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Video: Six lighting tips for flash photography newbies

Filed Under News: Digital Photography Review

If you're taking our advice from this morning and buying your first flash soon, a few beginner tips on mixing flash with ambient light will really help you take advantage of your new gear. Enter Mango Street's Daniel Inskeep and Rachel Gulotta, who teamed up with photographer and filmmaker Daniel DeArco to share just that.

Mango Street is known for their simple tutorials targeted at beginners, but they mainly use natural light for their photography. So when the topic turned to artificial lighting, they asked DeArco to come on and share some advice. Over the course of two videos, DeArco offers six different tips for getting great results when you mix artificial and natural light.

Video 1

  1. Keep it Simple: Prioritize one light source first. In this case, DeArco prioritizes the natural light.
  2. Have a go-to hard light and soft light setup
  3. Experiment: Knowledge of studio lighting will make you a more well-rounded photographer

Video 2

  1. Use a strobe + reflector as a fill light on your subject to avoid blowing out your background
  2. Look for sun reflecting off buildings to provide a hair light and use your favorite strobe and modifier as a fill
  3. Use a blocked or just-out-of-frame strobe to fake a sunset if you miss golden hour

If you found the tutorials helpful, you can see more from both Mango Street and DeArco on YouTube. And if you're inspired by these techniques, check out our OpEd from this morning on why your next gear purchase should be a flash, not a new lens:

Don't buy another lens, buy a flash instead


These incredibly intricate pinhole cameras are made from clay

Filed Under News: Digital Photography Review

Steve Irvine is an incredibly talented ceramic artist, but he's been passionate about photography for almost as long as he's been working with clay. "It only seems natural," he says, "that the two passions should come together." And when they do, the ceramic pinhole cameras you see above are the result.

In the gallery above, each camera is followed by a sample photograph taken with the selfsame camera.

Most are made using a combination of throwing and hand-building techniques, glazed and fired by Irvine, and then improved upon with little antique dials, gadgets and other accents until the final product looks like something out of your favorite steampunk universe. As Irvine explains on his website, these creations are fully-functional cameras:

These are fully functional pinhole cameras. They have no lens, light meter, viewfinder, or automatic shutter, and yet they can produce gallery quality images. I use black and white photo paper in them for the negatives. The negatives are either 4 x 5 inches, or 5 x 8 inches.

You can find more examples of Irvine's pinhole photography at this link. And if you want to see how one of these cameras is made, you can find a step-by-step tutorial on Irvine's website here.

All photos by Steve Irvine and used with permission.


Demo: Gudsen adds ‘Mimic Motion Control’ to Moza Air gimbal

Filed Under News: Digital Photography Review

Chinese gimbal manufacturer Gudsen has released new firmware update for its Moza Air that offers new ways to control the motion of the head, as well as better timelapse features for long exposures. The Moza Air—which is designed for cameras ranging from CSC bodies to high-end enthusiast DSLRs—now allows operators to control the direction and angle of the head remotely just by moving a small handlebar-mounted control unit.

With the supplied thumb controller attached to a set of handle bars, the Bluetooth-paired head mimics the motion of the bars so that the mounted camera can be moved by small increments without the user even touching the gimbal.

Pitch, Roll and Yaw movements can be controlled while a read-out on the thumb controller’s screen lets you know the exact position of the head.

The second part of the update adds improved timelapse functionality, ensuring the head is still during long exposures. It does this by using a 'move-stop-shoot-move' process rather than a continuous moving path across the programmed points. The timelapse interface on the Moza Assistant app has also been updated, allowing more control in a clearer design.

For more information, visit the Gudsen website.


Sony a9 underwater review: Shooting great white sharks

Filed Under News: Digital Photography Review

Backscatter Underwater Video & Photo is the largest underwater imaging equipment supplier in the world. They love the water, and they personally dive and shoot with the gear they sell. This article originally appeared on their website, and is reproduced here with permission.

With the high speed shooting of the Sony a9 mirrorless camera and just released Nauticam NA-A9 underwater housing, we decided the best underwater photography test was to take it to the island of Guadalupe off the Baja California coast to shoot great white sharks.

The white sharks are a perfect subject to test with this camera due to their speed, relative unpredictability, stealthiness, and camouflage. All of these factors require a camera to have fast and accurate autofocus, fast continuous shooting mode, and a really deep image buffer to capture as many pictures as possible to nail that one special shot.

Sony designed the Sony a9 to do just that and aimed this camera to directly compete with the Nikon D5 and Canon 1DX II, both of which are the top cameras from Nikon and Canon for high-speed shooting.

Sony a9 Camera, Nauticam NA-A9 Housing, Sony 16-35mm Lens. Shot at 1/250 F8 ISO 320

Blazing Fast Autofocus Performance

The Sony a9 has a crazy amount of AF points at 693 when set in wide mode that covers 93% of the frame and updates focus at a stunning rate of 60 times per second. I used the Sony 16-35mm f/4 lens exclusively for this trip and let the camera pick from the 693 autofocus points on its own.

With this camera and lens combination, I did not have any problems with the camera and lens not tracking the subject, even during high speed “attacks" of the sharks going after the bait, when letting the camera choose on its own among the 693 AF points. Only when a shark was at the limit of visibility did the AF system lose the subject and started to track the water surface instead. When a shark came back to be within the limits of visibility, the AF system immediately picked it back up again. That being said, the visibility at Guadalupe Island is about 70 to 100 feet, which is so far beyond what any acceptable composition distance is for underwater photography.

A major advantage of the autofocus system of the Sony a9 is the ability to track focus WHILE rapid fire burst shooting without any screen or viewfinder blackout. This allows continuous shooting, auto focusing, framing, and zooming all to happen at the same time seamlessly. This was a godsend for the rapidly changing distance to subject and framing that happens as these sharks move through the scene.

For shooting technique, I just mashed down and held the AF-ON button on the back of the camera and the shutter release simultaneously, while at the same time moving the zoom knob and panning the camera for framing the shot. The camera continued to shoot and focus track the subject with no issues. This technique might seem rather crude, but worked quite well given the task at hand.

The Sony a9 is the fastest shooting full frame camera on the planet. Combined with super fast autofocus, it has the ability to capture the subtlest movements. This image sequence was shoot at 20 frames per second. 1/400, f/11, ISO 1000

Fastest Shooting Speed for a Full Frame Camera Ever

The Sony a9 can shoot up to 20 frames per second in RAW with a 241 shot buffer when using the electronic shutter, and 5 frames per second with the mechanical shutter. The electronic shutter does not sync with strobes (not that a strobe could keep up!) while the mechanical shutter does sync with strobes. The custom function button C3 is setup from the factory to allow the photographer to choose between mechanical or electronic shutter.

There are three continuous shooting modes on the camera--high, medium, and low. I kept it on continuous high the whole time and used the C3 button to choose between mechanical and electronic depending on whether I wanted to use strobes in the shots.

For shots with strobes, I kept my strobes at 1/4 power to ensure a super fast recycle that would keep up with the camera’s 5 frames per second shutter. We hope that in the future Sony will make an electronic shutter that will sync with strobes and get past the mechanical flash sync speed limit of 1/250 second.

Sony a9 Camera, Nauticam NA-A9 Housing, Sony 16-35mm Lens. Shot at 1/250 F9 ISO 400

Exposure Technique for White Sharks—Auto ISO

With distances and the amount of light reaching the subject changing rapidly with shooting great white sharks, it’s hard to shoot fully manual and nail each exposure each time.

We’re up against a few limits that aren't exactly ideal for going over to program auto exposure, aperture priority, or shutter priority. A fast shutter speed is needed to freeze the motion of the shark. A higher aperture is needed to get the corners sharp with a wide angle zoom lens behind a dome.

Needing to set both of these in the past has meant needing to shoot full manual exposure, but with Sony’s excellent ISO performance and customizable Auto ISO feature, manual exposure mode with Auto ISO is how I shot each one of these shots in this review.

Sony a9 vs. Sony A7R Mark II vs. Nikon D810

Sony’s stills image quality in their flagship cameras have been at the top of the heap of not only the mirrorless camera category, but also beating out top level SLRs as well for the last few years. The color, sharpness, detail, and noise levels are all excellent and find the Sony a9 among the top of the list in each of these categories.

While the higher resolution cameras of the Sony a7R II and Nikon D810 will edge out the Sony a9 in ultimate image quality, neither of those cameras come close to the speed of this camera, and it’s hard to find another camera besides these two that will outperform the Sony a9 in image quality with what we have available to shoot underwater.

Sony a9 Camera, Nauticam NA-A9 Housing, Sony 16-35mm Lens. Shot at 1/250 F8 ISO 400

Who Is This Camera For?

The Sony a9 doesn’t come cheap. At $4,500, it is the most expensive full frame mirrorless camera on the market today. Then again, it’s designed to run head to head against the Nikon D5 which does 12 frames per second, and the Canon 1DX II, which does 16 frames per second—those cameras are $6,500 and $6,000, respectively.

Sony definitely shakes up the established competition in this area by besting these cameras in terms of overall speed and image quality. While there may be additional features such as 4K 60p video and the best ambient light white balance out there with the Canon 1DX II, the Sony a9 comes in at a much lower price point, especially for the amount of still image shooting performance you’ll get.

If you are someone who likes to shoot fast moving pelagic sea life such as sharks, dolphins, whales, mantas, sailfish, etc., this is definitely the camera for you. The speed of focus, focus tracking and shooting, and 241 RAW shot image buffer is mind boggling and second to none. You’ll be able to get the shot with focus nailed better than any other camera out there today.

For someone who needs more resolution than 24 megapixels, and must have pro level 4K video with accurate custom white balance at depth, those are the only areas where this camera will fall short.


Shooting the solar eclipse at DPReview headquarters

Filed Under News: Digital Photography Review

Most of us on the DPReview staff followed our own advice today: we put the cameras down, donned our eclipse glasses and just enjoyed today's total solar eclipse... most of us. Unable to contain himself, our own Rishi Sanyal decided last-minute to ignore all sound advice, hack together a rig and photograph the eclipse from DPReview headquarters, risking the life of a young Sony a7R II in the process.

This is one of those "do as we say, not as we do" moments, because we would never recommend anybody risk their camera gear by not using a proper solar filter to shoot the sun. Rishi knows his stuff, though (to put it mildly) so he stacked a few filters to create a proper rig that would most likely keep the camera safe. The rig included:

  • Sony a7R II
  • Metabones EF-E Smart Adapter (IV)
  • Canon 1.4x II teleconverter
  • Canon EOS 100-400mm F4.5-5.6L IS II USM
  • B+W MRC Nano UV filter
  • 10 stop glass ND filter with some IR filtration
  • 6 stop glass ND filter
  • Gitzo 1542T tripod + Markins ballhead

Fortunately for him (and that Sony sensor) his gambit worked. Between the UV protection of the UV filter, 16 stops of ND filter, and the IR filtration on the 10 stop glass ND, he was able to capture a few really sharp shots of the eclipse in action without burning a hole in the a7R II's 42.4MP sensor.

Check out the rig, some sample shots, and a few behind the scenes photos from our building's rooftop deck up top. And be sure to share your eclipse experience in the comments!


Zenit is back in business, plans to release full-frame mirrorless camera in 2018

Filed Under News: Digital Photography Review

Russian publication RNS has revealed that camera maker Zenit has restarted camera production, and may in fact launch a full-frame mirrorless model on the international market as early as 2018. The initial announcement was reportedly made by Krasnogorsk Mechanical Plant's Deputy Director General for Civilian Production and Consumer Goods, Zverev Igor Sergeyev, who revealed the plans via Moscow Region Radio 1.

The planned full-frame mirrorless camera will retain iconic, brand-recognizable elements, according to the announcement, including "characteristic contours, ergonomics, [and] camera lines." However, the camera will be modernized for today's market, featuring both light and dark color options as well as leather trim.

The price will exceed that of a "good smartphone," according to Sergeyev, though specifics weren't provided.

Zenit, though once popular, ceased production in 2005 following multiple failed attempts to revive its place in the market. According to Sergeyev, the latest production round will not attempt to compete with big-name camera manufacturers like Canon or Nikon. In fact, an unnamed "leading photographic equipment company" will produce some of the components for this camera.

Additional details on the camera or Zenit's renaissance weren't provided, but we'll let you know just as soon as more is revealed.


Don’t buy another lens, buy a flash instead

Filed Under News: Digital Photography Review


A bounced, on-camera flash was a quick way for me to take some photo booth snaps in a very dark room without having to set anything up off-camera.

When people really get into photography and start saving their pennies for new gear, one of the first things they buy tends to be a lens, like a telephoto or a fast prime. However, if you've already got a lens or two and you're thinking you'd want another, let me suggest that you pick up an external flash instead.

Why, you ask? What's wrong with natural light? After all, those insert-name-brand-here flashes are just way too expensive.

With the abundance of cheap flashes pouring out of China these days, you should be able to get a TTL, or 'through the lens' metering flash for around $50 US. If it's your first flash, a cheapie one will do just fine, and TTL metering will help you get out and get shooting with it in no time.

If you're 'into photography' enough to have a couple of lenses, then it's time to consider one of these as well.

Even a 'natural light' shooter can benefit immensely from a better understanding of how light works, and what better way to experiment with light than controlling your own? You may even find that, using artificial lights, you can spend less time looking for shade or big bay windows, and sometimes, you can get away with shooting at the 'wrong' time of day.

'Even a 'natural light' shooter can benefit immensely from a better understanding of how light works, and what better way to experiment with light than controlling your own?'

Lastly, having a flash simply provides you with another tool with which to create images. It's just another option you didn't have before. It can open up new possibilities, and perhaps lead you in a creative direction you never expected. And as you grow, you may find there are some situations that you'd simply never get away with not using strobes.

Getting started using TTL

Even if you tend to use your camera in 'Auto' or 'P' modes, you can gain instant benefits from a small, inexpensive flash. As stated earlier, it'll be important to get TTL capability, which is kind of like 'Auto' or 'P' for flash.

Room a bit dim? A ceiling-bounced flash is one of the easiest ways to brighten it up without looking too unnatural.

So how does TTL work? Before taking the photo, the flash fires a quick burst that reflects off your subject and travels through the lens to the imaging or metering sensor in the camera, which then takes a reading and tells the flash what power it should use. And because this is all happening at the speed of light, there is no perceptible lag in this process.

The best part is that if you're finding your flash is looking too bright or too dim, you can dial in exposure compensation on the flash itself, just like you can on your camera. These are two separate exposure compensations; the flash exposure compensation value will only affect the flash output.

And TTL isn't just to be pooh-pooh'd as the 'amateur' option either, as it can work incredibly well. Many of Joe McNally's excellent shoots with both speedlights and bigger strobes are controlled using TTL and biasing them up or down with exposure compensation.

On-camera flash Bounce flash
Taken on a Nikon D3400 in full auto.

One of the best ways to get instantly better pictures as a result of your new flash is to mount it to the top of you camera, point it up at the ceiling, and photograph some friends indoors. Instead of producing portraits with very bright faces and an almost black background, which built-in flashes tend to do, you're bouncing the light off the ceiling, where it cascades down and lights everything a little more softly.

It's like the difference between shooting in direct sunlight versus shooting on a cloudy day. In direct sunlight (like with direct flash pointed at your subject), you get pretty harsh shadows and more contrast between those shadows and the highlights. With the flash pointed at the ceiling, it's spread out more, similar to how clouds will diffuse sunlight, and shadows are much softer as a result.

A practical case for TTL, or 'How I Shoot Dimly Lit Events'

One of my favorite aspects of TTL metering actually involves keeping my camera in full manual, with the flash doing all of the 'automatic' work for me. This is particularly useful at dimly lit events and wedding receptions, where I'm moving around quickly and almost always using bounce flash, as described just above.

Ambient lighting only.

This first shot is a good example of an approximate base exposure for the ambient lighting in the room. By that I mean that the ambient lights aren't totally blown out, and the background is a little dark but still provides a bit of context. This is important as I mostly want the flash to bring out my main subject without the entire rest of the frame looking horribly under-or-overexposed.

In this particular case, I actually like this dark, moody look for the sax player. But these sorts of ambient, 'moody' shots won't work for everyone all the time. So let's see what difference a flash can make, and how I like to incorporate it in these situations.

Added bounce-flash with TTL.

This second image has some exposure adjustments to bring up the ambient a little more, but I've added a flash mounted to the top of the camera. It was bounced at the ceiling in TTL mode and the flash exposure compensation was adjusted to underexpose slightly.

Of course, these images are extremely different in terms of 'mood,' but I've found that this method of adding 'pops' of bounce flash to subjects at events can allow me to more effectively freeze motion without raising my shutter speed, as well as shoot my lenses a little more stopped down to give me some leeway for focus errors.

What about you?

Image taken with a single off-camera flash through an umbrella.

Are you a flash shooter, or a natural light purist? TTL or all manual, all the time? Let us know in the comments if you've got any strobe tips or tricks that have made a difference to the types of photography you enjoy.


Shooting 101MP black-and-white photos with the Phase One XF IQ3 Achromatic

Filed Under News: Digital Photography Review

Phase One recently sent award-winning portrait photographer Rick Wenner on a dream assignment. Equipped with the XF IQ3 Achromatic—the world's only 101MP black-and-white medium format digital back—he was sent to Wildwood, NJ to shoot an odd event called the Race of the Gentlemen.

The annual drag racing event features pre-war era hot rods and motorcycles, speeding across the beach. It's the ideal event to shoot in black-and-white, and when you're shooting with the only 101MP digital back out there... well, all the better.

But why black and white only? Wenner explained in an interview with Phase One:

“Black and white photography is a great approach to focus completely on the detail and art of these beautiful machines. [...] You aren’t distracted by a bright blue sky or a yellow-green paint job on a hot rod. You are not distracted by the colorful tattoos or the rust and patina of an old delivery truck. Your eye is only looking at what I want the viewers to see in my photos - detail, texture, facial expressions, style, shapes, and action.”

As for the camera itself, it was... hefty... as you might well assume. In addition to the weight of the XF IQ3 Achromatic, Wenner was using the Schneider Kreuznach 40-80mm LS f/4.0-5.6 and Schneider Kreuznach 75-150mm LS f/4.0-5.6 Blue Ring lenses, neither of which are exactly light.

Speaking with DPReview over email, though, Wenner tells us the extra weight was totally worth it once he got a look at the files:

The camera was heavier than what I’m used to with those zoom lenses but still manageable throughout the day. The files are ENORMOUS, as expected. The .IIQ (raw) files are on average about 150-175 MB. I loved working with the files because of the insane amount of detail captured and how much information can be recovered in highlights and shadows.

Check out the full set of photos from the TROG event up top. And if you want to see more of Wenner's work, visit his website, check out his blog, or give him a follow on Instagram.

All photos by Rick Wenner and used with permission.


How to buy used gear (and not get burned)

Filed Under News: Digital Photography Review

Don't get burned!

Photography gear is pricey, and buying used is a great way to keep your wallet from getting too thin, but it also comes with quite a few risks. The high price associated with photo gear sometimes attracts unsavory folks disguising themselves as reputable sellers, as a means to part you from your hard earned cash. Thankfully, it's pretty easy to avoid this from happening.

I've been buying gear on a budget for thirteen years now, mostly via eBay and Craigslist, and in that time have come of with a basic set of rules to protect myself from getting burned. And after recently reading a gear-buying horror story, I felt compelled to write down my rules – with the input of my DPReview colleagues – and share them with you.

Note: There are exceptions to these rules and following them does not necessary guarantee you won't get burned by a bad deal. As with any big-ticket purchase, common sense is the best and safest policy.

Buy from reputable used retailers

Buy from reputable used retailers like KEH or from the used department of reputable camera retailers like Adorama or B&H. If you are unsure of whether a camera retailer is reputable, if they are based in the USA, a quick search of the company's name on the Better Business Bureau website should provide you the answer.

As a rule, always be sure to check and understand the retailer's return policy, just in case you have an issue. For instance, KEH offers a 6 month return window.

Buy from sellers with a positive history

The advantage of buying from a used retailer is generally piece of mind; the disadvantage is you will likely pay more than buying direct from a selling party. That's where consumer-to-consumer sites like eBay and more recently, Amazon Marketplace* come into play.

If you plan on purchasing from a seller on one of these sites, I can not emphasize enough how important it is that they have a positive selling history with multiple completed transactions. At least ten is a good place to start, but the more the merrier. Checking a seller's history is simple on both of the above-mentioned sites. is a wholly-owned subsidiary of Amazon but is editorially independent of our parent company.

Use safe payment methods

Only pay using a payment method you trust. PayPal is the obvious option, especially if buying on eBay, but there are others out there. And be wary of anyone who wants you to pay by wiring money to them via Western Union. If you choose to do so, make sure you’ve developed a sufficient level of trust with the seller.

Buy from other photo enthusiasts and ask questions

Buy from sellers who are photographers/photo enthusiasts. They’ll likely have taken better care of their gear and know more about its operation. The language used in an item's description is usually a good indicator of whether the seller is a photo enthusiast or just someone who picked up some gear at an estate sale. If you are still unsure, reach out to the seller and ask them a question about the gear. If their reply doesn't satisfy you, don't buy it.

Try Craigslist gear paired with your own

If you plan on buying off Craigslist, try the gear with your own lenses/camera before you buy. One of my colleagues went to check out a prospective lens from a Craigslist seller. The lens seemed to function great on the gentleman's camera, but when my buddy mounted it on his, the AF motor started to squeak. My friend had done his research and knew this particular lens occasionally suffers from premature failed AF motors, so he politely said 'no thank you' and moved on. Had he not tried it on his own camera, he might have ended up with a lemon of a lens.

Know the warning signs of gear failure, and ask for shutter counts

This is in a similar vein to the previous tip: Always, ALWAYS research warning sizes of failure for a piece of used gear you are considering purchasing. Some used gear holds up surprisingly well over time; some does not. For instance, early production Nikon 17-35mm F2.8 lenses suffer from the aforementioned failed focus motor. Knowing the warning signs of failure is essential. And don't be afraid to ask the buyer if 'the AF motor squeaks at all.' These kind of questions and their answers can help protect you.

On a similar note, if purchasing a used camera, always ask for the shutter count. In the same way the odometer in a used car provides a metric for how much wear and tear it's received, so does a shutter count. Because shutters are only guaranteed so many actuations by the manufacturer, it is crucial to check before you buy.

Skip grey market gear

Avoid grey market gear. If you are unfamiliar with the term, it refers to gear that is sold in new condition, but without a corresponding warranty for the country in which it is being purchased. To be clear: ANY camera or lens bought new from a reputable dealer will always have a warranty card issued by the manufacturer. Grey market cameras have usually been imported illegally. Some will come with a third party warranty, some will not.

While the prices might be tempting, it's best to avoid these 'deals.' If you end up having a problem with the gear or there is some kind of recall, you may run into issues when sending it back to the manufacturer. Not to mention that grey market sales undermine the integrity of the photography gear market as a whole.

Look into alternative versions, save some dough

Look for alternative versions of gear that may be less expensive. This is less a tip about protecting yourself and more a tip about finding the best deal, but what the heck, we included it anyway. A good example of this is the Leica CL, which goes for a lot more money than a Leitz Minolta CL, despite being the same camera.

Check compatibility

Double check your prospective gear's compatibility with your current gear. This one is pretty commonsense, but if you accidentally buy a Canon FD mount lens for your 5D Mark III, the screw-up is on you, not the seller. Likewise, if you buy a Nikkor-D lens and your DSLR doesn't have a built-in AF motor, that's your problem – not the seller's.

Patience is key

Be patient. If buying on Amazon Marketplace or eBay, you can set automated searches or notifications for products of interest. Don’t rush into buying something because you don’t see a lot of copies for sale.

Update the gear's registration info

Make sure if the seller had registered their gear with the manufacturer that you coordinate changing the registration info to your own. I recently heard an unfortunate story of a photographer sending a piece of gear, bought used, to the manufacturer due to a recall, and the manufacturer sending it back to the original buyer. A sticky wicket for sure! Don't let that happen to you.

Have any used-gear-buying tips of your own? Share them with us. If they're solid enough will include them in our list!


Dynamic symmetry: The genius of Henri Cartier-Bresson’s composition

Filed Under News: Digital Photography Review

Breaking down the composition of one of Henri Cartier-Bresson's most famous images. Photo: Magnum Photos, screenshot from video

Henri Cartier-Bresson—the father of modern day street photography and master of the candid shot—was obsessive about the 'geometry' in his photographs. And in this two-part educational series, photographer Tavis Leaf Glover dives into some of Bresson's best-known images to explain the dynamic symmetry at work and help you understand (and implement) it in your own photos.

This is NOT a beginner's guide to composition. To the untrained (and many a trained) eye it can just look like Glover is overlaying so many lines onto each image that SOMEthing is going to line up no matter what. But for all that he coined the term the Decisive Moment, Bresson was extremely deliberate about his compositions.

Both videos dive into that deliberate vision—the way the iconic photographer saw the world around him and fit it into the 35mm frame just so. Check out both parts below, and then let us know what you think in the comments.

Part I

Part II