[Photography] dPS Weekly Photo Challenge – Embrace The Shadows

The post dPS Weekly Photo Challenge – Embrace The Shadows appeared first on Digital Photography School. It was authored by Sime.

Photography is all about capturing light, but what if we shift our focus to the shadows? For this week’s challenge, we’re diving into the world of “Embrace the Shadows.” Shadows can add depth, mystery, and emotion to your photos, transforming ordinary scenes into something extraordinary.

Make sure you include the hashtags #dPSWeeklyChallenge and #dPSEmbraceTheShadows in your post, here in the comments or over on social media. You can tag us on Facebook, Instagram or Twitter!

Why Shadows?

Shadows tell a story. They can highlight textures, create dramatic contrasts, or even form intriguing shapes that lead the viewer’s eye. Whether it’s the long shadows at sunset, the delicate interplay of light and shadow on a face, or the abstract patterns created by everyday objects, shadows can bring a new dimension to your photography.

How to Get Started:

1. Look for Contrast: Find scenes with strong light sources that cast distinct shadows. Early morning and late afternoon are perfect for this.
2. Experiment with Angles: Change your perspective to see how shadows shift. Shooting from a low angle can make shadows appear longer and more dramatic.
3. Focus on Details: Sometimes, the beauty lies in the details. Zoom in on the patterns or textures created by shadows.
4. Play with Black and White: Stripping away color can emphasize the interplay between light and shadow, giving your photos a timeless quality.

Challenge Rules:

Get out there, find your light, and embrace the shadows. We can’t wait to see the stories your shadows will tell!

• Submit up to three photos.
• Use the hashtag #dPSEmbraceTheShadows.
• Deadline: September 13th

Make sure you include the hashtags #dPSWeeklyChallenge and #dPSEmbraceTheShadows in your post, here in the comments or over on social media. You can tag us on Facebook, Instagram or Twitter!

Find all of our previous weekly challenges here.

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

The post dPS Weekly Photo Challenge – Embrace The Shadows appeared first on Digital Photography School. It was authored by Sime.

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[Photography] 7 Fascinating Photography Facts You Probably Didn’t Know

The post 7 Fascinating Photography Facts You Probably Didn’t Know appeared first on Digital Photography School. It was authored by Megan Kennedy.

Looking for fun, compelling, or even weird photography facts? You’ve come to the right place.

Photography has a long and fascinating history full of interesting events, items, and people. In this article, we share seven photo-related facts that are guaranteed to impress, including tidbits on cameras, photographic words, the most-viewed image ever created, and more.

Let’s dive right in!

1. It’s all in the name

We use terms like “photography” and “camera” all the time, but where do these words actually come from? And when were they created? Our first photography fact hearkens back to the origins of many of the words we photographers use today.

The term “photography” actually originates from the Greek words “photos” and “graphé.” “Photos” translates as “light,” while “graphé” means “drawing” (or, more literally, “a representation by means of lines”). When used in conjunction, the two words mean “drawing with light.” The original coining of the word “photography” is generally attributed to Sir John Herschel in 1839.

And the word “camera”? It comes from the Latin term “camera obscura,” which means “dark chamber.” The term originally described a means of projecting an external scene onto a flat surface in a dark room or box, which was then used to aid painters with perspective and scale.

In fact, the camera as we know it today actually evolved from the camera obscura configuration. Early photographers simply placed light-sensitive materials at the back of a camera obscura, then waited as an image was produced. Over time, cameras became more sophisticated and portable, but elements of the original camera obscura still remain!

2. “Kodak” is a nonsense word

Speaking of words, did you know the term “Kodak” is simply made up? The company founder, George Eastman, favored the letter “K” because he believed it was a “strong, incisive sort of letter.”

Then, using an anagram set, Eastman and his mother came up with the name “Kodak.” When devising the phrase, they used three principles:

1. The word needed to be short
2. The word needed to be easy to say
3. The word needed to be unlike any other name or association

As Kodak cameras became more popular, the word “Kodak” – or rather the phrase “Kodak moment” – was used to describe occurrences that seemed ideal for a photograph.

Unfortunately, despite its initial success, Kodak’s popularity didn’t last. In 2012, the company filed for bankruptcy; in the years that followed, Kodak sold its photography patents and shed its camera business. And while you can still find Kodak cameras on the shelves, they aren’t made by Kodak; they’re simply part of a licensing deal that takes advantage of the Kodak name.

3. The first selfie?

Self-portraits are commonplace today; we even have selfie sticks and front cameras for easy framing! But did you know that the photographic selfie dates way back to 1839 (the year in which photography was first unveiled to the world)?

Robert Cornelius, a lamp manufacturer with a keen knowledge of chemistry and metallurgy, took on the task of perfecting an early photographic process, the daguerreotype, alongside chemist Paul Beck Goddard.

In 1839, Cornelius decided to turn the camera on himself. While the daguerreotype created surprisingly sharp images, exposure times were very long, at least initially – so Cornelius was forced to sit perfectly still for around 10 to 15 minutes. The resulting daguerreotype depicted an off-center rendering of Cornelius, the oldest-known, intentionally created photographic self-portrait.

4. The Blue Marble

While there are many Earth-focused photography facts, you can also have plenty of photo-knowledge fun with facts from extra-terrestrial adventures.

Taken in December 1972, The Blue Marble was captured by the crew of Apollo 17 on their way to the Moon. The picture was taken a whopping 18,000 miles (29,000 kilometers) from the surface of the Earth and is the first photograph to depict the entirety of our planet from space. The photograph subsequently became one of the most reproduced images in history; it also inspired and was used by countless activists in the environmental movement.

And just so you can have a bit of extra space-photography knowledge: Do you know what happens to cameras that are taken to the moon?

Hasselblad cameras have captured some of the most iconic images in history, including astronauts’ first steps on the lunar surface. However, due to weight restrictions, not all the cameras that have embarked on moon missions have made it back to Earth. To this day, up to 12 Hasselblad cameras remain on the Earth’s only natural satellite!

5. Photobooks are old

When was the first photobook released? 1950? 1900? 1880? Nope!

Photobooks have a rich history in photography, and Anna Atkins, a British botanist, seems to have started it all. Atkins learned early photographic processes from Henry Fox Talbot (who, incidentally, is the inventor of the calotype, one of the original photographic processes and rival of the daguerreotype). Atkins is also one of history’s first female photographers.

Atkins documented botanical specimens using the blue-tinted cyanotype process. She then compiled her cyanotypes into the 1843 publication of Photographs of British Algae: Cyanotype Impressions. From 1843 to 1854, Atkins produced several volumes of her Cyanotype Impressions series. Only 17 copies of the work still exist.

6. The most-viewed photograph ever

I’ve seen it! You’ve seen it! We’ve all seen it! Captured by former National Geographic photographer Charles O’Rear in 1996, Bliss depicts rolling green hills and a semi-clouded blue sky in Sonoma County, California. In 2000, Microsoft bought the rights to the image; the company then used the image as the default computer wallpaper for the Windows XP operating system.

The success of Windows XP and its corresponding marketing materials has led most researchers to agree that Bliss is the most-viewed photograph of all time. Even O’Rear himself conceded that he would probably be best known for the shot, claiming that “anybody now from age 15 on for the rest of their life will remember this photograph.”

Despite its surreal appearance, Bliss isn’t manipulated. O’Rear captured the photo using a medium-format camera on film. He said: “I think that if I had shot it with 35mm, it would not have nearly the same effect.”

7. Cameras aren’t eyes…right?

Here’s your final fascinating photography fact:

The camera lens and the eye have a lot in common – more than you might realize!

You see, all lenses have an aperture, the diaphragm through which light passes. Therefore, a camera lens can restrict the amount of light that reaches the camera sensor by adjusting the diameter of the aperture opening. Smaller apertures, such as f/8, let in very little light, while wider apertures, such as f/1.4, let in lots of light:

The wider the aperture, the more light that hits the camera sensor. Wider apertures also produce a narrower depth of field and hence stronger background blur effects.

And our eyes are the same! In the eye, the iris does the same job, relaxing and constricting muscles to regulate the amount of light entering the eye. When you move between light and dark environments, the iris in your eye expands or shrinks to alter the size of the pupil.

Interestingly, the human pupil expands to around 7 mm in diameter. This equates to around f/2.1, though the pupil narrows down to around f/8.3 in very bright light.

Fascinating photography facts: final words

Well, there you have it:

Seven photographic facts to impress family, friends, and more! As you can see, photography is full of amazing facts; if you have the time, see if you can share them all.

Now over to you:

Do you have a favorite photography fact? A fun fact I haven’t mentioned in this article? Share it in the comments below!

The post 7 Fascinating Photography Facts You Probably Didn’t Know appeared first on Digital Photography School. It was authored by Megan Kennedy.

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[Photography] White Balance in Photography: The Essential Guide

The post White Balance in Photography: The Essential Guide appeared first on Digital Photography School. It was authored by Darren Rowse.

White balance. It’s a term that’s thrown around a lot in the world of photography, yet it’s unfortunate how many photographers are left scratching their heads when trying to explain or understand it.

Because here’s the thing: if you want to capture a scene as the human eye perceives it, then white balance should be on your radar. Mastering white balance, both during your shoot and in post-processing, can be the key to more natural-looking photos.

Therefore, in this article, I’m going to share everything you ever wanted to know about white balance, including:

• The white balance camera settings you should use for consistently good results
• How white balance can instantly improve your shots
• How you can use white balance for gorgeous creative effects in your photos

I’m also going to explain key related terms, such as color temperature, white balance presets, and more.

And I promise you: by the time you’ve finished this article, you’ll be an absolute WB expert! Let’s get started.

What is white balance in photography?

White balance refers to the process of removing or neutralizing color casts in your images – because at its core, white balance is about ensuring the colors in your photograph appear as they do in real life.

You see, different light sources emit light with various temperatures and/or tints. Ever noticed how a photo taken under fluorescent lighting sometimes has a blueish hue? Or how shots by candlelight can seem overly warm or yellow? That’s the effect of these different light sources on your images.

Since photographers often want to produce images that look natural, white balancing involves carefully adjusting your camera settings or editing tools to counteract these color casts. It’s about taking an image like this, full of distorted, too-blue colors:

And adding warm colors until you balance out the color cast, so you get a final result like this:

You might be wondering: If lights have such strong color casts, how come I never notice them?

It’s a good question with a simple answer: human eyes are pretty good at correcting for color casts in real time, but a camera captures the subject as it looks in life. Sometimes, the subject will have neutral tones, but other times it’ll be very blue (as in the pear photo above) and sometimes very yellow (as in the pear photo below). In both the blue and the yellow cases, white balancing is necessary to create a neutral image.

Here’s a too-yellow pear photo, which requires significant cooling during the white balancing process:

Note that, during white balancing, you’re adjusting the colors along two spectrums:

• The blue-yellow spectrum, also known as the color temperature
• The green-magenta spectrum, also known as the color tint

In general, natural light only requires correction along the blue-yellow spectrum, but certain types of artificial lighting may produce a noticeable color tint, in which case you’ll need to correct for that, too.

Color temperature explained

The bulk of white balancing in photography consists of color temperature correction. You’re correcting for a cast produced by the color temperature of the light, which lies along the blue-yellow spectrum.

Think of it this way: some light sources exude a more yellowish glow, while others lean towards a bluish hue. When we encounter the former, it’s termed a “warm” color temperature. Conversely, the bluish tint signals a “cool” color temperature.

Photographers refer to different color temperatures using the Kelvin scale. Warmer color temperatures, such as those produced by a candle flame or a setting sun, have a low Kelvin value, such as 3000 K. Neutral color temperatures, such as midday sunlight, have a medium Kelvin value – around 5000 K. And cooler color temperatures, produced by clouds or shade, have a high Kelvin value of 6000 K and beyond.

Cooler light has a high Kelvin value? Warmer light has a low Kelvin value?

Yes, you read that right, and it can be confusing, especially if you’ve never encountered the color temperature scale before. But you’ll get used to it over time (and it can help to think of the color temperatures as simply the opposite of what you’d expect).

Why is white balance important?

Color casts cause a couple of problems in photography.

First, they prevent you from capturing accurate, true colors in a scene. If you want to photograph a beautiful red sunset exactly as it appears to your eye, you’ll need to neutralize any color casts; otherwise, your image won’t match the real-life conditions you experienced.

This can also be an issue if you’re doing product photography or real-estate photography, where the goal is to portray the subject as true to life as possible.

Second, color casts tend to look bad. They can mess with portrait skin tones, they can create muddy shadows and sickly highlights, and they can create unwanted moods in your photos.

As I explain later in this article, you can use a color cast for creative effect – but it’s important that you do this carefully and deliberately, rather than as a failure to properly white balance a scene. Make sense?

The two white balancing methods

You can adjust the white balance of your images in two broad ways:

1. In camera, before taking a shot
2. Afterward, in post-processing

Both approaches can work, but there are some important caveats to keep in mind:

In-camera white balancing

Most cameras allow you to adjust your white balance settings before ever taking a photo.

For instance, you can select a white balance preset (such as Tungsten, Flash, Cloudy, etc.), which allows your camera to roughly understand and compensate for the lighting conditions.

Some cameras also allow for a custom white balance. Here, you simply dial in a Kelvin value (remember the color temperature scale I shared above?). A high Kelvin value will balance out cooler light and a low Kelvin value will balance out warmer light.

Your camera may even be capable of white balancing off a gray card. Put the gray card in front of your camera, select the right function in the menu, take a picture, and – voila! – your camera will create an accurate color temperature profile of the scene.

But while these white balance options allow you to handle color casts in the field, they come with some drawbacks:

1. Unless you’re in an enclosed environment, the light will likely change over the course of your shoot. You’ll need to periodically update your white balance preset or redo the gray card process as the sun goes behind clouds, as it sets, etc.
2. White balance presets, while easy to use, are only approximate. They often won’t produce a perfect result.
3. If you’re shooting action from a distance, taking a gray card reading is impossible.

That’s why some photographers prefer a different method of white balancing:

White balancing while editing

White balancing in post-processing is pretty simple:

Just set your camera to its Auto White Balance function when out shooting.

Then, when you get back home, open your photos in your editing program of choice.

Most editors offer a similar process, which involves using the white balance eyedropper to identify a neutral tone and fine-tuning via the Temperature and Tint sliders. (Below, I give a step-by-step process for white balancing photos in Lightroom.)

You can white balance each photo individually, or you can create a white balance adjustment for one (or a handful) of photos, then sync the adjustment across the entire set.

After-the-fact white balancing is nice, but like in-camera white balancing, there are a few points you need to keep in mind.

1. You’ll need to set aside extra time in post-processing to do your white balancing. And while you can save time with batch processing and presets, if you’re capturing lots of images under different lighting conditions, you may prefer the relative ease of in-camera white balancing.
2. Unless you take photos with a gray card in the frame, you may struggle to get a perfect white balance result with editing. In many cases, that’s fine – the color cast may be barely perceptible – but if you’re photographing products, your client may require literally perfect colors.
3. For complete white balancing flexibility in editing, you must shoot in RAW. While JPEGs allow for some white balance adjustments, you’ll be limited an often-unacceptable amount – whereas RAW files let you completely set and reset the white balance.

So while post-processing and in-camera white balancing are both serviceable, you’ll ultimately need to choose the option that works best for you.

How to white balance using in-camera presets

While white balance presets aren’t the most accurate way to color correct, they’re an easy way to get started (and if you’re simply capturing photos to share on social media, they may be all you require).

Simply pull up your in-camera white balance menu. You should see several presets, such as:

• Sunny, which works for mid-morning and mid-afternoon sun
• Shade, which works for scenarios with heavy shade (e.g., portraits under a tree)
• Cloudy, which works for outdoor scenes featuring overcast lighting
• Flash, which works for scenes lit by standard off-camera speedlights and pop-up flashes
• Incandescent, which works for indoor scenes lit by standard warm bulbs
• Fluorescent, which works for indoor scenes lit by fluorescent bulbs

Then pick the preset that most closely matches the lighting conditions you’re experiencing and start taking photos! You will need to pay close attention to the light as you continue shooting; if it changes significantly, you should switch presets to reflect the new conditions.

How to white balance your photos in Lightroom

Lightroom color correction is a quick and painless process.

First, open an image in the Develop module, then find the WB section on the right-hand side:

Next, select the Eyedropper icon:

Then click on a part of your image that should look a neutral gray or white. (Don’t be afraid to click in a few different places, especially if you’re not sure what counts as “neutral.”)

If you can’t find a neutral area to sample, or you don’t like the results, you can always head over to the Temp and Tint sliders:

You probably won’t need to adjust the Tint slider much, but feel free to drag the Temp slider back and forth until you get a neutral image.

How to creatively use white balance for different effects

While it’s always important to start by color correcting your photos, you can sometimes enhance images by deliberately pushing the white balance in the wrong direction. This generally works best when applied in a post-processing program, not in camera (though you can technically do it either way).

The idea here is simple:

By applying a too-cold white balance to your photos, you can create a somber, moody effect.

And by applying a too-warm white balance to your photos, you can create a welcoming, inviting, even nostalgic effect.

I don’t recommend you push the white balance too far – at some point, your photos may look unnatural – but a bit of cool or warm color is often nice when added carefully.

Note that you can also use an “incorrect” white balance to exaggerate the conditions of the scene. Adding cool hues will give images a shady or night effect, while adding warm hues will give images a sunrise or sunset effect. Again, use this technique with care. It’s easy to go overboard and end up with garish, unpleasant results.

White balance in photography: final words

Now that you’ve finished this article, you’re ready to start adjusting the white balance in your photos so you can capture truly lifelike, authentic images.

Remember, however: don’t be confined by the idea of “correctness.” As with many elements in photography, white balance can also be a tool for artistic expression. Explore, experiment, and embrace the power of white balance to transform the mood and atmosphere of your shots.

So go out with your camera. Practice working with white balance. And make your images shine!

Now over to you:

What do you think about white balance in photography? Do you have any tips for improving your results? Share your thoughts in the comments below!

White balance FAQ

Why is white balance important in photography?

White balance ensures that the colors in your images are accurate and natural. Incorrect white balance can lead to color casts, detracting from the image’s overall quality and authenticity.

What is the difference between white balance and color temperature?

White balance compensates for the color casts produced by either color temperature or color tint shifts. On the other hand, color temperature specifically refers to where the light falls on the blue-yellow spectrum.

How do I know if my white balance is correct?

The simplest indication is when the colors in your image appear natural and true to the scene!

Can you adjust the white balance in post-processing?

Yes, you can. Many editing software options allow for white balance adjustments, giving photographers the flexibility to refine the white balance even after a shot has been taken.

The post White Balance in Photography: The Essential Guide appeared first on Digital Photography School. It was authored by Darren Rowse.

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[Photography] Lightroom Star Ratings: A Quick Guide

The post Lightroom Star Ratings: A Quick Guide appeared first on Digital Photography School. It was authored by Ian Johnson.

Let’s face it: Sorting and culling your pictures after a shoot can feel like a never-ending task. Whether you’ve spent a wild weekend capturing wildlife or a bustling day capturing a wedding, sifting through hundreds or even thousands of photos to figure out which ones to keep, edit, and store can drive you crazy.

Fortunately, Adobe Lightroom’s star-rating system is a superhero tool that helps you efficiently organize and store your precious images. If you’ve been struggling to keep your photos well-managed, then it’ll be an absolute game-changer – as long as you know the right approach.

In this article, I’ll explain everything you need to know about using star ratings in Lightroom, including what star ratings are and how they work, plus some handy tips and tricks to keep your workflow fast and efficient.

Ready to get your photos organized? Let’s dive right in!

What are Lightroom star ratings?

Star ratings refer to one of Lightroom’s handiest image organizational features: the ability to apply a rating (from 0-5) to each and every image in your catalog.

The star rating option will appear underneath your photos in the Library module:

You can click to apply a rating (and if you choose a rating by mistake, you can always click on the stars again to remove it).

You can also apply star ratings in Grid View. Simply click the dots at the bottom of a photo:

And you’re done! Note that you can always use the Lightroom Sort option to sort photos by rating:

Or you can filter based on specific ratings (e.g., 3 stars and above):

How to improve your workflow with Lightroom star ratings: 4 tips

Star ratings have the power to revolutionize your editing process. In this section, I’ll share a handful of valuable tips to supercharge your workflow, starting with:

1. Embrace the magic of hotkey stars

Earlier, I talked about assigning ratings by clicking on the corresponding stars underneath your images. And sure, it’s an effective approach – but did you know that you know you can assign star ratings from 0 to 5 using your keyboard? These awesome hotkeys are what make the star rating system incredibly convenient.

In fact, if you have hundreds of photos to edit, this can dramatically cut down your time spent in Lightroom. Simply open an image in the Loupe View, press a hotkey to assign a star rating, then press the right arrow key to advance to the next file. You can blow through entire batches of images in seconds!

And if you want to go even faster, enable Lightroom’s Auto Advance feature by selecting Photo>Auto Advance. That way, once you rate an image, you won’t even need to press an arrow key; the program will automatically advance to the next photo.

2. Use star ratings to prioritize your photos

So you’ve just imported a bunch of photos, whether they’re wildlife shots, wedding moments, sports highlights, or captivating portraits. Now comes the burning question: Which ones are worth keeping? When you’re out in the field, you may capture multiple shots of similar subjects in slightly different settings or poses. At a wedding, for instance, you’ll have tons of dance photos, but only a select few will make the final cut.

This is where the star rating system swoops in to save the day. By assigning different ratings depending on the quality of each image, you can quickly categorize your shots and make sure that the best photos get shared and edited and the worst end up in the “delete” pile.

There’s a lot going on during a wedding. And when the day is over, you need to import the photos, then choose which you’ll keep, which you’ll develop, and which you’ll delete. Lightroom’s star ratings can help you out!

(By the way, here’s why I prefer the ratings system over the flag system: With star ratings, you get to be far more granular. Not only do you select the images to edit and delete, but you can also identify which images to edit first and which to edit down the line. You’re not limited to the binary “yes” and “no” of the flags.)

Now, you can assign rating values that align with your personal preferences, but here’s a suggestion: Let “0” (no rating) be your delete category. Then, designate “1” as the keep-but-low-priority-for-editing category—these could be your b-roll shots for applying general presets. Then, when you set an image to “2,” you’re saying it deserves immediate development, and when you assign a “4,” you’re signaling that it’s one of your absolute best shots. This tiered rating system ensures you only have to go through your images once – and ideally not more than twice. Trust me, it’s a massive time-saver, especially when you’re dealing with a large volume of files!

Quick note: I strongly advise against using “5” in your workflow. Reserve that rating exclusively for your top-notch, highest-quality images.

Once you’ve rated your shots, go ahead and sort them by rating. Then dive into the editing process as needed!

3. Use Smart Collections to create a portfolio

No doubt you’ll capture some amazing shots that you’ll be proud of and will want to keep for future reference, printing, or showcasing in your portfolio. As I mentioned earlier, these exceptional images deserve a five-star rating. (Remember: Only a select few shots should achieve this!)

To gather all your best shots in one place and create a stunning portfolio, Lightroom offers a nifty feature called Smart Collections. Think of it as your personal assistant that automatically gathers all images in your catalog with a specific attribute.

Here’s how you set it up: In the Collections tab, choose the Plus icon, then select Create Smart Collection:

Next, give your Collection a name (such as “Portfolio”), and add some selection criteria. You can base it on any attribute you assign in Lightroom – whether it’s stars, flags, keywords, or more. In our case, we want to collect images with a five-star rating, so we’ll create a single rating rule:

Finally, hit Create, and watch as your Smart Collection – with all your five-star images – appears!

As you continue your photographic journey, your five-star collection will keep growing, beautifully documenting your progress and telling your unique story!

4. Use stars to categorize subjects

This method of using star ratings is quite unique, but it can work wonders, especially if you’re keen on keywording your images.

Imagine you’re a bird photographer. Throughout the day, you’re constantly switching subjects, photographing different bird species left and right. When you import those images into Lightroom, the daunting task of keywording awaits you. Well, fear not! The star rating system comes to the rescue, making it a breeze to sort through your feathered friends in no time.

Here’s how it works: Mentally assign star ratings to particular species, and then use hotkeys to swiftly assign the corresponding star rating to each image. Once you’re done “coding” your species with stars, simply filter them in Grid View.

Now you can focus on completing your keywording, knowing that you’ve effortlessly organized your shots. And if you want to remove the star ratings afterward, it’s as easy as highlighting the images and pressing the “0” key.

Note that this technique isn’t limited to bird photography alone; you can apply it to various photography scenarios!

The diversity of birds creates a diversity of shots. If you ever hope to find your images again, you need to keyword your collection. I used star ratings assigned to different species to help sort them and keyword them.

Lightroom star ratings: final words

Lightroom star ratings are like the secret sauce to streamlining your photo editing game. With just a few clicks, you can assign ratings to your images. That way, your photos will be neatly organized and ready to be edited. No more endless scrolling through folders and scratching your head trying to remember which shots were your favorites.

So embrace the power of Lightroom star ratings. Let them be your guiding stars in the vast universe of digital images. Take control of your workflow, save precious time, and unleash your creative genius!

Now over to you:

How do you plan to use Lightroom ratings? Share your thoughts in the comments below!

The post Lightroom Star Ratings: A Quick Guide appeared first on Digital Photography School. It was authored by Ian Johnson.

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[Photography] 8 Things to Consider Before Buying a Camera Lens

The post 8 Things to Consider Before Buying a Camera Lens appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

Are you thinking of purchasing a new lens for your camera? Read this article first.

Buying a camera lens is hard. You have to sort through an overwhelming number of options, all offering different features and price points. It’s enough to make anyone panic – even professionals!

Fortunately, I’ve bought plenty of lenses over the course of my photographic career. I’ve made mistakes, but I’ve learned from them. And over time, I’ve identified the key points that every lens buyer should keep in mind while shopping.

So without further ado, let’s explore the 8 items you should consider before hitting that “Purchase” button!

1. How much do you have to spend?

Everybody’s budget is different, and the amount of money you’re looking to spend determines which lenses you can (and can’t) consider.

So stop right now, and think about your ideal lens price. Is it $300? $500? $1000? $5000? No matter the figure, hold it in your mind as you read the rest of this article.

My personal approach is to own the smallest possible number of good-quality lenses. I don’t like to overbuy; I’d rather have 3 incredible lenses than 10 mediocre ones. Yes, each of my 3 top-notch lenses will cost more, but I’ll break even in the long run. And inevitably, my current lens purchases will affect my future lens purchases, so I like to get it right from the beginning.

Think about the setup you want to own. Then, while you’re shopping, remember the big picture. Ask yourself: How does my next purchase fit into the plan?

This can lead to a big shift in your desire to buy lenses. If you know your budget from the outset and you know the type of setup you’re looking to achieve, you can stay laser-focused on your goals (instead of getting distracted by flashy features and focal lengths that you don’t actually need).

2. Do you need APS-C or full-frame lenses?

Most manufacturers offer different lenses for APS-C and full-frame cameras, which can make lens buying pretty confusing.

First, bear in mind that all lenses designed for full-frame cameras will also be compatible with APS-C cameras. So if you own an APS-C camera, you can basically purchase any lens from your manufacturer’s lineup and use it successfully.

However, lenses designed specifically for APS-C cameras won’t be compatible with full-frame cameras. So if you own a full-frame camera, you’ll need to avoid these lenses. Also, if you own an APS-C camera and you purchase a lens specially designed for crop-sensor models, you won’t be able to use that lens on a full-frame camera if you eventually decide to upgrade.

So you must ask yourself: What lens type is right for me?

Here’s my recommendation: Decide in advance whether you ever plan to use a full-frame camera. If you do expect to go in that direction, only purchase full-frame lenses. Otherwise, feel free to consider APS-C lenses.

Note: APS-C lenses do come with some major advantages: they’re often less expensive, smaller, and lighter. But the optics can be on the weaker side, so be sure to read reviews before you buy.

3. Don’t fall into the focal-length trap

The focal-length trap has caused problems for many a photographer. Don’t let it get you, too!

You see, the focal-length trap is the belief that you need lenses covering every conceivable focal length.

If you already own an 18-55mm lens and want to buy a telephoto zoom, you might therefore believe you should avoid a 70-200mm lens (which is often an outstanding choice, by the way!), and that you should instead purchase a 55-200mm lens – so that you have lenses spanning all the way from 18-200mm with zero gaps.

And if you already own a 24mm prime and a 50mm prime, you may believe you should buy a 35mm prime so you can fill the gap.

This is a mistake. You don’t need to own lenses of every focal length. Instead, you should own lenses that cover the focal lengths you plan to use, as I discuss in the next section:

4. What subjects are you going to photograph?

Photography is a wide-ranging art that encompasses many subject categories, including:

• Sports
• Birds
• Wildlife
• Portraits
• Street scene
• Landscapes
• Architecture
• Insects

And generally speaking, each photographic subject or genre requires specific focal lengths. If you want to capture birds, you’ll need a lens in the 400-800mm range. If you want to capture environmental portraits, you’ll need a lens in the 24-35mm range. If you want to capture insects, you’ll need a (macro) lens in the 100-200mm range.

So instead of picking your focal length based on gaps in your gear bag, pick based on the subjects you want to shoot.

In other words, start by identifying your main subjects. Then, once you know what you want to photograph, choose the best lens (or lenses) for the job. Let focal length become a secondary consideration.

Bottom line: Don’t buy a lens because you think you should own it. Buy it because you actually need it. Make sense?

5. Should you buy a zoom lens or a prime lens?

Many photographers struggle to choose between zoom and prime lenses, and understandably so – both lens types offer several benefits and drawbacks to consider.

The main benefit of zoom lenses is convenience. If you’re a wedding photographer, for instance, it is much easier to zoom from a wide-angle to a telephoto focal length than it is to change lenses. And if you’re a landscape photographer, it’s easier to frame the scene precisely with a wide-angle zoom than it is to change prime lenses.

Zoom lenses also tend to reduce your overall kit size. For example, a landscape photographer may need to carry lenses covering ultra-wide focal lengths, standard focal lengths, and short-telephoto focal lengths. This would require a handful of primes, but can be handled using just one or two zooms.

On the other hand, prime lenses tend to offer better image quality and wider maximum apertures (often at lower prices, too). Primes are frequently far sharper than zooms, and they have fewer optical issues (such as vignetting and chromatic aberration). Plus, try comparing an 18-55mm kit lens to a 50mm prime; the 18-55mm lens will often have a maximum aperture of f/5.6 (at 50mm), while the 50mm prime will have a maximum aperture of f/1.4 or f/1.8.

In practical terms, the prime lens will let you capture far more light (which is useful for shooting indoors or at night), and it’ll also help you take photos with beautiful blurry backgrounds.

Which should you pick? That’s up to you! It all depends on what matters; do you care about convenience? Do you want to ensure your kit is highly portable? Or do you care about background blur, low-light performance, and better optics?

Some photographers prefer primes, while others prefer zooms. Just think about your priorities. And decide what best fits your requirements!

6. Don’t forget about weight and size

Before you buy a lens, think carefully about the weight and size that you’re after. After all, you’re the one who will be carrying the equipment around – and while a hefty lens might not seem like a big deal when it’s in an online shopping cart, you’ll really start to notice that extra weight after carrying it for hours during an uphill hike.

Lens weight is a necessary evil if you’re after solid low-light performance and impressive durability. But make sure you really need those capabilities; you don’t want to decide your equipment is too heavy after you’ve shelled out the cash.

And there’s another thing you should think about when it comes to size: filters. You can save a lot of money on filters by buying lenses will smaller diameters. Do a search for circular polarizing filters and compare the prices of the 58mm and 77mm sizes. If you need to buy a lot of filters (landscape photographers, take note!) then you can potentially save hundreds of dollars by buying a smaller lens.

7. Think about build quality and autofocus

Most manufacturers offer a range of lenses: some inexpensive options, some midrange options, and some expensive or high-end options. Inexpensive lenses may seem like a bargain, but they won’t be built as well as more expensive lenses. They may also have inferior (i.e. slower and noisier) autofocus motors.

Expensive lenses, on the other hand, tend to be built well, use good-quality autofocus technology (i.e., faster and quicker), and may also feature weatherproofing (which is essential if you take photos in bad weather or dusty conditions).

When considering a lens, remember all these points. Don’t forget to ask about (or research) the lens’s build quality, determine whether it is weatherproofed, and check the speed and quality of the autofocus motor.

8. Should you buy a third-party lens?

Third-party lenses tend to be a lot cheaper than lenses made by camera manufacturers. And while third-party brands may have had issues in the past, that’s not true anymore; these days, third-party brands such as Tamron, Sigma, Tokina, and Rokinon are highly reliable and offer a decent selection of lenses for most major camera systems.

That said, original manufacturers do tend to offer a wider variety of options, so I’d recommend looking at both third-party and OEM models when researching new glass.

Things to consider before buying a camera lens: final words

Now that you’ve finished this article, you’re hopefully ready to grab your next lens!

Just remember the points I’ve shared, and do what you can to avoid major pitfalls (like the focal-length trap). That way, you can buy a lens that satisfies you for years to come!

What lens do you plan to buy? Share your thoughts in the comments below!

The post 8 Things to Consider Before Buying a Camera Lens appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

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[Photography] How to Make Money With Photography: 10 Great Ways

The post How to Make Money With Photography: 10 Great Ways appeared first on Digital Photography School. It was authored by Simon Bond.

Want to turn your photographic skills into a steady income stream? This article is guaranteed to help you out.

These days, most folks claim there’s no decent money to be made with a camera. But while it might be harder to earn a living now than in the past, photography still offers plenty of moneymaking avenues for both professionals and amateurs – you just don’t realize it yet!

Below, I share the 10 best ways to make money with photography, from the classics (e.g., wedding photography) to more unorthodox options (e.g., photographing tourists). I also offer several key pieces of advice that’ll dramatically increase your chances of success.

So if you’re ready to start earning some cash, then let’s dive right in!

1. Submit to stock libraries

Earning money by taking photos of money? You can with stock photography.

Stock photography may be more competitive than it was back in the film days, but it’s still a great way to earn a passive income that will last for years. The basic idea? You submit images to stock agencies, which then license them out to buyers (such as magazines, websites, and businesses).

Note that there are two main forms of stock websites: Macrostock and microstock. Macrostock websites sell more expensive photos, so the images need to be unique, whereas microstock websites sell photos for a cheaper price but at high volumes.

Which is better for making money? There are pros and cons to each option, though both pay the photographer a relatively low percentage of the licensing fee. Also, stock photography – whether macro or micro – often requires model and property releases, so bear that in mind before you start shooting.

Macrostock is…

• Much harder to join, and your photographs need to be exceptional and unique.
• Images can be sold for thousands of dollars, so the income from one sale can be significant.
• Images of people are often requested, which means you need to pay models and get model releases.

Examples of macrostock companies are Alamy and Getty Images.

This is my best-performing stock photo; it has sold many times!

Microstock is…

• Easier to join, though the selection process still requires you to show a high level of technical expertise.
• Images are often sold for five dollars or less. In order to make an income, you will have to sell 1000s of images.
• Images designed for mass consumption do well, such as product, food, and people photos.

Examples of microstock agencies are Shutterstock and Dreamstime.

2. Join a tour company

Travel and photography go well together, so why not earn money from photography while trotting the globe? That’s what joining a tour company will allow you to do; you’ll take photos of the company’s clients as you hope from continent to continent.

The onus is on you to produce results within set criteria – in other words, you may not have much artistic license – so it isn’t for everyone. The job will come with targets, and you’ll need to take a certain number of photos per day.

The nature of this work can often be seasonal, and a related option is to photograph vacation programs, where part of the job is to capture the participants and locations they visit.

Joining a tour company is a great way to combine travel with photography.

3. Become a wedding photographer

Ask someone how to make money as a photographer, and the image of a wedding shooter – multiple cameras in tow, with bags full of gear – often comes to mind.

And it’s true: Wedding photography can be lucrative. But it’s highly competitive, too, so if that puts you off, you’re in the wrong game.

If you do decide to move forward as a wedding shooter, it’s essential that you produce a high standard of work for your clients. A few pieces of advice:

• Get good at portrait photography; weddings are about people!
• Learn how to use a flash; there are a lot of low light situations at weddings.
• Make sure you can retouch photos using post-processing.
• Read articles and books about wedding photography.
• Start by assisting an established wedding photographer.

If you follow these tips, you’ll have a good grounding for what’s needed. Wedding photography isn’t for everyone; you need to stay calm under a lot of pressure. You also need to be a great business person. But if you can get it to work, you’ll make a living taking photos!

Wedding photography is one of the most well-known ways to earn money in this industry.

4. Photograph couples and/or events for a fee

Couples are always in need of photographers, especially if they’re getting married (and if you’re a couples photographer, you can often successfully combine it with wedding photography ). As with wedding photography, you’ll need to be capable of producing great results, and you’ll also need to do a good job of marketing yourself.

Event organizers also require good portrait photographers who can react fast in dynamic situations yet is also good at capturing staged group shots. To start, contact event venues in your area and offer your services.

Pro tip: If you’re shooting events, try to get model releases whenever possible. That way, you can earn additional income from licensing your images as stock.

5. Work for magazines

Making money with photography is great, and it’s even better when your work is published. Imagine seeing your photos on a page spread or cover of a professionally published magazine…

Unfortunately, the magazine market is a tough one. The money available to publishers is going down, which has resulted in lower commissions. Here are a few items of advice to follow if you’re looking to break into the magazine world:

• Learn to write. This is huge. Publishers love to have the whole package. If you can provide images and text, you’ll be at the front of the queue.
• Work for free. Yes, the ultimate goal is to make money, but it often helps to start out with a small magazine published by volunteers. Your chances of breaking into the business are much higher this way.
• Then work for a fee. Once you have a portfolio of published work, look for new magazines to work with, but focus on those that have the budget to pay you.
• Be unique. Find stories that are so compelling they can’t be ignored by the publisher. That will often mean going the extra mile. And be careful; serious journalism comes with some risk.
• Do your market research. When you’re looking to publish in a specific magazine, make sure you know the style of content they usually produce. Look to offer them content that is the same as their previous work but with a new flavor.
• Find the publisher. Check out magazine websites or hard copies and find the name of the publisher. They’re the ones you’ll need to email with your pitch.

6. Sell your work as fine art

Fine-art photographers sell their work through galleries, websites, art shows, and more. It can be a difficult market to break into, and the initial costs can be high, but if your work is extremely high quality, then you’ll have a shot.

Non-generic work with a recognizable style does well here. The goal is to produce work that people want to hang on their walls. Once again, good marketing will help you succeed, and exposure through websites and magazines (e.g., interviews) is very helpful. A few tips:

• Don’t shoot every subject. Go with a project that has a consistent theme.
• Choose your venue carefully. Is it somewhere people actually visit? Your chance of success will be better at a popular venue, though you may need to pay for access.
• Do plenty of marketing. Make sure you have good fliers, posters, and – if you can get it – some local news or radio features on your work.
• Think about print size. If you’re selling at art shows, you’ll need to do printing in advance. And while it’s great to print large, those prints may not actually sell, and you’ll be left with a whole lot of leftover pieces you need to store.
• Consider offering merchandise. Not everyone will buy the prints you have on display. Smaller items such as postcards or a coffee table book are great ways to attract additional buyers and make extra sales.
• Don’t neglect your website. Make sure you keep your work up to date and available for internet sales.
• Have a guestbook available for those who enjoyed your work; ask for their name and email address. That way, you can contact them with promotions!

7. Become an educator

These days, the number of people who use a camera and want to learn photography is higher than ever. If you have photographic skills, then each and every beginner photographer is a potential student!

So spend time ensuring your work gets seen, then start offering workshops for people wishing to learn your techniques. These can be conducted face-to-face or online.

You shouldn’t only focus on workshops, however. There are a handful of additional ways to make money as a photography educator:

• Write a book. Choose a topic that you excel in and write a comprehensive book. While you could get it printed, it’s much easier to produce and market ebooks.
• Write articles. You can write for online magazines and blogs, or you can write for traditional magazines.
• One-on-one mentoring. People always want to learn from the best. If you’re a leader in your field, then you can offer one-on-one tutoring and portfolio reviews.

Writing a book can lead to a good income stream, especially if you can find a publisher.

8. Work as a press photographer

This is similar to magazine photography, only you’ll be focusing on current events. Many photographers in this field are very experienced and work with an agency like AP, Getty, or AFP.

Therefore, you can’t just walk into this field and expect the money to start flowing; you’ll need to get experience first. When you find an opportunity to take photographs of a newsworthy event, get out there and start shooting! Build up a portfolio, and if you get some great shots along the way, try pitching it to a newspaper. If you can get yourself known, it may lead to future work.

Events – such as political protests – are opportunities to build your photojournalism portfolio.

9. Product photography

Product photography often overlaps with stock photography – after all, many stock photos feature products! – but it works somewhat differently. Instead of capturing photos on your own dime and licensing them to buyers through an agency, you work directly with businesses. They send you the products, you photograph them, and you get paid for the results (often on an hourly or per-image basis).

Product photography can be done locally, but much of it is done remotely, so don’t be discouraged if you live in a less populous area. Pick an area of specialization (e.g., dog toys, perfumes, or power tools), capture a handful of sample shots of products that you own, then try contacting websites that are in need of a product-photo upgrade.

You’ll need access to a space with at least a few off-camera flashes (a basement or garage studio works just fine!), and you’ll need strong lighting skills to ensure you get high-quality images that are ready for website or magazine display. Note that you can do product photography as a freelancer, though another option is to apply for a job with a professional product photo company.

10. Take photos of tourists

This type of photography has recently become popular, and it mostly just involves following people around on their trips and taking photos.

Note that it’s different from joining a tour company; you won’t be photographing huge groups of people or touristy events, but you’ll instead do day-long photoshoots for couples or families who want top-grade photos from their trips (that they can then show off on social media).

Photographing tourists at as they enjoy their trip is one way to earn some money.

This work combines the skills of a good travel photographer with that of a portrait and wedding photographer. It’s essential that you have good local knowledge of the place you’re photographing (you’ll often find yourself acting as a tour guide as much as a photographer). If you want to try your hand at this type of photography, you could self-promote or use a company like Angle.

How to make money off photography: two quick tips

In this section, I share two essential tips everyone should know before getting into paid photographic work:

1. Diversify your income streams

Everyone knows that putting all your eggs in one basket is risky. The sensible thing to do is diversify.

Luckily, as you should now realize, photography offers many different ways to make money. In the beginning, income from each area will be small. But in combination, all your revenue streams can reach a significant sum.

The biggest advantage of diversification is protection; if one stream dries up, you have others to fall back on.

That said, over time you may find yourself gravitating toward and specializing in one particular type of work. That’s okay, but even after specializing, it’s worth maintaining a few additional income streams; you never know when you might need them.

2. Look for a niche

A signature style, subject, or technique will make you stand out from the crowd. So when you’re just starting out, aim to find your niche and stick with it.

You might use a creative technique like light painting, refraction, or long exposure. You might specialize in a subject, such as babies, dogs, or landscapes. In a competitive world, having a unique approach is a good thing!

Does settling mean you’ve turned your back on income diversification? Absolutely not! It just means you’d be marketing within your niche rather than to the wider world of photography. You can apply your signature style to weddings, stock photography, workshops, and more.

How to make money as a photographer: final words

As you now realize, there are plenty of ways to make money with your photography!

So pick one (or a few) of these ideas. Start determining a strategy. And see if you can start generating income.

How do you plan to make money photographing? Share your thoughts in the comments below!

The post How to Make Money With Photography: 10 Great Ways appeared first on Digital Photography School. It was authored by Simon Bond.

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