Photography News

As a landscape photographer, wide-angle and ultra wide lenses simply cannot be ignored.

The most common error made when using wide-angle lenses is simply using them solely for their wide-angle, by just trying to get everything into the shot. The resulting picture often simply has too much in it, and the subject is just lost in amongst everything else. Really, you should consider a wide-angle lens not as a way to get more into the picture, but as a way of emphasising foreground detail and perspective.

  Think about your viewpoint

In use, in a landscape situation, select your viewpoint carefully, as well as your foreground detail, and if possible, ensure that foreground element relates directly to the landscape and has a degree of shape harmony with the picture. If, for example, you choose a rock near the side of a lake on a calm day with reflections, ensure the rock is positioned to fit into the shape of the reflections. The benefit of working closely to your foreground subject is that repositioning the camera by only a few inches can make huge changes to the composition and visual balance of your photos. Roads, paths, walls, in fact, all lead-lines become powerful and dramatic, but make sure they are supporting the main subject of your photo rather than simply becoming the subject in themselves.

 

Photos By John Gravett. 

Remember - wider lenses give a greater depth of field

While front-to-back depth of field is useful in wide angle landscapes, it's important to remember that as an ultra wide-angle lens has an inherently greater depth of field than standard lenses, really small apertures might not always be necessary. Often f/11 or f/16 will give front to back sharpness without having to revert to f/22, where many ultra wides may suffer slightly from diffraction.

The same extensive depth of field can often affect choice of graduated filters to use. With longer focal length lenses, hard-edged grads work but when used with an ultrawide lens, they often show a distinct line where they are used, so usually, a soft-edged grad is a better choice, particularly for the stronger ones.

Wide-angles are so often prone to over-use, but used properly and with care, can produce truly amazing, powerful pictures.
 

Article by John Gravett of Lakeland Photographic Holidays - www.lakelandphotohols.com

If you want a compact cinema body that can shoot serious 6K while still fitting in a travel bag, the Nikon ZR hits a very specific need. It lets you rethink whether you actually need something like a more expensive cinema camera once you factor in raw codecs, audio, and how easily it fits around everything else you already carry.

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If you lean on f/1.8 blur every time you want depth, you are missing what actually makes an image feel three-dimensional. This video shows how to build that depth so your frames feel like spaces you could stand inside instead of flat postcards.

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- Partner Content - 

 

 

Imagen is an AI-powered, cloud-based workflow solution for busy photographers offering fast and efficient culling, professional-standard editing and secure storage.  All this and more in one, easy to use platform with a choice of packages to suit photographers of all levels.

Digital capture is wonderful because it gives complete shooting and creative freedom. The downside is the copious amount of time, effort and energy needed post-shoot to sort and edit all your brilliant shots. 

Imagen could be the answer with the potential of cutting down your editing time by up to 96%. The first step to a faster workflow is to sign up – you get up to 1500 free Imagen edits as a reward – and download the Imagen app.

In the app, start building your Personal AI Profile by uploading some of your previously edited shots and you can do this from existing catalogues. Imagen works seamlessly with Adobe Lightroom, Lightroom Classic, Photoshop and Capture One so you don’t have to learn a new software. A minimum of 3000 images is needed and any tweaks you make over time will refine your profile further, so you’ll get consistent results that’ll match your style and vision, and all in a few minutes.

 

 

To start using Imagen immediately, you can create a Lite Personal AI Profile by uploading your favourite preset and answering a few questions. Another quick start option is to use one of the pre-built Talent AI Profiles which have been made by leading photographers using Imagen, and these are available free within the app.

Once you have a Personal AI Profile, Imagen has the ability to adjust editing characteristics and to take Talent AI Profiles and refine them to match your vision.

Of course, image editing is time consuming but so too is culling, and it’s arduous too. Going through thousands of high res RAWs, rating, flagging and deleting, is a trudge. Imagen’s Culling Studio streamlines the process with its advanced AI skills. Duplicates, blurred photos and shots with people blinking or with eyes shut are automatically removed.

Your images and all the editing that’s linked to them are valuable assets but here again, Imagen has a solution. Its Cloud Storage automatically backs up your projects, and you don’t have to do anything extra in the workflow. Edits are saved alongside your full-size RAW files so if there is any issue with your own storage, the Imagen-edited work is safe.

If Imagen sounds like your ideal workflow solution, sign up and download the app, which is available for Mac and Windows. The process is quick, no credit card is needed and you can start uploading files straightaway. As an ePHOTOzine user, sign up here and you will get 1500 free Imagen edits to get you on the road to a faster workflow.

 

 

Three pricing plans are on offer so just choose the one that suits your budget and needs best. The no-commitment, Pay-as-you-go option is the most popular and this offers unlimited Personal AI Profiles, access to Talent AI Profiles, 24/7 support and 100GB free storage for three months.

Click here to read more about Imagen and to take out the Black Friday 50% off workflow essentials deal. 

Grab the deal now

Ultra-wide primes let you stretch space, push perspective, and still keep entire environments in frame when you are stuck in tight locations. Here's a look at an incredibly affordable option.

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When it comes to group shots, there's not just one genre of photography it sits under. From weddings and Christmas parties to school events and sports, there are many occasions when a group shot will be needed. However, getting them right so no one's blinking, looking the wrong way or are hidden from view by someone else in the shot can be a little tricky so here are a few tips to help you perfect that group shot.

 

Start Small If You're Unsure

The less people there are in your group the easier they are to co-ordinate so if you've not done group shots before, try splitting the people you have into smaller groups rather than shooting them all together.

If you are working with a big group where you have lots of lines of people stood one in front of another, do check that everyone is in focus. If they're not, use a smaller aperture to keep everyone sharp. If you're struggling to get everyone in shot, try shooting from a higher vantage point. Not only will it help you get everyone in frame, it'll give you an interesting twist to your group shot.

Be A Director

Don't let the group take control, you're the one behind the lens after all so can see what works and what doesn't. Don't be afraid to give instruction and actually walk people into position if needs be. Generally, tall people wander towards the back and those who are shorter tend to find a position towards the front of shots but this isn't set in stone. If you have a person who is the main focal point (birthday girl, top scorer etc.) try to position them towards the centre of the shot. To be more creative, try to position the rest of the group so they're looking at them or change your aperture to blur some of the group out of focus slightly, leaving your main subject sharp.

Enjoy Yourself

If you smile and seem relaxed, your subjects are more likely to be. Talk to them and don't be afraid to have a bit of fun as the more relaxed your subjects are, the better the photos will look.
 

Lighting

If you're working outdoors, a slightly overcast day's good for portraits, however if you're working outdoors on a bright day, pose your group with the sun behind them and use a pop of fill-in flash to fill in any shadows.
 

Backgrounds

As with all portraits, you don't want a background that'll distract from your main subject so take a good look around the frame to make sure there's nothing to the sides, front or above the group that'll pull the eye, taking the viewer's attention away from the people in your shot. Having said that, don't be afraid to use a background that adds to the shot. For example, a swim team at the side of a pool or a family at Christmas stood near the tree and fire surrounded by stockings etc.
 

Make Sure It Looks Like They Know Each Other

You may need to squash people a little closer together as what they think is close may not look very close in-camera. Try to fill the frame but take care not to remove anyone's limbs by accident as it's easily done to people who are at the side of the frame.
 

Shoot Lots And Often

People have a habit of talking, moving, pulling odd faces and blinking when you don't want them to so make sure you take plenty of shots. Switching your camera to continuous shooting mode will help increase your chances of getting a good shot as you'll usually find the first shot isn't that great, but shot two or three could be a winner.

 

 

The updated version of Meike’s popular 85mm f1.8 SE Mark I lens, the 85mm f1.8 SE Mark II, brings noticeable improvements in image quality, focusing speed, and chromatic aberration control. It also features a closer minimum focusing distance of just 0.65m, making it more versatile for portraits and close-up shots. The lens is offered in Nikon Z, Sony E, and Leica L mounts.

This lens is available now and ready to ship for $229.99 USD.

 

 

Specifications:

• Aperture Range: F1.8-F16
• Focal Length: 85mm
• Filter thread: 62mm
• Diaphragm Blades: 11
• Weight: about 369g
• Focus Mode: Auto Focus
• Minimum focusing distance: 0.65m
• Lens Construction: 11 elements in 7 groups
• Full frame Angle of view: Diagonal 27.8°, Horizontal 23.4°, Vertical 10.8°
• APS-C Angle of View: Diagonal 18.67°, Horizontal 15.53°, Vertical 10.38°

 

To order the Meike 85mm F1.8 SE Mark II lens, please visit the Meike website and Amazon.

An inquiry hits your inbox. "We love your work! What are your prices for a wedding?" Your heart races. You're afraid of scaring them off with a number that's too high, or worse, undervaluing yourself with a number that's too low. You're tempted to fire back the one question that quietly wrecks your positioning more than almost any other: "Thanks! What's your budget?"

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Most photographers start with a subject or theme. Conceptual photographers start with a question. What does isolation feel like? Not, “Where can I shoot next?” Entering the world of conceptual photography is a beast of its own. It comes with its own challenges and rewards. My biggest question was, how do I start?

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It’s that time of year again, when retailers compete for pre-holiday spending with some tempting offers across a range of great products. Whether you’re just beginning your creative journey or looking to upgrade the tools you already rely on, with prices dropping across a wide range of gear, now is the perfect opportunity to pick up what you need for less.

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Black Friday is fast approaching, and hopefully your hearts and wallets are ready. A lot of sales are already ongoing, so let’s talk about some of our favorites.

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Storytelling, at its core, is the art of creating meaning through a sequence of events that evoke emotion, connection, and transformation. For centuries, visual stories have sought to blur the lines between lyricism and realism. Yet, the evolution of technology has at times constrained cinematographers in that pursuit. Artificial intelligence, if trained well, may someday bridge this gap, but until then, creators continue to seek their own rhythm to express their visual narratives.

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Canon’s EOS R6 Mark III lands as a 7K hybrid body that tries to merge Canon’s cinema and photo lines into one camera you can carry every day. If you juggle stills, long-form video, and higher-end work, the way this body borrows from the EOS C50 and EOS R5 Mark II changes how you think about what a “B camera” or even main camera needs to do.

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Sky replacement changes how your images feel in a split second. When a great shot is held back by a flat gray sky, knowing how to swap it cleanly keeps more of your work out of the trash and in your portfolio.

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High ISO still feels risky if you grew up treating ISO 800 as the danger zone and anything higher as a last resort. That fear quietly limits what you can shoot, but you maybe you shouldn't be afraid.

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Dreamy-looking photos feel loose and imperfect, but they rely on deliberate choices about gear, light, and editing. If you want images that feel like actual dreams instead of another crisp, sharp frame from a city walk, this approach can shift how you shoot.

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For some people the only way they think they can have a professional portrait taken is to stand in a studio in front of a big set of lights but lifestyle shoots just might change their mind. Having the great outdoors as your studio will give you so many more creative opportunities with backgrounds, colours, shapes and textures, as well as being able to shoot a story. 

Photo by Joshua Waller Lens choices

A 70-200mm lens is a good choice for DSLR shooters. Shooting around the 135mm mark at f/4 can give great perspective and enough depth of field to throw the background out of focus without leaving it too shallow. A wider lens, such as a 14-24mm is great for environmental portraits, while a 55mm macro lens is great for detail. If you want a good all-rounder lens, a 24-70mm would be a good choice, too. It's also a good idea, if you have them, to pack the speedlights, continuous lights, ringflash and reflectors. 
 

Plan ahead

Organisation is key so make sure you have a plan in advance. Having a few locations that you are familiar with will give you plenty of scope, and it also means you'll know particular spots that'll work well for your shots. Local beauty spots, good urban routes with interesting architecture or a park with lots of interest such as water features are just some of the locations you could work with. The other place you need in reserve is somewhere dry in case of bad weather. 

Photo by Joshua Waller Make sure your model's comfortable

It's important to discuss clothing, makeup and meeting points then on the day of the shoot, meet for a coffee and spend 30 minutes or so having a pre-shoot chat as this will help break the ice. You could even take a book or folder of a few favourite photos along to show your model/client as they'll welcome the opportunity to see your ideas and help. Come up with a few ideas and even adjectives of the mood/feel you're trying to create. For example, Autumnal shoots could be about warm clothing and crisp golden colours. By doing so you will be able to portray a theme to your clients/model who should be able to quite naturally slip into an informal pose to convey this without really having to try or feel self-conscious. 

When it comes to the shoot, let people be natural and remember it's your job to make them feel comfortable even if you do know the person/people you are photographing. Shoot intuitively and creatively. Even if you've shot in a place many times, try setting yourself a target to come up with several new shots. This time of year's a good time to experiment with natural frames as the autumnal shades add warmth to the image. Just make sure you focus on your subject so the leaves blur just enough so you can still see what they are but don't distract.   

Just because you don't have an expensive lighting set-up or a studio doesn't mean you can't shoot interesting portraits of your children. To help you out, we've put together a list of quick tips made up of low-cost techniques to help the beginner out.
 

Which camera should I use?

Smaller, pocketable cameras right up to bigger DSLRs can be used to shoot portraits.

You can even use a less-expensive toy camera which may produce low-quality images but the levels of saturation and strong vignetting some produce can create interesting effects. As the shot below, taken with a VistaQuest VQ1015 camera, demonstrates:

 

I Don't Have A Lighting Kit

Commercial photographers, such as those who shoot in schools, tend to use lighting they can move and position around a room, making flash less harsh when fired. If you're working with a camera that has a built-in flash, however, you don't have this luxury and if you hit the shutter with the flash switched on, the light from it tends to be too harsh.

So, What Should I Do?

Your best and easiest option is to turn the flash off and use the light around you. This could mean using your household lights but keep an eye on your white balance if you do this as shots tend to look a little warmer and have an orange tone to them when shot under household lights. Easier still, set up near a window or patio door if you have one and use natural light. Sidelight works well but don't be afraid to experiment with different positions. Shooting with the window to their back so you can shoot straight on, for example, can create silhouettes. Don't overlook shooting on cloudy days either as clouds act as a giant softbox, diffusing light.

A support, ideally a tripod, should be kept in reach for times when your camera needs to use longer shutter speeds due to low light levels. If you try and shoot hand-held it can result in shake which will spoil your shot. You can try setting a slightly higher ISO to increase your camera's shutter speed but with some cameras, this can result in noise appearing in your shots. This isn't always a bad thing though as you could try enhancing the noise further so it appears like old film grain, similar to this shot below:

  What Time Is Best?

The time of day and where your window is positioned will effect light falling through it. At this time of year the sun is quite low in the sky for most of the day, however, midday is still when the sun is at its highest so avoid shooting then if possible. The golden hours, early morning and early evening, tend to give you softer light but you can further diffuse light with tissue paper, or a thin curtain/piece of material. If you do this, try to avoid using coloured material/paper as this can create a colour cast in your images.

Of course, if shooting indoors isn't producing the results you're looking for, there's always the option to get outside, shooting in your garden or at your local park.
 

Backgrounds Are Distracting

Professional photographers use purpose made background rolls or frames on stands but when you're on a budget and working at home, you don't have this luxury.

Shooting at home can mean you have backgrounds full of clutter or distracting wallpaper, even if you do use a larger aperture (or portrait mode on a compact that tells the camera you want to use a larger aperture) to throw it out of focus. To fix this, have a look around your home for items you can use as backgrounds. Black velvet works well, so do plain sheets of material or use a plain wall if you have one.
 

Have A Conversation

Most of the time the 'say cheese' approach won't work as you'll just get shots with big grins and squinting eyes. Instead, try talking to the children you're photographing, asking them questions and making them laugh. As a result, you'll soon see them creating expressions and poses that are much more interesting. Try setting your camera on continuous shooting mode to increase your chances of capturing a creative shot. This mode, which is available on many cameras will let you take a burst of images in quick succession which you can then pick out the best from.
 

Framing

Don't think your subject has to always be slap-bang in the middle of your frame. By positioning them slightly off centre you'll create a much more striking composition.

If you want to try photographing your subject so they are looking out of frame do leave some 'looking space' as it creates a more pleasing shot and your subject won't look like they're squashed into a small frame.
 

My Shot's Too Dark Or Light

If you're shooting on auto and find the balance of highlights and shadows isn't right there are a few things you can do to correct it. If the face is too washed out, set a faster shutter speed or smaller aperture. This could mean switching to sports mode if your compact has one so it knows you want to use a quicker shutter speed. If the detail is too dark set a slower shutter speed or wider aperture.

If your camera has exposure compensation, check your manual if you're unsure, set it to -1 or -2 for shots that are washed out and +1 or +2 for shots that are too dark.
 

Post-Production

There are a few free pieces of editing software available such as Gimp or you could purchase Photoshop Elements which isn't quite as expensive as the CS range. Cropping, playing with tools such as Dodge & Burn, adding vignettes and turning shots to black & white are all things you can do during post-production to enhance images. Take a look at ePHOTOzine's technique section for more tips and tutorials on this subject.

Photo by Peter Bargh. 

Shooting images of everyday objects at home is a great way to improve your creativity and to put your imagination to work. But first you need to establish exactly what your photograph's going to be used for. On some occasions just showing what the product looks like, the height, depth etc., will be enough, but most of the time you need to really sell the product. Take a pen for example, you can just put it on a plain background and take a perfectly good shot of it but if you introduce a writing pad and shoot it on an old wooden table you begin to create a story, adding interesting and as a result, the shot will be more attention-grabbing.

You can't take a brilliant photograph if the product looks sub-standard to start with so always ensure your product and any other props you're using are clean and looking their best.

Good lighting is the key to a good product shot so set up in a room that's well lit and avoid harsh, direct flash at all costs. If you have one, a light tent can help soften the light and reduce shadows and reflections but a simple bit of muslin or a net curtain put up against your window will soften the light if you don't. Using a white card or white balancing your shot in-camera will also help your shot but if you shoot in RAW, this can be altered later during post-production.

Here are a few examples to try:

• Book and reading glasses
• Coffee beans spilling out in front of cappuccino cup or from a jar
• A full cup on a table
• Pen and crossword
• Fruit in front of jar of jam

Don't forget to post your creations into the gallery so we can see your hard work!

Light is one of the most crucial elements of photography. Without it, there can’t be a picture. I never skimp on lighting equipment and have used Profoto equipment since the dawn of my career. This Black Friday, it’s cheaper than ever — here’s why you shouldn’t miss out.

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