How To Shoot Picture-Perfect Portraits At Living Museums
Old artefacts aren't the only things to photograph in museums. At places such as Beamish and the Black Country Living Museum, you'll find people dressed in period clothing, acting out specific historical roles who are perfect subjects for a quick snap of times gone by. If you don't fancy heading to a museum there are also plenty of re-enactments held right across the UK where you'll find plenty of people in character who are more than happy to be photographed (a subject we'll be looking at later this month).
1. What Gear Do I Need?When shooting portraits in large museums where buildings and locations vary, you'll need a versatile zoom lens which allows you to move from a wide-angle to a mid-range focal point easily, even if in a busy crowd. A shorter zoom or prime lens such as 50mm can be used in more controlled environments.
Unless it's really impossible to do so, use a tripod as they slow you down and give you the chance to think about composition more and a reflector would be handy, although don't get in anyone's way with one, especially inside shops and other indoor locations where space can be lacking.
Make good use of the internet to search for places of interest but always keep a lookout for notices in local shops and venues advertising events as these tend to be based more locally, saving you time and money.
To avoid crowds, arrive as early as you can or stay later. By doing so you'll be able to capture images without a queue of people waiting behind you, meaning you can take your time and as a result, produce better shots.
When you arrive at the museum have a look around and see what's where and who's around to photograph. If possible, find a good subject then go and look for a fitting background. However, most of your subjects will already be in locations that fit their character such as in shops, workshops etc. so you may not need to do this. Do remember though that getting the background right in the shot is much easier than editing one in.
Do look for 'that person' other photographers aren't surrounding which is easier said than done sometimes but it will give you a shot that, hopefully, not many others will have captured.
When you do find someone you want to photograph always ask permission first, even if the people there expect to be photographed it's always better to ask. Be confident and always act professionally. You may need to give direction but some will automatically create a pose they like or have held on several occasions before. You can capture them in this pose but do try and persuade them to change their stance a little to give you something a little more unique. It's also important to keep them chatting as this put them at ease and allow a bit of their personality/character to come through.
Small details make a huge difference so do check your frame carefully before taking your shot. Asking someone in a polite way to not smile so much or open their eyes wider may seem like a small thing but it will make a big difference to your final image.
You may find that there's either not enough light or too much electric/artificial lighting and this is where moving a subject will help, but you will need their cooperation so that's why it's always worth chatting to them first.
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Why & How To Use Vertical Lines In Your Photos
1. Why Photograph Vertical Lines?
Lines going up and sometimes out of the frame can convey a sense of growth, strength and power as well as create interesting patterns within your images.
Switching from landscape to portrait mode lengthens the frame you're working with, emphasising the length/height of the vertical lines. Turning the camera back around to horizontal format works well when you have multiple vertical lines going through the frame as you'll be able to get more in the shot and it can help create the impression that the objects you're photographing are so tall that you can't fit them all in the frame.
Make sure your vertical lines run parallel to the sides of your frame as wonky, slopping lines will mean your shot lacks impact. Keep an eye out for converging verticals too. If you find you're having a problem with them try and work from higher up to put you more in line with the object you're photographing, switch to a focal length that's not as wide or you can take the shot and adjust the photo in Photoshop or another similar piece of editing software later on.
Putting a vertical line in the centre of the frame will cut your image in half which does create a strong impact and maybe something you like, however most of the time it's best to position the object/shape more to the left of right of the image.
Repeating patterns and symmetry works well when you have multiple vertical lines in your shots. Just remember to have a play around with the orientation of the shot to see which way emphasises the pattern you're trying to create more.
When you have lots of the same object in a line, take a line of trees along a path, for example, you can stand at the top of the path, point your lens down it and you'll see the trees, or whatever lines the edge of your shot, create depth as they vanish towards the back of your image. Just remember the items creating the vertical lines need to be of roughly the same height.
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Canon RF 20-50mm f/4L IS USM PZ Lens Review
For hybrid content creation, for vlogging, for video, and last but certainly not least for stills photography, here we have Canon's new RF 20-50mm f/4L IS USM PZ full frame lens. Rather than having a separate attachment PZ zoom, for the first time for Canon, we have an internal power zoom. So there are many video possibilities, but also a focal length range that can be very useful for stills photographers. So we set out into the weekend of 1940s re-enactments and even a full day of blazing sun at the Lytham Vintage Car event, using the new full-frame 32.5MP Canon R6 V plus a more conventional 26.2MP Canon RP. Cameras and lenses held up without a glitch; let's see what we learnt from the unusual experience of shooting a review in the sun and heat of a relentless heat dome.
Canon RF 20-50mm f/4L IS USM PZ Handling and Features
There is a provided petal lens hood that bayonets smoothly into place. There is a retaining catch to ensure it does not come adrift in use. The bayonet fit surrounds a standard 67mm filter thread. The front element is Fluorine treated to help repel water, dust and grease. The lens is chunky but not overly heavy, weighing in at a modest 420g. Dimensions are 79.9mm x 98.4mm.
The various control rings do not protrude beyond the diameter of the lens but are easily gripped thanks to the texture on the surface. First up is the usual programmable control ring, followed by the manual focus ring and then the zoom ring. The zoom ring reveals something new, having two distinct sections, PZ and MZ. These can be toggled using the release catch further back along the lens barrel. PZ is the built-in PZ zooming, operating much like any compact camera’s motorised zoom, albeit silky smooth, virtually silent and adjustable in speed. If zooming during filming, this should yield smooth transitions without any juddering or instability. Combined with the near silent nano USM AF system, this will no doubt be welcomed by videographers.
The control ring and the focusing ring are electronic and totally smooth in operation. The zoom ring is obviously smooth when set to PZ. From here, the zoom action can be operated via a switch on the camera or by turning the zoom barrel. If moved into the MZ section, then the lens has a normal manual zoom action. This is not electronic, but is still commendably smooth. There are clear and accurate focal length markings at 20mm, 24mm, 28mm, 35mm and 50mm. As these actions do not extend the lens barrel and the balance remains the same, an advantage when using gimbals.
The only other switches are the AF/MF and Stabiliser on/off. The stabiliser gives a potential 6 stops advantage, rising to 8 stops if combined with IBIS.
Optical construction is 13 elements in 11 groups, including 3 UD (Extra Low Dispersion) and 2 Gmo Aspherical (Glass Moulded aspherical). The diaphragm comprises 9 blades. Reduced focus breathing will assist videographers. The extra wide 20mm setting does mean that immersive filming and compositions are enhanced, bringing the lens right into the action. This can be applied to street and reportage photography, creating the feeling that the image maker is a part of events rather than just an observer of them. To assist with this, the lens focuses down to 0.24m, resulting in a magnification of 0.14x at 20mm and 0.33x at 50mm. The converse is less true, as the lens is not compatible with extenders.
At the core of all this lies the performance, so let's now have a close look and see how the lens performs in the technical tests.
Canon RF 20-50mm f/4L IS USM PZ Performance
At 20mm, central sharpness is outstanding from f/4 through to f/8, excellent at f/11 and f/16 and very good at f/22. The edges are very good from f/4 to f/11, good at f/16 and fair at f/22.
At 28mm, central sharpness is outstanding from f/4 to f/8, excellent at f/11 and f/16 and very good at f/22. The edges are very good from f/4 right through to f/16 and fair at f/22.
At 50mm, central sharpness is excellent from f/4 through to f/11, very good at f/16 and good at f/22. The edges are excellent from f/4 through to f/8, very good at f/11 and f/16 and good at f/22.
This is a highly accomplished performance indeed.
Canon RF 20-50mm f/4L IS USM PZ MTF Charts Previous Next
How to read our MTF chartsThe blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.
For this review, the lens was tested on a 32.5MP Canon R6 V and a 26.2MP Canon RP using Imatest. Want to know more about how we review lenses?
CA (Chromatic Aberration) is under control throughout, but especially so at the centre of the image. In real-life photos, there is little sign of colour fringing.
Distortion is very close to zero, and we could happily consider the lens to be rectilinear throughout the range, comfortably exceeding even the performance of many macro lenses. The actual figures are -0.10% barrel at 20mm, -0.07% barrel at 28mm and +0.10% pincushion at 50mm.
Canon RF 20-50mm f/4L IS USM PZ Chromatic Aberration Charts Previous Next
How to read our CA chartsChromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.
Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.
For this review, the lens was tested on 32.5MP Canon R6 V and a 26.2MP Canon RP using Imatest.
Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, but we know attractive bokeh when we see it. The lens has pleasant bokeh, but not utterly buttery smooth like some. There is just a tinge of feathery edges where there could be silky gradation. It is a very minor difference, though, and for most purposes, the out of focus effects are pleasant enough.
The flare performance is excellent in all general photography. Where bright light sources are within the frame, artefacts can be generated, but it must be said that they can look rather good as well. This not only applies to stills photography, but perhaps especially to the primary video intent of the lens. Some dramatic flare can look rather good in videography.
Vignetting is well within reasonable levels and returns figures that not so long ago would have been considered exceptional.
Aperture 20mm 28mm 50mm f/4 -1.4 -1.3 -0.9 f/5.6 -1.3 -1.3 -0.9 f/8 -1.2 -1.3 -0.9 f/11 -1.2 -1.3 -0.9 f/16 -1.1 -1.3 -0.8 f/22 -1.1 -1.3 -0.8
Canon RF 20-50mm f/4L IS USM PZ Sample Photos Previous Next
Canon RF 20-50mm f/4L IS USM PZ Aperture range Previous Next
You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.
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Value For MoneyThe [AMUK]Canon RF 20-50mm f/4L IS USM PZ|Canon+RF+20-50mm+f/4L+IS+USM+PZ[/AMUK] lens is priced at £1439.00.
The only option that comes close to the PZ function is the APS-C format 18-135mm lens with the optional Canon PZ-E1 adapter, not full frame and hardly an elegant option by comparison.
Perhaps the closest, non PZ, option might be the [AMUK]Canon 15-35mm f/2.8L IS USM|Canon+15-35mm+f/2.8L+IS+USM[/AMUK], priced at £1173.00
Considering the quality and the features, though, the new lens does seem to be priced fairly and no doubt that price will settle over time.
Canon RF 20-50mm f/4L IS USM PZ Verdict
There is no doubting the quality of the RF 20-50mm PZ lens, and no doubting that the focal length range makes it a strong option for those who like to get in close, for an immersive experience. The features are geared towards the videographer and the hybrid content creator, but for general photographers, we also have a simply superb wide standard zoom lens.
Two camera bodies were used in the review, as mentioned in the introduction, and both performed without any problems at all. In the unrelenting sun of our heatwave, it must be said that it is easier to precisely compose using the eye-level viewfinder of the RP. Using the rear screen only, R6 V is fine in duller light or under studio conditions, but in full sun, it is almost impossible to check that nothing unwanted is creeping into the edge of the frame.
Whatever the camera style, it is clear that the 20-50mm f/4 L IS USM PZ lens is a very fine lens indeed that will not disappoint.
Canon RF 20-50mm f/4L IS USM PZ Pros
- Excellent to Outstanding sharpness
- Virtually rectilinear (no distortion)
- Fast, accurate and virtually silent AF
- Excellent flare resistance
- CA well controlled
- Moisture and dust sealing
- Internal power zoom
- Modest vignetting
- IS 6 stops
- IS + IBIS 8 stops
Canon RF 20-50mm f/4L IS USM PZ Cons
- Some flare in extreme situations
[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – A simply superb wide standard lens with inbuilt PZ zoom control.|E_id=8027[/REVIEW_FOOTER]
.borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; } .borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; }How To Improve Your Travel Photography Portraits Instantly
1. Ask Permission
If you're planning on working up close so a person is the main focus of your photo you should always ask them if it's OK to take their photograph. This is even more important if you plan on snapping a couple of shots of children playing as it can anger parents if you just start taking photographs of their kids. If language is a barrier try smiling and pointing to your camera you should soon have a quick nod or shake of the head in response. When people play a minor part in your image asking permission to shoot, particularly if it's a large crowd, can be impossible as there are just too many people. The same goes for shots of shows you may go and watch while on your holiday. Of course, if there are signs or information on your ticket which says you're not allowed to take photos then don't but otherwise, you should, generally, be OK to shoot without asking. Just remember these people will have dressed up for the stage so, for something more authentic, you need to get out onto the street.
2. Be Polite
Your job is to make your subject feel comfortable so always give them eye contact when you're talking to them, smile and don't forget your manners. Try to learn what hello, please and thank you are in the language of the country you're visiting and if your subject looks uncomfortable when you start taking photographs, it is usually just best to stop and move on to something else as some people will say yes just to be polite when really they'd prefer to hide from your lens. Using longer focal lengths will put more distance between you and them which means you can take a couple of photos without invading their personal space. Once you've got your shot(s) be polite and show your subject the results. Just be wary of some people who'll expect a tip for helping you out.
3. Understand Their Culture
Make sure you know what's acceptable and what isn't and respect the views/practices of the people you're visiting. Remember laws differ around the world too and there may be more restrictions on photography in the place you're visiting than in the UK so it's best to check before you start shooting.
4. Out With Tour Groups
If it's safe to do so, head out with one or two people instead of a large group as lots of people sticking a lens at you can be intimidating. If you're heading out on an organised trip, you can stay close to the group but don't crowd just one person. Instead, pick another subject then move back to the person who first caught your eye and politely ask if you can take a few photos after the rest of the group moves on to something else.
If the surroundings/background will give your shot context, as the above example does, use it. Make sure it's not overpowering though as attention still needs to fall on the person you picked for the portrait. If it's not really worth photographing or it's a little messy, use a wider aperture to throw it out of focus. Darker backgrounds will really help your shot 'pop', making your subject really stand out from the rest of the shot.
If you have a willing subject who tenses up and becomes a little too rigid when you put the camera to your eye take the shot anyway then quickly snap another when they think you've finished capturing a moment when they're more relaxed.
For more intimate shots, tighten your frame by either moving your position so you're working closer to your subject or use the longer focal lengths on your zoom lens to fill their frame with their face. The second method is often preferred as it means your subject stays relaxed as you're not invading their space. Just make sure you focus on the eyes and check everything is sharp before you hit the shutter button.
If your subject is selling, making or buying something try and take a few shots of them 'in action'. A candid approach is often the way to go for this which means you need to shoot lots and often. Setting your camera to continuous shooting mode will mean you can take a quick series of shots, increasing your chances of capturing an interesting expression/look. If you want to get closer to people but don't fancy aiming your lens at them try shooting from the hip. This approach can be a little hit and miss, but you can get the odd, surprisingly good result from trying it.
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