As my love for photography has increased over time, so has my love for manual focus lenses. Lenses such as the Samyang 135mm f2 provide unsurpassed sharpness and image quality, at a price much lower than its autofocus counterparts. Often you also save weight and size when switching to a manual lens. I switched my Sigma 35mm f1.4 ART for a Voigtländer Ultron 35mm f1.7, and got a lens that was just a fraction of the weight and size while maintaining comparable image quality and low light performance. Not to mention the joy when using manual lenses – the fact that you are forced to pause for 2-3 seconds whenever you take a photo, forcing you to consider the composition for a moment, often with better photos as a result.
Layers on layers on layers on layers …. I’ve been working on this image for far too long, just long enough, but also not nearly as much as I’d like to? Needless to say, I put a lot of time and love into this edit and really really enjoyed the process of adding in the countless tiny details.
To be honest, it took some major restraint on my part to finally call it “done” and move onto the next project. Seriously though, people – I feel like I could continue to zoom way in and refine/add more details for-EVAH. Which is exactly what I’d like to talk about today: taking your time and adding more details!
As a photographer, I’m asked to do some strange things sometimes, and I’m always up for the challenge!
I started getting into photography 3 years ago when my wife told me she wanted some good photos of our kids as they were growing up. She got me a Samsung NX500 camera and I fall in love with photography, teaching myself everything I know from watching YouTube videos.
I’ve done weddings, engagements, maternity, newborns, seniors, family’s, kids, products, businesses, and fashion. Most of what I do includes portraits.
I’m always pushing myself to try new things and I love to be challenged. I’ve found that experience is the best way to learn. So when someone asks me to do something I’ve never done before, I jump right in!
I love creating images with plenty of story and I need to use certain techniques to get the light the way I want. On location I use limited gear, usually two Einchrom ELB400 which I use to create interesting light to my subjects and the environment.
My most used composite image technique is where I combine multiple exposures into one seamless image. Camera is fixed on a tripod, I have selected the composition and framing of the image, fixed the focus and selected the aperture to use. When these elements have been fixed I cannot change them anymore when I start shooting.
I make a lot of screen recordings that I need to edit quickly. With someone who doesn’t have a lot of video experience, I did my best to learn the basics of Premiere. Being that it was a foreign program, there wasn’t much familiarity. About the same time, I came across this video from Scott Kelby that showed me it was possible to edit video in Photoshop. It has most of the basic tools you’d need, and you use adjustment layers for grading!
As some of you already know, I recently developed and released a brand new lighting workshop called Creatively Simple Lighting. In that workshop, one of the core foundations of what I teach is how to get creative with simple lighting and simple lighting doesn’t get any simpler than when you use Speedlights. At their most basic, Speedlights can simply sit on top of your camera and illuminate whatever is in front of you. If you want to get a little more creative however, the first thing to do is to get that flash off your camera and step into the vast world of off-camera flash.
Off-camera flash is where it gets interesting and it’s very easy to throw a cheap softbox on your speedlight and take some pleasant yet fairly basic shots. So how do we make it a little more engaging without spending a fortune? Well, as part of my workshop I wanted to prove that all the setups I was teaching could be achieved with a couple of Speedlights and some very basic modifiers. The following article is the result of me dusting off my Speedlights and playing with some homemade modifiers to see if I could create some engaging and creative effects without it costing me a penny.
When I began posting my photos online, I started getting comments like ‘wow, you must have a great camera’ or ‘anybody can take photos like these with expensive gear’ or ‘I can’t take photos like these because I can’t afford an expensive camera like yours’. It breaks my heart when I hear people say things like this. Or when they feel like they can’t get any better or they don’t have a chance because they have a cheap camera.
So I had enough of these comments and decided to prove them wrong by finding the cheapest camera and lens I could find and take some photos with them!
There are several good lens options for macro photography. You could use extension tubes combined with a normal lens, which gives you some magnification. Or even better, you could reverse a normal lens, which combined with extension tubes gives even more magnification. The most convenient and flexible option though, especially for a beginner within macro photography, is to get a dedicated macro lens.
The most popular models come in focal lengths between 90-105 mm, and have 1:1 magnification. There are also shorter focal lengths such as 50 or 60 mm, but these have shorter working distances, which means you have to get very close to your subject, risking to scare it away. 1:1 magnification means that when you focus as closely as possible, your subject is as big on the sensor as it is in real life. So if you have a full frame sensor of 36×24 mm, it means that any insect you want to shoot that is 36 mm long, just about fits in your picture.
I’m in the market for a new camera. Here are 5 things I am considering before I make a purchase.
I have been a very happy Sony customer for the last 2+ years. My A7R continues to serve me well. I am inching closer to an upgrade. I know the A7RII is an awesome camera. I’ve read the reviews. There are photographers I follow and respect that rave about it. I’ve held it in my hands and it feels good. And there’s the recently rumored A7RIII.
However, I must also consider the “surround” that goes with a new camera body. Especially when a new camera body means an increase in megapixels. Higher megapixels come with a cost. I think we photographers often fail to consider the ripples of a new camera body.
There is more to the decision than just the camera body. That’s what prompted me to write this post. So let’s go.
With the release of the new HERO6 Black, GoPro continues to advance and refine what we can expect out of an action camera. Released just one year after the HERO5 Black, the HERO6 Black has all the right upgrades in all the right places.
First, let’s look at what hasn’t changed. The HERO6 retains the same small design with rounded corners as last year’s model, along with the 2 button layout and the 2″ touch screen on back. It also has the same 12MP resolution as the HERO5. It is still waterproof down to 10 meters without the need for a separate housing. It even continues to use the same 1200mAh battery as the HERO5. In fact, the only way to tell the difference between the two cameras is by the vertical “HERO6” on the lens side of the camera.