A short time ago we featured some helpful advice from Nigel Danson on preparing yourself and your gear for capturing spectacular images during the beautiful autumn season. In this follow-up video, Danson offers seven great shooting tips for fantastic fall photos.
We’ve all been there: You shoot what you think is a really nice photograph, and then you get home, look at the image on a computer, and realize you overlooked a bothersome element in the scene. The culprit could be a bit of distracting foreground litter, or the proverbial telephone pole growing out of a subject’s head,
It’s entirely possible that this particular light display happens frequently in a particular Mission Viejo, California, house. It’s also very likely it attracts no attention. But on a certain April day in 2016, G. Dan Mitchell was in the house, and that made all the difference.
Not long ago we featured a tutorial from photographer Evan Ranft describing composition mistakes that cause “eyeball confusion” in photos. In this latest video, Ranft demonstrates four more common errors that can ruin an otherwise great cityscape image.
We regularly share helpful tutorials from portrait photographer Manny Ortiz. In this behind-the-scenes photoshoot, Ortiz reveals his two favorite lenses—a fast 55mm f/1.8 and a high-speed 85mm f/1.4.
Q. I read that Google is no longer supporting the Nik Collection of plug-ins and I’m afraid that one day soon my beloved plug-ins will stop working. Do you think Google will reconsider and update the plug-in if a Mac or Windows update (or Photoshop or Lightroom) breaks it?
This morning we posted a story suggesting that high-quality vintage lenses often outperform modern mid-level or kit lenses when used with adapters on the latest DSLRs. The video below illustrates a possible exception to the rule, in the form of Canon’s inexpensive and versatile EF 50mm f/1.8 STM.
You’d be hard-pressed to come up with three digital cameras more different from one another than the Canon EOS M5, the Fujifilm GFX 50S, and the Canon EOS 5D Mark IV. The first is an affordable, compact mirrorless camera, the second is a 50MP medium format mirrorless model, and the third is a big and powerful pro DSLR.
Serious photography can be seriously expensive, especially for those who update their cameras often and insist on carrying a bag loaded with premium glass. But here’s a secret for photographers on a budget: For the same money (or less), you can often achieve far better results with a high-quality vintage lens, than by “saving money” on a modern mid-level or kit lens.
Most of us occasionally shoot portraits at home, and in the absence of a real studio rely upon a white wall as the backdrop for our shots. For those on a budget, wouldn’t it be nice to do something more dramatic without spending money on a custom backdrop or fiddling around with Photoshop?
One of the more interesting developments for photographers over the past few years is the increasing availability of excellent manual focus lenses from independent optics manufacturers that are designed for use with modern digital cameras.
I’ve known John Hartman for many years. He is regarded in the industry as not only an outstanding photographer but also one of the hardest working and most successful photographers in the portrait world.
Film photographers from yesteryear, as well as today’s 35mm hipsters, have eagerly awaited Yashica’s triumphant return to the digital era with a widely teased camera promising “a journey to the truth.” But now that the camera is here, it’s a major letdown—at least for me..
Sooner or later every avid street photographer makes a simple but important realization: If you always point your lens straight ahead, you’re missing out on a whole realm of dramatic angles and interesting compositional opportunities.