stitching even more complex images.

The final result of the previous multi-row stitch.

Set your camera in continuous mode and shoot, panning with your subject. Bring the images into ICE and stitch as usual. You can get a sequence like this very easily.

Same technique with continuous mode.

The final result.

Nifty tricks – Video, Tiny Planets, VR, and more

There are a few other things ICE will do beyond simply making panoramas.  It is beyond the scope of this article to outline the specific steps to do these things, but I simply wanted to make you aware of them so you can explore further if you like.

This is a 360-degree pano shot as video and imported into ICE. The video will not be as high resolution. 360-degree panos, however, open VR possibilities.

Video Input

First, your input file can, instead of being a group of still photos, be a video file. Video is lower resolution than images taken with most still cameras, but there may be other reasons you want to use it as an input format.  One of those is multi-image action. (See the sample photos). You can do this with multiple images shot as stills or using a video. Capture the action, input the video into ICE, choose the portion of the video you like and then select the action points you want in the finished pano.

Give this a try, and doing it will make the steps clearer.

ICE can also be used to create “tiny planets.”

Virtual Reality

Use ICE to make a 360-degree pano from still images or a video.  Then create an image that can be viewed as an interactive pano and be rotated by the viewer.  Post it to Facebook or view it on a VR device.  There are numerous online tutorials teaching how to do this.  Drone footage can make for an especially interesting VR image.


Microsoft ICE is powerful, can produce high-quality panorama images, and is very easy to use. It also does a good job when accepting the default choices. ICE can use simple images made handheld from a cellphone or hundreds of images on a Gigapan robotic system with a DSLR. There are also fun things like multi-image motion images, tiny planet creation, and virtual reality possibilities.

Oh yeah…and it’s free!  What’s not to like?

Go download it, give it a try, have fun, and share your images with us in the comments below.


panoramic images with Microsoft ICE

The post Make Easy Panoramic Images with Microsoft ICE appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Spontaneous Photos Versus Staged Photos

The post Spontaneous Photos Versus Staged Photos appeared first on Digital Photography School. It was authored by Simon Bond.

This is a subject that runs to the very heart of what makes photography special for many people. The convulsions that many had when Steve McCurry decided he was in fact a visual storyteller show just how passionate people are about this subject.

Indeed, a more recent example of this occurred when a photography contest winner was found to have submitted an allegedly staged photo. To a certain degree, we’ve allowed photography to be romanticized by believing amazing photos are all about the moment of capture. That’s certainly an idea many travel or photography magazines have encouraged. In this article, you’ll learn about staged photos, spontaneous photos, and why learning both approaches will improve your work.

A shard of light was used to light this man’s face.

Spontaneous photos

Getting the moment of capture is often what makes or breaks a photo. Landscape photography isn’t always about this, but a lone hiker in your landscape photo can add narrative. Of course, street photography is almost always about moment of capture. So what can you do that will improve your chances of adding that x-factor to your frame?

Visit places with lots of action

If you want to exercise your body, you go to a gym, visit the swimming pool or perhaps go for a run. If you want to get good at taking spontaneous photos, you need to visit places that have lots of decisive moments. These places will train your eye to be razor sharp and alive to the potential of a decisive moment before it happens. This is the opposite of a staged photo.

You’ll want to visit the following places:

  • The local market – Find out where your local market is, and when it’s going to be busiest. Some markets are night markets, while your local fish market will be busiest at the crack of dawn. Vendors preparing their stock, street food being prepared, and interaction with customers all have great potential for a decisive moment.
  • An event – Events are also great places to practice. These can be sports events, festivals, or parties. Again interaction between people caught at the decisive moment. You’ll often need a lens with a longer focal length to be effective in this setting.
  • A busy street – Of course, street photography is what many will think of when you look to take photos with a decisive moment. Get your 50mm prime lens on the camera, and hit the streets looking for interesting characters. It’s often a good idea to choose a location and stop there for a while. Look for those moments of capture to come to you – perhaps against the backdrop of an interesting wall.

An event such as the balloon festival is a chance to capture moments.

Experiment with focal distance

The majority of decisive moment photos you’ll take will be street photos. These will be on the street, or perhaps within a street market. The general rule here is to use a 50mm prime lens, though experimenting with other focal lengths can also give you good results. Using a longer focal length means you can stand in a less noticeable location, allowing the action in front of you to unfold naturally. You’ll also feel more comfortable at a distance, and can anticipate your moments of capture and build your skill for anticipation. Once you have a knack for this anticipation, use wider angles and see how your results turn out. Of course, as mentioned before, sports and often event photography require longer focal lengths to capture the action.

In this photo, a longer focal length of 135mm was used. Markets are great for interactions between people.

Wait for the moment to come to you

This is a little like staged photos, except it’s a natural moment. It could be argued that this is the very opposite of spontaneous, but it is nevertheless a moment of capture. When you take this type of photo you will have a pre-composed frame, and you’re waiting for a person to walk into the right position within your photo. You will need a lot of patience, as you could well be waiting for at least an hour.

  • A frame – Set up your photo and wait for a person to walk into the frame within your photo. This will immediately give your photo a greater narrative. If possible, wait for more than one person to walk into that frame, so you can choose the most interesting subject.
  • A shard of light – A great technique to practice a decisive moment is to wait for people to walk into a shard of light. This gives you a defined condition when you need to press the shutter, so you will need to be fast. Look for an indoor location, and a gap in the roof to let the light through. Then expose at around -2 or -3EV for the background, and normal or slightly underexposed for the sunlit area.

In this photo, the scene was pre-composed. I then needed to wait for people to walk down the path.

Be quick on the draw

Of course, there are times you’re just going to have to be lightning fast. You’ll need to have eyes everywhere, constantly alert to possibilities, and seeing things to the side of you as well. Having your camera setting already setup is essential in this scenario. A more forgiving aperture of say f/8 rather than f/1.8 will also help with quick focus.

In some cases, you will have to use a larger aperture according to the light levels you are photographing in.

If you’ve been practicing in the market where there are many chances to capture a decisive moment, you will get quicker at bringing the camera to your eye and getting the shot immediately – the same skill you’ll have used to capture people walking into a shard of light.

There are times you need to be aware and very fast. These monks crossing the street is a split second moment.

Staged photos

The opposite of spontaneous photos is staged photos. This style of photography will be what you practice regularly if you work with models, or perhaps take pre-wedding photos for people. Of course, the recent controversy surrounding these is centered on travel photography, which is all meant to be natural moments. If you want the most striking photo possible, though, the ability to control all aspects of the photo will give you maximum creativity. So what goes into a successful photo of this type?

Going on a photo-shoot with other members of a photography club can be a great learning experience.

Solo vs the group

The photographer who recently ran into trouble with their winning image allegedly used a staged photo from a group photography event.

Of course, it’s quite possible to make a staged photo look natural, and for it to carry a strong message. In fact, if it doesn’t, you need to go back to the drawing board.

The question is, however, when you’re photographing with a group of other photographers, how much are you in control of the creative process? How much is that photo really yours because you pressed the shutter?

Learning with the group is a great way to improve your work. However, to really allow your own creativity to come to the fore, it needs to be you (and only you) who controls how the photos are staged.

Organizing a photo session with a friend or model where you work one-to-one gives you much more control.

The narrative

Control the narrative, and you’ll get the photo. To be a good visual storyteller, you need your photo to have that strong story as you guide your viewer’s eye through the frame. So you no longer need to capture the decisive moment. Instead, you’re going to create it.

To do that you’ll need to think of the following:

  • Design elements –You can choose your location to perfectly match the photo you want to take. Use frames, or perhaps even create your own frame. Leading lines such as paths or tunnels make for good photos. Good composition skills and a composition that harmonizes with the story you’re going to tell are things you are looking for.
  • The story –This could involve your subject looking off into the distance, cooking some food, or perhaps talking with a friend. The aim is to make these moments look as natural as possible, even though they’re staged.
  • The background – Lastly, the background should look after itself if you have applied the points made for design elements. Nevertheless, keep an eye on the background. Unless you’re in a studio, people can walk into the background of your photo, affecting the narrative of your photo.

This photo has been staged. An off-camera strobe is placed left of the camera to light the ladies face, and the smoke from the cigar.


The management of the photo can go beyond what’s list above. You will want to really micromanage your photo. That means controlling all aspects of it from lighting to what people are wearing in the photo.

  • The time of day – The position of the sun is going to dominate your photo. With staged photos, there is absolutely no excuse for getting this aspect of the photo wrong. The same goes for spontaneous photos as well. You should only be attempting these with the sun in the right position.
  • Lighting – You’ll need to decide whether you want to use natural light only. If if you only use natural light, you still have the potential to use reflective surfaces to bounce light where you want it to be. Beyond this, you can use strobes, and give your outdoor photo a studio look.
  • Clothes – Ahead of the photo shoot organizing with your model what they’ll wear is another aspect that can be controlled. Spend the time liaising with them so that the clothes match the location you have in mind.
  • Location – Where you choose to photograph can be controlled for any type of photo, whether it’s spontaneous or not. You’ll need to think about how this location will play off against the model and narrative you hope to acheive. Do you want the area busy with other people, or would it be better to choose a quieter time of the day?

In this photo, the framing was created by sticking together pieces of rice paper using tape. The chef is making fresh spring rolls, using rice paper.

Creative techniques

Unlike spontaneous photos, you can use creative techniques with your staged photos. In most cases, creative techniques take time to set up – time you only have when you stage the photo. There are many ways to be creative in your work. You don’t always need to use techniques like these. So take the following as some ideas you could use:

  • Light painting – You’ll need to photograph at night, but light painting is a great way of adding interest to your image. You’ll also need a model who can stand or sit very still. Think about the pose position. Some poses are much easier to be statuesque than others.
  • Refraction – Photography using prisms, fractal filters or lens balls can give your photo another twist. Your results with such techniques will be better if you stage the photo.
  • Flour – Throwing flour in the air is a great way to add a more dynamic feel to your photo. You’ll need to combine this with off-camera flash. The flash needs to be directed so it correctly lights up the flour while it’s mid-air.

In this image, light painting has been used to highlight two monks who are standing still for the photo.

The commercial aspect

With staged photos, you are almost certainly aiming at the commercial market. You’ll be photographing with a model who it’s very likely you’ll pay. If you’re new to this type of photography, you might consider building a relationship with your model, where you both give each other time rather than money to build each other’s portfolios.

  • Contests – Contests will ask for the model release of the person in a photo. So, to a certain extent, this rather says a commercial element to the photo is okay.
  • Publishing – It’s always nice to see your work published. Look at the photography type you have produced, and see if you can match that to a magazines style. You may well need to produce a set of images, and even write the article that goes with it.
  • Stock – As long as you can’t tell the photo is staged, staged photos work very well for stock photos. They’ll be model released, so you’re really ready to go. That extra passive income never hurts, and can pay for your next photo shoot.

Why you need to learn both

There is a temptation to say “I’m going to be a street photographer,” and not look to other types of photography. There is merit in becoming the master of your field and not diversifying. However, a model can transition to photography. They have the advantage of knowing what’s going on in front of the camera. Taking the time to take staged photos will allow you to see the potential for spontaneous photos in a different way as well.

Having staged the photo using off-camera flash, and seeing where things should be positioned in your frame is a skill that can be brought across to the more organic environment of street photography. That is to say; you should be a fashion photographer for a day, learn those ideas, and see what you can bring from that across to your street photography.


The desire for that perfect photo is always there. The purist is likely to want to achieve this organically, using honed photographer instincts to get that moment of capture. There is a lot to be said for learning the other side of the coin and getting in touch with your inner visual storyteller.

Which style of photography do you prefer and why? Would you consider photographing in a different way, even for a day? Here at digital photography school, we’d love to see your example photos.

Please let us know if you took them spontaneously, or if you staged the photo. You can even post an image, and see if the community can guess whether you staged the photo or not.


The post Spontaneous Photos Versus Staged Photos appeared first on Digital Photography School. It was authored by Simon Bond.

Managing Your Photography Process From Shooting to Editing

The post Managing Your Photography Process From Shooting to Editing appeared first on Digital Photography School. It was authored by Nisha Ramroop.

You spend a lot of time learning about your gear and how to use it to produce great images.  You also invest time and money into learning to improve your technique for capturing and processing your work. It is therefore fair to say that developing a consistent workflow in handling your images after (and sometimes before) they are captured is also of importance. Here are a few steps you should be taking to help you manage your photography work.

Before you shoot

1. Make a plan

What are you going to shoot today? Is it an event in a dimly lit place or is it in the middle of a sunny day and outdoors? What will be your source(s) of light? What gear will you need?

Prepare by planning for your subject and thinking through your shoot. That way you can think of possible outcomes and pack accordingly (and in some cases avoid overpacking). Weather conditions, time on your feet, length of your trek/journey and environmental constraints will also help you determine if you need to scale down your gear to the essentials or rethink how/what you pack.

2. Set up your camera

If you are used to shooting the same genre of images, you may have your settings already dialed in. This takes into consideration the creation of presets to handle different scenarios that you face. Keep a reminder to adjust your white balance for the type of light you will be shooting in. Will you need a flash or supplemental lighting and what settings will you need when you add those?

Do you want to shoot your images in RAW or JPEG? Both have their advantages and disadvantages and you need to choose what works well for your planned shoot and expected outcome.

After you shoot

1. Moving images from your card as soon as possible

A good practice is moving the images from your memory card to your computer as soon as possible. A card reader transfers images faster than using a direct connection from your camera to your computer. While recent computer card slots are comparable to card readers in speed, there is still a preference to the latter.  One school of thought is that a good quality card reader is built to minimize the chance of corrupting your memory cards.

While the objective is to move the images, it is advisable to copy the images across (as opposed to move). After you copy, compare the number of files on the memory card (and size) to what was copied. This is especially important if there was an interruption during the copy process.

Note: If you choose to move instead of copy, this comparison will not be possible. More importantly, there is a higher probability of loss or corrupted files, if there is an interruption during the move process.

2. Making a backup

Prepare for the failure of your devices. Having more than one copy of your image gives you some peace of mind that it is safe somewhere. There are many backup combinations you can use, but the most basic is to have two copies of your images. You can have a copy on your laptop/computer and one on an external drive. You can save on more than one external drive or even go with an external drive/cloud combination. An ideal backup strategy involves two copies where you have one offsite (off premises/cloud).

An essential part of having a backup is testing it from time to time to ensure that it works and can restore your images when needed.

Backup processes can be revised as your workflow progresses. For example, after a shoot, you can copy all of your images to a secondary place. After you have culled your final selection, you can replace those images with your selection. When you edit and find your best images, you can add this to your library later. Whatever system you choose to work with, they all require a level of organization.

3. Clearing your memory cards

A good rule to adopt is to clear your memory cards after you have backed up your files to two locations. In each instance, copy from the memory cards directly. After your copy, compare what was copied to the number of files (and size) of those on the memory card. This is especially important if there was an interruption during the copy process.

4. Using management software to browse your images/cull your images

A digital asset management software system is a great way to browse, preview, locate and rate your images and mark them for processing. Two of the most used asset management systems are Adobe Lightroom and Adobe Bridge. There are a few others that work similar to these, with a primary focus on browsing and rating images.

Most people do not take advantage of the rating ability of asset management software, but it is quite a useful tool to cull your work. When you browse your images, you give the highest ratings to your best images – those to keep, review or edit. The next rating is for those with potential and worth a second look. You award the lowest rating or no rating to images that do not make the cut. These would include blurry images, those that are not salvageable or ones you will never review/edit. These can be marked for discarding at a later time (when space becomes an issue) or immediately (if that is how you streamline your work).

5. Post-processing images

Many times post-processing immediately follows shooting and nothing is wrong with that. Once you develop a workflow that suits you, then there are no rules as to when to do what. Whenever you post-process, remember that your edited images need to be saved in several locations (especially if they are for a client). Saving your final images with a descriptive name/date in a sub-folder will help you easily find them later on.

Note: Post-processing also can be broken down into its own workflow, which includes processing multiple images at a time (batch processing).


Your images are worth protecting, thus developing a habitual photography workflow is important. Find a way that works for you, keeping in mind that you will be thankful for spending the time on a proper backup strategy.

Finally, create with the assurance that your work is organized and managed from capture to delivery.

Do you have any other tips to add here? Please share in the comments below.


The post Managing Your Photography Process From Shooting to Editing appeared first on Digital Photography School. It was authored by Nisha Ramroop.

5 Product Photography Tips to Improve Your Images

The post 5 Product Photography Tips to Improve Your Images appeared first on Digital Photography School. It was authored by Charlie Moss.

Product photography: you’ve probably heard that it’s hard and very specialist. But your friend who runs their own business asks you if you’ll just shoot a few product pictures for them to use on their website or social media. Or perhaps you have your own business that regularly needs new product photography. Of course, you’re happy to have a go. It could help you improve your photographic skills too by giving you some new challenges. But how do you approach this highly specialist field of photography that you have very little experience with?

When many photographers think of “product photography” they think of a certain style that often involves complicated lighting, setup, and retouching. Sometimes blending dozens of shots in post-processing, using specialized lenses or lighting equipment, or shooting on perfect white backgrounds.

These styles of photography do have their place in the world of marketing and advertising. And you may even decide that it’s the right look for the products that you’re shooting. But in recent years a more natural feeling product photography has been creeping into advertising via social media influences. This style can be easier to dabble with because it requires less equipment and specialist knowledge – although it is still incredibly tricky to master!

The most important thing in product photography is to match the look and feel of the images to the product and the brand. A shot of an exclusive fountain pen aimed at CEO’s will be photographed very differently to a vegan surf-wax aimed at Californian surfers!

Whichever style you decide to try out when you have a go at product photography for the first time, there are some simple things to keep in mind when you’re shooting. If you keep these guidelines in mind, then you should be able to shoot images that show off a product to its advantage.

1. Get your camera on a tripod

It cannot be said often enough in still life photography how great tripods are. Firstly, they protect against camera shake. If you can get your camera (or phone) on a tripod, then your shutter speed can be as long as you like without risking any blur from camera shake. A nice, crisp image is essential to product photography.

If people cannot see what they are purchasing clearly, then they will most likely move on and choose a different supplier!

Blurry pictures are never desirable for product photography. You need to make sure they are clear and crisp.

If you can’t stretch to a tripod then make sure that you use a relatively fast shutter speed to compensate for any slight movements you might make while holding the camera. You may find that you have to compromise and raise your ISO in order to get a clear, bright picture.

The other advantage of tripods is that they hold your camera in one place while you work on your composition. If you are styling your images for social media (rather than shooting flat e-commerce images), then it might take a couple of attempts to get it right.

Keeping the camera in one place leaves you free to work on the styling and composition.

There are a huge variety of tripods available, all with different features and at different price points. If you can stretch to it, then a tripod with an arm that bends over at ninety degrees is an excellent investment that will make the popular flatlay (top-down) shots for Instagram easier.

2. Use good lighting

Let’s bust a myth – good lighting doesn’t have to be expensive or time-consuming. Yes, there are certain kinds of product photographers who spend hours or even days lighting a single product and getting it perfect. Of course, many high-volume photographers prefer to work with studio lights in a closed studio. That way, they can replicate lighting time and time again when doing repeat jobs for the same client.

But you can light a product with just natural window light, or even take it outside, and still get great results. You don’t have to have expensive studio gear or even a whole room dedicated to photography. Many people photograph products quite successfully on a table pulled up to a bright window. With the right backgrounds and props, it certainly doesn’t have to look like it was shot in your living room!

Lighting can also help to make your object look three dimensional on a flat screen. Shadows and highlights help viewers to interpret the image and understand it correctly.

The crucial thing is to match the lighting style to the product and brand. For something sleek and high-tech, you might want a more artificial feel to your light. Whereas, a more natural artisan product would probably benefit from just simple window light.

3. Shoot multiple angles

If people are buying online, then they can’t pick up and touch the product. That means you have to try and convey all the small details to a potential purchaser. The best way to do this is by making sure that you capture a variety of angles of each item. Also, get in close to show the details if it’s relevant.

This is especially important if the item is handmade. Getting in close can show off the care and consideration that an artisan puts into their work. The details are what often sets handmade products aside from their mass-manufactured counterparts. So be sure to show them off!

Shooting multiple angles is also an easy way to generate lots more content for social media accounts. Many business owners struggle to find enough content to post regularly on social media, so it can really help them out.

4. Find out the platform specifications

It’s important to shoot product photographs with the final use of the image in mind. Different online platforms will have different specifications for how photographs look best on their sites.

For instance, if you are shooting for someone with an Etsy store, you’d need to consider that portrait photos look best on the product page, but the search thumbnails are landscape. That means a clever photographer would shoot images that look good when cropped to both portrait and landscape. It might mean that you need to leave extra space around products when you shoot them and crop in later in post-processing.

Instagram can be a particularly tough platform to shoot for if people are looking for images that look good on social media. Images should ideally be posted in a ratio of 5:4 to take up as much space as possible and be more eye-catching when scrolling down the feed.

However, on a users profile grid, they automatically crop to a 1:1 square format. That means you lose details in the top and bottom of the image in the thumbnails. On top of that, the “stories” feature uses images that are in a 16:9 ratio – much taller and skinnier than the news feed! When shooting specifically for Instagram, I tend to set my camera to shoot in a 16:9 ratio. Then I know I can almost always crop other ratios out of that base image.

Also, research the pixel size that each online platform uses. If you produce images that are too small, then they’re likely to look pixellated or blurry when uploaded.

5. Don’t forget the packaging

More and more people are shopping online, so the packaging of a product contributes heavily to the first impression of a brand.

Artisan companies and small businesses often spend lots of time considering their packaging and branding. So it’s undoubtedly worthwhile to shoot the packaging as well as the product.

As well as demonstrating brand values, you can also show the buyer that it’s going to help their purchase get to them safely. This is especially important if it’s a product that is breakable or if it’s likely to be given as a gift. It helps instill confidence in the brand!

Plus, on platforms like Etsy that give you multiple slots to upload images of your product, having packaging photographs can be an excellent way to show off the product styled in a new way.

Always remember…

Keep your product photographs well exposed and in focus.

As long as you’re getting these two things correct, then you’re already on the right track. All that’s left to do is practice, practice, practice until you’re shooting products like a pro.

Remember to comment below and show us the pictures you’ve been shooting using what you’ve learned!


5 Product Photography Tips to Improve Your Images

The post 5 Product Photography Tips to Improve Your Images appeared first on Digital Photography School. It was authored by Charlie Moss.

6 Ways to Save Money on Camera Gear

The post 6 Ways to Save Money on Camera Gear appeared first on Digital Photography School. It was authored by Suzi Pratt.

It’s no secret that camera gear is expensive, but there are several very easy ways to save money on gear. So before you buy your next camera body or lens, read up on these money-saving tips.

save money camera gear

1. Look for discounts or deals

This one might seem like a no-brainer, but always be on the lookout for sales or discounts. Follow photography blogs or websites such as Canon Rumors or Nikon Rumors (or whichever Rumors sites corresponds to your camera brand of choice). They will often alert you of upcoming deals on camera gear and accessories. Another tip is to wait for holidays such as Black Friday, Cyber Monday, and Amazon Prime Day. These are holidays that almost always result in massive gear discounts.

2. Study camera product cycles and buy just before or after a new release.

Most camera manufacturers have a fairly regular product release cycle. For example, the Fujifilm X-T series releases every 2 years, the Canon 5D series every 4 years, and GoPro Hero every year. Purchasing a camera right after release to the public won’t save you money. However, you could look at buying the previous model since there are likely to be many camera owners selling theirs, or camera stores looking to empty their stock.

Depending on how well a new camera sells, you could wait six months to a year after its release and start to see deals come up. Not only will the camera price likely drop, but camera stores are also likely to add product bundles that throw in extra goodies such as Adobe Photoshop subscriptions, memory cards, camera bags, and more.

save money camera gear

3. Consider third-party options

This tip applies mostly to camera lenses and accessories since there aren’t many “third-party” camera body brands out there. For a long time, third-party lens options were looked down upon as inferior products. However, companies such as Sigma and Tamron have really upped their game and are producing high-quality lenses that are starting to rival the price and quality of those made by original camera companies. So the next time you’re looking for a new piece of glass for your camera, definitely consider any third-party options out there to save some money.

4. Buy used or refurbished

Cameras and lenses are made to last. As long as they have been cared for, they hold their value and can sell easily.

If you’re on the market for camera gear, definitely consider buying a used or refurbished product. This process can seem intimidating, and there are several ways to go about it with varying degrees of risk.

One option is to buy locally via an online marketplace such as Facebook or Craigslist. This is the riskiest option since you will have to evaluate the product in person and there’s often little chance of a refund if the product is defective. However, this method also gives you the most wiggle room for negotiating a lower price.

save money camera gear

Another way to buy used or refurbished is to do so via an official online store. Nearly all major online camera stores such as B&H Photo, Adorama, and Amazon have a Used section with discounted gear. There are also websites such as that specialize in only buying and selling used gear.

The benefit of using a site like this is security. In most cases, your purchase is covered by the store, and you have some reassurance in terms of returning the item in case of a defect. However, there’s no room for negotiation, so the price you see is what you’ll have to pay.

5. Rent gear

Before you buy your next piece of camera gear, ask yourself, “do I really need to own that?”

If the answer is no, it could be more worth your while to rent the gear temporarily.

This is especially true for specialty lenses such as super telephoto zooms that retail for upwards of $10,000 to own.

Look around for your local camera store and see if they offer gear rental services. Or there is also Borrow Lenses, a website that specializes in renting out camera gear in addition to selling used gear.

save money camera gear

6. Use credit card rewards

If you’re diligent about paying off your credit card each month, consider getting a credit card with a good rewards system. There are camera-specific credit cards such as B&H’s Payboo that reimburses you for sales tax. Or there are more general credit cards that allow you to get points or money back on a wider variety of purchases.

Personally, I’m a fan of the Amazon Prime Store card that gives you 5% back on all purchases, plus the option to finance big purchases (ie. cameras!).

Either way, do your research to find a card that suits you and be sure to pay it off, otherwise, it’s no longer a money-saver.

Over to You

There you have it! Six ways to save some money on camera gear and accessories. Do you have any tips to add to the list? Let me know in the comments below.


6 ways to save money on camera gear

The post 6 Ways to Save Money on Camera Gear appeared first on Digital Photography School. It was authored by Suzi Pratt.

What to Do When Your Images Get Stolen

The post What to Do When Your Images Get Stolen appeared first on Digital Photography School. It was authored by Darina Kopcok.

If any of your images live online in any shape or form, it is inevitable that they will get stolen.

With the Internet, copyright infringement has become rampant and is a worldwide phenomenon.

Some individuals don’t understand copyright and think that because an image appears online that it’s theirs for the taking.

However, there are a lot of companies that steal images and use them for commercial purposes – to sell their own products!

How do you know if your image has been stolen?

You can do random image searches on your images in Google. This is a cool feature, but rather tedious and incredibly time-consuming. If you have an extensive library of images, this could take more time than you’d want to spend.

A better alternative is sites like Copytrack, Pixray or Pixsy, which are image tracking services that not only find your stolen images but also will file a copyright infringement claim and sue for damages on your behalf.

This is a great way to seek restitution for stolen photos without the hassle of having to do everything yourself. Not to mention, there is no way you could scan millions of images on the Internet, looking for your work. The technology these services offer does it all for you.

Utilizing an image tracking service is something every photographer should consider. It’s a sad reality that so many photographers today are struggling, while thieves are profiting from our hard work.

An image tracking service can save you a ton of legwork. Most of the time, it’s as simple as uploading your photos. If you get notified that some of your photographs are appearing without permission or licensing, you can file a DMCA takedown notice or a legal claim through the service.

The image search function is free – to a point. It depends on how many images you upload. If you file a legal claim, the service will take a commission.

One caveat to using an image tracking site is that if you do stock photography, it can be hard to ascertain where your image has legitimately appeared.

Stock agencies don’t usually disclose to you who licensed your image. Also, many have partnered up with other stock agencies to sell your work, making your images even more difficult to track.


How an image tracking service works

According to the image tracking site Copytrack, 3 billion images are shared online every day. 85% of them get stolen.
Licensing images is about more than just tracking down infringements. Once you discover an infringement, you need to make a decision as to what you’ll do about it.

Both Copytrack and Pixsy can handle the legal side in the fight for fair payment for your work.

You simply upload your images while their Reverse Image Search functions in the background. They will notify you of your matches by email.

Once you confirm the stolen images, they take steps to enforce your copyright.

You don’t need to do anything.

What are scraper sites?

One of the worst types of offenders in the realm of stolen images and copyright infringement online are scraper sites.
Scraper sites steal your content for their own sites or blogs. Some will just scrape content, but most use automated software that takes your images and posts content on their own site.

These sites take images from Pinterest, Google, and your own website and host them illegally.

Not only does your website host the images for them but also they take up your bandwidth!

If you write a blog in addition to post photos, you may find your content appearing on these sites.

What are your options if your image gets stolen?

If your image gets stolen, your first option is to do nothing, which is exactly what many photographers do. The hassle can make it seem not worth it sometimes.

However, if the company that has stolen your image is a large one, you can hire a copyright attorney to take them to court, as this type of claim may be worth thousands of dollars to you.

In most cases, the best option is to use a company like Pixsy and either have them file a DMC Takedown Notice, or file a claim on your behalf.

A DMC Takedown Notice is a request to remove content from a website at the request of the owner of the copyright of the content.

How to file a DMC takedown

DMCA stands for Digital Millennium Copyright Act. To get your stolen content removed from a website you need to file a DMCA takedown notice.

To file a DMC takedown, you can either hire a service or do it yourself.

You need to find out who owns the website. You can use a Who Is lookup tool.

The problem is that it can be difficult to find out who the website owner is in order to send them the notice, as a lot of these sites hide this info. For example, they use Cloudflare to hide their real IP address.

Luckily, there are DMC takedown services that can help you with this. DMCA charges $10 USD a month for their protection services and charges $199 USD for a full takedown.

How to register your copyright

As a photographer, you automatically own the copyright as soon as you create the image. This means that you do not necessarily have to file copyright for all your photos.

In most countries, you do not need to file copyright papers to prove you own the content or copyright. Government Registered Copyright is NOT necessary in order to get your content removed, however, suing for damages IS easier if you have registered your copyright.

To register your copyright, search online with keywords such as “register copyright Canada/US/Australia” etc., to find the Intellectual Property Office in your country.

In Conclusion

If you have had your images stolen, it’s up to you to decide if you want to pursue restitution.

Small transgressions may not seem worth the time and energy, however, if someone is making money off your work, you may want to consider seeking compensation. Not only for the money but also the principle.

Have you had any of your images stolen? Share with us in the comments below.


What to Do When Your Images Get Stolen

The post What to Do When Your Images Get Stolen appeared first on Digital Photography School. It was authored by Darina Kopcok.

How to Make an Animated GIF in Photoshop

The post How to Make an Animated GIF in Photoshop appeared first on Digital Photography School. It was authored by Ana Mireles.

Don’t you love GIFs? I do. They are fun, creative, and a great way to grab attention. In a world full of images (animated and otherwise), you need to create original quality work to stand out. Stop following trends and make your own using Photoshop in just a few simple steps.

A GIF is a file format that supports animated images in the smallest size, which makes it very appealing for any online platform. The famous acronym stands for Graphic Interchange Format, and it became trendy for Internet humor, but now it’s a powerful tool.

Five reasons to do your own GIF

  • Showcase your product/brand in action or being used.
  • Do a call to action on your website.
  • Show a step by step example of any instruction.
  • Enhance your visibility.
  • Grow your social media audience.

What you need

You can make GIFs from words, video snippets, or a sequence of photographs. This last one is the technique I’ll show you. While technically you could use any series of images, a coherent set of photographs result in a more engaging GIF.

To achieve this, plan your photo shoot to maintain either the same light or the same framing, and use it to tell a story. If you need some inspiration, check out “8 tips – How to do storytelling with your images.”

If you are doing any post processing on your images like changing the size or format, you can save a lot of time by doing it in a batch. You can learn how to do this in the article How to Batch Resize Your Images Quickly Using Photoshop ( If instead, you are making more complex adjustments I recommend you create an action and then apply it to all of them. If you don’t know how to do this read How to play Photoshop Actions on Multiple Images with Batch Editing.

Now that you have all your images ready to go, open Photoshop and go to Menu -> File -> Scripts -> Load Files Into Stack. On the pop-up window, choose the files you want to import and click OK. This opens all your images as layers within the same file.

Once the images are open, you need to animate them. If you usually work with still images, you may need to go to Menu -> Window -> Timeline to make the Timeline panel visible. It will appear at the bottom of your screen, and it will show a thumbnail of the top layer.

Open the drop-down Menu from the right of the panel and click on Make Frames from Layers. Now you should see the thumbnail of all the files you imported as layers.

If you need to change the order, drag and drop them to correct. Once everything is as you want it, it’s time to determine the animation settings.

First set the time each one will show before changing into the next one. You’ll see a number on the bottom of each frame and an arrow next to it. If you click on the arrow, you’ll open the drop-down Menu to set the time. Do this for each one, as they can be different from each other. You can see a preview by clicking on the play button.

As the last step, you can choose how many times the animation repeats. Under the frames, you can find a menu where you can set this. GIFs usually run on a loop so I will put ‘Forever.’ But you can decide to do it differently.

As I mentioned at the beginning, GIF is a file format; therefore it is something you determine at the moment of saving. When saving a photograph, you would normally choose .jpg or .tiff. However, this time you need to choose .gif. You can find this option under Save for Web. Here, you can choose the amount of color, whether you want it dithered, and if you want a lossy compression. All of these choices determine the file size. You can move them around to choose the best combination of size and quality.

If you now open your saved file in Photoshop, it will be a layered image that you can continue to work on. If you want to see it animated just click and drag it into your browser.

I hope you enjoyed the article.

Please share your GIFs with me in the comment section.

If you are feeling inspired and want to keep exploring animated images, you can experiment with time-lapse and stop motion. Check these articles to get you started:


how to make an animated gif in photoshop

The post How to Make an Animated GIF in Photoshop appeared first on Digital Photography School. It was authored by Ana Mireles.

Weekly Photography Challenge – Iconic

The post Weekly Photography Challenge – Iconic appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is ICONIC!

Go out and iconic buildings, subjects, products, or places. Just be sure they are iconic! They can be color, black and white, moody or bright. You get the picture! Have fun, and I look forward to seeing what you come up with!


Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting anything ICONIC

5 Ways to Photograph Travel Icons

Tell A Different Story Of A Timeless Icon

Travel Photography Subjects: Icons

9 Creative Architecture Photography Techniques for Amazing Photos!

How to Tell Stories with Architecture Photography

Tips for Different Approaches to Architecture Photography


Weekly Photography Challenge – ICONIC

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.

Share in the dPS Facebook Group

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

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSiconic to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Iconic appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

3 Lenses Every Beginner Photographer Needs [video]

The post 3 Lenses Every Beginner Photographer Needs [video] appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video by MiketheMathMan, he outlines what he believes to be three lenses that every beginner photographer needs.

3 lenses every beginner photographer needs

In the video he lists the following:

1. Wide-Angle Lens

The “see everything lens” because of their ability to capture a wide field of view. These lenses are handy for shooting landscapes, interiors, cityscapes and anything where you need to capture a wide field of view.

2. Telephoto Zoom

They are great for capturing details from a distance for better detail.

3. Fast Prime Lens

A fast prime lens has a wide aperture. These are great for use in low-light and for creating beautiful bokeh with shallow depth of field. Prime lenses are fixed focal lengths, for example, 35mm, 50mm or 85mm. They are great for portraits/headshots, milky way photography/astophotography.

What lenses would you add to this list? Share with us in the comments below.

You may also find the following helpful


The post 3 Lenses Every Beginner Photographer Needs [video] appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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