How to Find Great Photographs Within Walking Distance of Home
The railing you pass on the way to the shop, the peeling door down the street, and the traffic marker on the corner rarely look like photographs, which is why most people never point a camera at them. Learning to see images in those ordinary things means you can shoot well on any free evening, without a long drive or a planned trip.
Is the Canon RF 35mm f/1.8 Still the Best First RF Lens?
Canon has released a wave of new RF primes since the RF 35mm f/1.8 Macro IS STM arrived, including a fast 35mm in its VCM line and an inexpensive 45mm f/1.2. That raises a fair question about whether the older, cheaper lens still deserves to be the first one you put on an RF body.
One Light, Two Completely Different Portraits
A white wall behind your subject can go pure black in the final frame, even when the light never moves. You can get two completely different portraits from one setup in a room the size of a spare bedroom if you know how to use the light already in the room and how to shut it out.
A Car Photographer's Lightroom Workflow From Culling to Export
A car shoot can easily produce 1,000 or 2,000 frames, and the time you spend sorting and editing them often decides how many images you actually finish. The order of your Lightroom steps, from culling to tone curve to masking to Denoise, shapes the final look as much as any single slider does.
How to Photograph Mountains In 8 Easy Steps
Mountain photography, both on and off these magnificent natural structures, is something photographers can capture images of all year round, but there's something about the Autumn and Winter seasons which add an extra level of 'wow' to these landscape shots. For your next venture up a mountain or to one of our many national parks where mountain ranges decorate the horizon, here are 8 pieces of advice that'll have you capturing breathtaking mountain shots in no-time at all.
1. Safety First
This can be a tricky subject in winter as you need to ensure you remain safe at all times. Walking in snow is one thing but mountains tend to also be covered with ice and have erratic weather conditions. Before you set off, know your ability, wear the right clothing and take the right walking equipment including phone, compass and map. You should also carry a whistle which can be used to attract attention if you need help.
2. Pack Your Filters
Don't leave home without a UV filter as not only does it protect the lens from the elements but it will cut the levels of UV which are often high in the mountains, especially in sunny conditions.
If it’s sunny and there’s snow use a polarising filter. The polariser is a great tool to help control glare and light reflection from the snow. Take care not to over polarise a blue sky in the mountains, though.
The ND Grad filter is essential for reducing the contrast difference between the sky and ground. Landscape photographer Robin Whalley tends to carry a 2 stop and 3 stop (0.6 and 0.9) wrapped in a filter cloth and placed in his pocket when photographing mountain landscapes.
3. Lens Choices
The lens choice for shooting in the mountains is wide-angle. A longer lens can also be useful for picking out details, but a zoom will probably allow you to capture the best the mountain has to offer. When using longer lenses, don't forget that you need a tripod that can support their weight.
4. Capture Distance And Height
When shooting from the mountainside or summit the best approach to composition is to emphasise distance and height. Use a wide-angle lens and include something to act as foreground interest. Lenses wider than 24mm can be used successfully but the feeling of distance and height tends to diminish the wider you go.
5. Use Small Apertures
The need to include foreground interest as well as keep the distant hills in good focus probably means you need to stop your lens down to quite a small aperture, perhaps f/16.0 or smaller. If you are also using filters, for example, a polariser you might find slow shutter speeds a problem. Robin Whalley says: "I used to use a walking pole and place the camera lens through the hand loop to support it, giving me a few extra stops of stability. Now I use a monopod which doubles as a walking pole and which I have used successfully with shots with over 0.5-second exposure."
6. Creating The 'Wow' Factor When shooting from the mountain you want the viewer to gain a sense of the place, so when they look at the shot they almost feel like they were actually there with you. To do this, as well as using a wide-angle lens, use a panoramic composition as this will help the viewer appreciate the scale of the location but again, it doesn’t emphasise the dramatic height of the mountain, something we'll discuss further down the page.
7. Correct Exposures
If you are shooting in snowy conditions, you should also watch out for the cameras light meter being fooled into underexposing the scene. Check your histogram regularly after shots and use your cameras exposure compensation adjustment if necessary to increase the exposure.
8. Off The Mountain
This option is far more accessible to most people and can provide equally if not more impressive images. When people think of dramatic mountain scenery, it’s often shots taken of the mountain from a normal altitude that they think of.
When shooting off the mountain the best lens is a long telephoto, probably in excess of 100mm. This may seem counter-intuitive but wide-angle lenses seldom give the most drama. They will emphasise the foreground but diminish the background, almost making it shrink into the horizon. The telephoto lens in contrast will emphasise the size of the mountain and allow you to focus in on the rugged details.
In summary, decide on your approach, on or off the mountain, then use the right equipment to give a composition that will best connect the viewer with the scene.
The Milk Carton Kids: What Actually Happened to the Photographs That Haunted the 1980s
On October 5, 1986, the New York Times published the closest thing to an honest tally the milk carton campaign produced. The National Center for Missing & Exploited Children knew of 107 children located because somebody recognized a picture of them, at least four of those from a milk carton. The National Child Safety Council's own estimate of cartons then in circulation was two billion to three and a half billion, down from a peak it put at three to five billion.
Leica x Lexar: Inside the Threads of Time Exhibition
Threads of Time is an exploration of legacy and lens. It is a collaborative project between kesi artist Jingwei and photographer Jing Huang, presented at the Leica Gallery in Amsterdam. I went along to see how this collaboration was woven together in a gallery setting.
Four Months With the Lumix L10 and Its Fixed Zoom Lens
Panasonic's Lumix L10 puts a Micro Four Thirds sensor and a fixed zoom into a body small enough for a jacket pocket, and it sells for $1,500. A fixed-lens camera at that price asks you to give up a lot of flexibility, so how it holds up after months of daily use tells you more than a launch-week impression can.
What Really Happens at Sony's Invite-Only Kando Trip
Every year around late summer, my inbox and DMs start filling up with some version of the same question: "What actually happens at Sony Kando?"
It's a fair thing to wonder. From the outside, Kando looks like a mystery box. A few hundred creators disappear to some beautiful corner of the country for a few days, flood everyone's feeds with incredible work, and then go quiet. There are no badges for sale. There's no public schedule. If you weren't invited, you're left watching from the outside, trying to figure out what the whole thing even is.
When Is an f/2.8 Zoom Worth the Extra Weight?
An f/2.8 zoom usually costs more, weighs more, and takes up more room in your bag than its f/4 counterpart, and the price gap between the two versions of the same focal range can run to hundreds of dollars. A wrong choice in either direction tends to end the same way, with a second purchase or an expensive lens that keeps getting left at home.