[Photography] 25 Common Photography Abbreviations, Explained

The post 25 Common Photography Abbreviations, Explained appeared first on Digital Photography School. It was authored by Megan Kennedy.

Photography is a visual medium, yet it’s full of abbreviations: AF, DOF, TIFF, DSLR, CMYK, AWB, and so much more. For the beginner, these initialisms and acronyms can be incredibly overwhelming (and even seasoned photographers will find certain abbreviations confusing!).

That’s why we’ve put together this guide, which explains the abbreviations you’re most likely to encounter, whether you’re hunting for gear, photographing outdoors, or working in a studio. The list is alphabetical, so you can easily reference it whenever you come across a new photography abbreviation – though I also encourage you to read through each and every item right now. (It pays to stay ahead, right?)

So without further ado, here are the most common photography abbreviations so you can tell your TIFFs from your TTLs like a pro:

A

Aperture Priority mode, commonly abbreviated as A or Av, is a camera setting that allows you to manually adjust the aperture value (otherwise known as the f-number or f-stop), while your camera automatically selects a corresponding shutter speed to produce a well-exposed image.

The camera’s internal light meter constantly measures the lighting conditions of the scene, and as you adjust the aperture, your camera adjusts the shutter speed accordingly. Aperture Priority mode, like its sibling modes, Program and Shutter Priority, isn’t foolproof. But it offers a high degree of control and frequently does a good job of nailing the exposure.

AF

AF refers to autofocus, the camera feature that automatically adjusts the lens to acquire focus on a subject to create a sharp image.

Pretty much all recent cameras and most recent lenses offer autofocus capabilities, which allows photographers to capture sharp photos of sports players in action, birds in flight, and so much more.

Cameras offer several AF modes. Single-focus AF, known as AF-S (Nikon) or One-Shot AF (Canon) locks focus on a subject and prevents refocusing as long as you keep the shutter button depressed halfway. On the other hand, continuous or tracking focus – AF-C (Nikon) or AI Servo (Canon) – constantly readjusts the focus as the subject moves (though you will need to keep the shutter button depressed halfway). Some cameras also have a third mode, which switches between the two main AF modes automatically.

Auto

Auto is short for automatic and may also be signified by a small green rectangle on the camera’s mode dial:

In Auto mode, a camera automatically calculates and adjusts various camera settings to produce a sharp, well-exposed image, taking into account (and controlling) shutter speed, aperture, ISO, focus, white balance, and light metering.

Some cameras have specialized automatic modes, called scene modes, which are designed to capture compelling photos of a particular subject. For example, Action or Sports mode prioritizes faster shutter speeds – so you can capture sharp images of moving subjects – and is represented by a running figure on the mode dial.

AWB

AWB stands for Automatic White Balance, which tells the camera to automatically measure the white balance (WB) of a scene and remove any unnatural color casts. In other words, with AWB activated, your camera will try to analyze and color-correct each scene as you shoot.

In most cases, Automatic White Balance works fairly well, though it can be tricked (which is the reason product photographers often set the white balance manually). Fortunately, if you shoot in RAW format, you can easily tweak the white balance in post-production.

B

B refers to Bulb mode, which is designed to produce long exposures and is often used by landscape and night photographers. With your camera set to Bulb, when you depress the shutter button, the shutter will remain open until the button is pressed again (or until it is released, depending on your camera and its settings).

Bulb mode is usually used in conjunction with a tripod and a remote shutter release. It’s generally needed to achieve exposures longer than 30 seconds (the maximum exposure time on most cameras).

CMYK

CMYK stands for cyan, magenta, yellow, and black. Note that the K refers to black, which is shorthand for the key plate, a printing tool that creates the artistic detail of a picture in black ink.

CMYK is the technology used by most color reproduction printers (for magazines, posters, business cards, etc.). This four-color mode applies each color in specific amounts to create a color print. CMYK is a subtractive process, so with each added color, more light is absorbed to create the final image.

Because the RGB color space (which is generally used by cameras to record images) provides a larger range of colors for the digital screen, CMYK-printed images are inconsistent with the images you see on-screen before pressing “Print.” But if you convert the images to CMYK before printing – using Photoshop or Illustrator – you’ll see an image on the screen that is much closer to the printed product.

DOF

DOF, or depth of field, is the zone of sharp focus in a photograph. Some images feature a narrow depth of field, in which only a small sliver of the scene is in focus; other images feature a deep depth of field, in which the entire scene is in focus from foreground to background.

Note that the depth of field is affected by several factors, including the lens’s aperture. A large aperture creates a shallow depth of field effect, while a small aperture creates a deep depth of field effect.

Depth of field is also influenced by the lens focal length and the distance between the camera and the subject (i.e., the point of focus).

DPI

DPI, or dots per inch, is often used interchangeably with PPI, or pixels per inch. Technically, DPI measures the number of dots that will be printed in an inch-long line. PPI also measures the number of dots along an inch-long line, but on a computer screen instead of on paper. Printers and screens with higher DPI and PPI values, respectively, are clearer and more detailed.

To correctly size your images for printing, you need to know the DPI of your printer or lab.

DSLR

DSLR stands for digital single-lens reflex, a type of camera that features a mirror, which reflects the light coming in from the lens and directs it to the viewfinder. DSLR mirror technology lets you see a preview of the scene via the viewfinder – then, when the shutter button is pressed, the mirror flips up, allowing the light coming through the lens to reach the camera sensor.

EVF

The EVF, or electronic viewfinder, refers to a type of viewfinder popularized in mirrorless cameras. Instead of showing an optical preview of the scene, electronic viewfinders display a digital preview, which simulates the exposure of the final image.

Electronic viewfinders offer a number of benefits over optical viewfinders (OVFs, below), though they can suffer from resolution and lag issues.

F-stop or f-number

The f-stop or f-number indicates the size of the aperture opening on your lens. (Here, the “f” stands for focal.) Wider aperture openings let in more light and produce a shallower depth of field effect (see “DOF,” above). Every aperture can be expressed as an f-stop or f-number, such as f/2.8, f/4, f/8, f/11, etc.

IS

IS refers to image stabilization, a camera and/or lens feature that’s designed to counteract movement caused by camera shake. The technology goes under several names, though IBIS, VR, and VC are a few of the most common labels.

Note that image stabilization may not be offered by your camera or lens. Recent mirrorless cameras do tend to offer in-body image stabilization (i.e., IBIS), but adding IS technology is expensive, so you’re less likely to find it in beginner products.

If you like to shoot handheld at slower shutter speeds (e.g., in low light or at narrow apertures) or when using long lenses, good image stabilization is essential.

ISO

Photographers often claim that ISO stands for International Organization for Standardization, though it actually comes from a Greek word, isos.

In film photography, ISO (or, formerly, ASA) is an indication of the sensitivity of a roll of film to light. In digital photography, ISO determines the amplification of the camera sensor brightness (though if you prefer, you can think of it as the sensitivity of the sensor to light).

The ISO value can be adjusted in-camera; the higher the ISO, the brighter the resulting exposure (all else being equal). However, higher ISO values produce more grain, also known as noise.

The graininess of this image is caused by a high ISO value.

JPEG

JPEG (sometimes shortened to JPG) refers to the Joint Photographic Experts Group image file format. (As you can probably guess, the JPEG group created the format!) JPEG is one of the most common image formats used by photographers; RAW is another common format.

Most cameras shoot JPEGs, which are highly displayable and very small. But because JPEG is a lossy file format, the images do suffer from a reduction in quality and in post-processing flexibility.

M

M stands for Manual, a shooting mode that offers complete control over every setting on your camera, including aperture, shutter speed, ISO, white balance, metering mode, and more. Manual mode can be intimidating for beginners, which is why it’s often better to use Aperture Priority (also on this list, above).

Note: Manual mode and manual focus are not the same. You can use your camera’s autofocus capabilities when working in Manual mode (and you can even use your camera’s Auto mode while focusing manually).

M4/3

M4/3, also known as MFT, is short for Micro Four Thirds. Developed by Olympus and Panasonic way back in 2008, M4/3 is a mirrorless interchangeable lens standard that revolves around the four-thirds sensor.

Because the four-thirds sensor is smaller than alternatives – such as APS-C and full-frame sensors – Micro Four Thirds cameras tend to be lighter and more compact. However, the smaller sensor size does restrict image quality (particularly resolution and high-ISO noise performance).

OVF

OVFs, or optical viewfinders, are generally found in non-mirrorless cameras (e.g., DSLRs). OVFs use mirrors to offer the photographer a “true” preview of the scene, rather than a digital rendering (see EVF, above).

Because optical viewfinders show the photographer the scene as viewed directly through the lens, they don’t offer exposure simulation – though OVFs do provide a high-resolution image with zero lag.

P

P stands for Program mode, which allows you to adjust certain settings – including ISO, flash, and white balance – while your camera selects the aperture and shutter speed. Program mode is less popular than its semi-automatic alternatives, Aperture Priority and Shutter Priority, though it is a good way for beginners to wade into the often-confusing waters of exposure.

RGB

RGB stands for Red, Green, and Blue and is based on human color perception. RGB is an additive color technology designed for viewing images on digital displays (unlike CMYK, above).

S

Shutter Priority, also known as SP or TV (for Time Value), is a camera mode that allows you to select the shutter speed while the camera automatically selects an aperture for a proper exposure. As you adjust the shutter speed, the camera’s internal light meter analyzes the scene and adjusts the aperture accordingly.

Shutter Priority mode is best used for shooting fast-moving objects or when you want to deliberately blur a moving subject.

SLR

SLR, or single-lens reflex, refers to non-digital cameras with single-lens reflex capabilities (see DSLR, above). SLR cameras feature a mirror that reflects light up into the camera viewfinder. When the shutter button is depressed, however, the mirror flips up, exposing the film to light.

TIFF

Short for Tagged Image File Format, TIFF is an image file format that doesn’t lose detail, unlike lossy compressed formats such as JPEG. Because TIFFs retain all image information, they’re ideal for printing and storing images, though TIFFs are also far larger than lossy formats such as JPEG and HEIC.

TTL

TTL stands for Through the Lens; it refers to an automatic flash metering system. With TTL metering active, the flash fires a short burst of light prior to the actual exposure, the camera measures the amount of light coming through the lens, and the power of the flash is automatically set according to the selected aperture.

Not all off-camera flashes offer TTL metering (and some photographers prefer to set the flash exposure manually, regardless).

USM

USM stands for Ultrasonic Motor, a type of autofocus motor in certain Canon lenses. Equivalent systems include Nikon’s SWM (Silent Wave Motor), Sigma’s HSM (Hyper Sonic Motor), and Olympus’s SWD (Supersonic Wave Drive Motor). These AF motors are generally designed to be fast and quiet.

WB

WB stands for white balance, the process of counteracting color casts created under different lighting conditions. Some photographers set the white balance manually, though others set the camera to Auto White Balance, then adjust the white balance in post-processing as required. (Note that the latter technique only works if you shoot in RAW.)

Common photography abbreviations: final words

Well, there you have it:

A whole host of common photography abbreviations that you should know! Of course, there are plenty more photography abbreviations, but once you know the basics, you’ll find it easier to pick up new terms as you go along.

Any additional abbreviations that I missed? Share them in the comments below!

The post 25 Common Photography Abbreviations, Explained appeared first on Digital Photography School. It was authored by Megan Kennedy.

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[Photography] 7 Tips for Gorgeous Fog Photography

The post 7 Tips for Gorgeous Fog Photography appeared first on Digital Photography School. It was authored by Louis Raphael.

Looking to capture incredible fog photos? I can help.

For most photographers, nothing compares to shooting in the fog. The mysterious shapes, the silky textures, the ethereal light – it’s a uniquely magical experience, and it’s a recipe for breathtaking photos.

But capturing stunning fog photography isn’t always easy. Fog can be unpredictable, it can cause focusing and sharpness issues, and it generally appears during camera-shake-promoting low-light conditions. To create the best fog photos – the kind that you’ll often find hanging on gallery walls – you need a well-planned approach. You should set out during the right conditions, use the optimal gear, choose the perfect settings, and more.

Fortunately, as a veteran fog photographer, I’ve developed plenty of strategies to ensure that you can capture consistently great shots in the fog. And in this article, I share my seven best tips – so if you’re ready to start creating ethereal, mysterious images, then let’s dive right in, starting with:

1. Predict the fog before it happens

What’s the most challenging part of fog photography? Finding the fog, of course! In many areas, fog is a rare occurrence – and you, as a photographer, have no control over the weather. So you need to learn to predict fog in advance; that way, you’re in a position to capture beautiful compositions when the right conditions occur.

The simplest way to anticipate fog is to check the weather. Fog happens almost exclusively in the morning, so before you head to bed each night, take a quick look at your favorite weather app. Scroll through the hourly predictions for the next morning, and if you see the “fog” icon, choose a good location, set your alarm clock, and make sure you set off in the dark.

Another option is to wake up before the sun rises and look outside for foggy conditions (assuming, of course, that you plan to shoot near your house). The problem with this approach is that fog can burn off quickly, and by the time you’ve determined that fog is present, you may have missed the main event.

A third (and better) strategy is to learn to predict fog in advance. If you can understand the conditions that lead to fog, you can be prepared, no matter what the weather forecasters say. In particular, fog often occurs when:

• The ground is wet (due to the previous day’s rain)
• The temperatures are low
• The wind is weak
• Skies are relatively clear

Make sure you pay special attention to the weather in late fall, winter, and early spring. While fog technically can occur at any time of the year, it happens far more regularly during the cooler seasons.

Pro tip: If you have a specific shot in mind and want to check the progress of the fog, see if you can monitor it using public webcams. That way, you can see exactly how the fog looks and whether it’ll work for the image you want to capture.

2. Bring a tripod and a remote release

Since fog often occurs at sunrise and because fog tends to heavily diffuse the ambient light, you should definitely expect darker conditions. The darker the scene, the lower you’ll need to drop your shutter speed – so to prevent camera shake, make sure you carry both a tripod and a remote release.

The tripod will keep your camera steady at shutter speeds of 1/60s and below. (It also comes in handy if you plan to capture long-exposure fog shots, which I highly recommend; see the tips presented elsewhere in this article!) And the remote release will prevent camera shake when you press the shutter button. (It isn’t a requirement – you can use your camera’s two-second self-timer instead – but a remote release can make your shooting process faster and more precise.)

By the way, make sure you lock up the mirror before shooting (if you’re using a DSLR). And regardless of your camera model, use the electronic front-curtain shutter mode to prevent shutter-induced vibrations.

3. Use manual focus and a narrow aperture

Getting sharp shots in the fog can be tough. That’s why I encourage you to switch off your camera’s autofocus and instead rely on manual focusing, especially if you’re planning to do foggy landscape photography. Otherwise, your camera’s AF system will struggle to focus in the low-contrast environment, and you may end up deeply frustrated.

Alternatively, you can use your camera’s AF to lock on the highest-contrast portion of the scene, then twist your lens’s focus ring to fine-tune the point of focus.

I’d also encourage you to shoot with a narrow aperture. The narrower the aperture, the deeper the depth of field, which is essential if you want to maintain sharpness from the foreground to the (foggy) background.

Plus, a deeper depth of field offers more leeway in case you accidentally focus in front of or behind your subject. A good starting point is f/8, but you can always narrow the aperture farther if you’re dealing with an especially deep scene and/or need more room for error.

Note that a narrower aperture will reduce the amount of light hitting the camera sensor, so you will need to reduce the shutter speed – but as long as you’re using a tripod (see the previous tip!) you should be just fine.

4. Get above the fog

If you want to capture breathtaking foggy landscape shots, instead of working from within the fog, see if you can rise above it. Search out various overlooks, make sure you’re in position as the sun rises, then photograph the fog as it sweeps across trees and buildings:

If you’re in the right place at the right time, you might even get to capture sunlight hitting the fog from above, which can look positively wondrous.

And if you’re serious about high-angle fog photography, consider purchasing a drone. That way, you can capture gorgeous shots whether or not you have access to a good vantage point.

One more tip: If you do work from above the fog, you’ll often run into high dynamic range scenes, which many cameras struggle to capture. Make sure you shoot a series of bracketed images; that way, if the dynamic range does prove to be too much, you can always blend several shots in post-processing for a well-exposed final result.

5. Don’t forget about the ordinary subjects

Fog has a way of turning ordinary scenes into something spectacular. So while you can capture more traditional subjects on foggy days – such as seascapes and skyscrapers – you can also take a second look at the everyday, the boring, and the cliché.

For instance, you can get great shots simply by heading to your local park and photographing trees, cattails, and fields. Or you can take a walk through your neighborhood streets and point your camera at fog-shrouded streetlights, houses, and cars.

On a related note, you can use fog to capture original images of frequently photographed locations. Everyone photographs the Golden Gate Bridge, but the Golden Gate Bridge plus some morning fog can lead to unique (and spectacular) shots:

6. Use a neutral density filter

Neutral density filters are designed to block out light. Put a strong ND filter over your lens, and you can drop the shutter speed to 1/10s, 1s, and even several minutes without issue – even if you’re working in brighter conditions.

Why is this useful for fog photography? Well, if you can slow down your shutter speed, you can capture smooth, silky fog that looks incredible in landscape shots. Long-exposure fog appears like waves of water:

Note that ND filters come in many different strengths, and you’ll need to choose your filter based on the time of day and the lighting conditions. If you’re shooting before the sun has crested the horizon, you’ll probably need a relatively weak filter (or no filter at all). But if you’re working from above the fog and the sun is bright, you may want to bring out a 10-stop or even 15-stop filter.

Pro tip: When you’re working with an ND filter, make sure you set up your composition and focus carefully before slotting the filter onto your lens. Strong ND filters are extremely dark, so by taking such an approach, you can make sure the shot looks great while the scene is still visible in your camera viewfinder.

7. Experiment with different shutter speeds

While I’ve spent time discussing the benefits of long-exposure techniques for fog photography, it’s important to avoid keeping the shutter open for too long. Because while lengthy shutter speeds can certainly create stunning ethereal effects, they can also make the fog lose its shape and turn into a flat mess.

That’s why I encourage you to experiment with different shutter speeds whenever possible. If you’re confronted by a foggy scene and you have the time, test out a few different settings, then view the results on your LCD. Sometimes, you might like the slower version – but other times, the faster version will look the best!

And don’t shy away from relatively quick shutter speeds, either. A fast shutter speed – such as 1/60s or even 1/125s – will give the fog more texture, which can also look great.

Fog photography tips: final words

Well, there you have it:

Seven strategies for beautiful fog photos.

Hopefully, you found these tips helpful – and you’re feeling inspired to get out there and experiment with fog photography.

Even if you struggle at first, don’t give up. Refer back to this article, figure out what you need to do to improve your results, and keep shooting!

What subjects do you plan to shoot in the fog? Will you do foggy landscapes? Foggy portraits? Foggy street photos? Share your thoughts (and images) in the comments below!

The post 7 Tips for Gorgeous Fog Photography appeared first on Digital Photography School. It was authored by Louis Raphael.

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[Photography] Loop Lighting: A Comprehensive Guide

The post Loop Lighting: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

The way you light a portrait influences so much: How the person appears, the depth and three-dimensionality of the scene, and even the overall mood conveyed by the photograph.

Loop lighting is just one method of illuminating a subject – yet if you use this technique, you can be pretty certain that whoever is sitting in front of your camera will like the results. Plus, loop lighting is extremely easy to set up; you only need a single light source (which can be ambient light, a speedlight, a studio strobe, or a continuous light).

In this article, I offer a comprehensive overview of loop lighting. I explain what loop lighting is, when you should use it, and a simple, step-by-step approach for creating the lighting pattern in your own photos.

So if you’re ready to revolutionize your portrait photography, then let’s get started!

What is loop lighting?

Loop lighting is a popular lighting pattern that creates a shadow under and to one side of the subject’s nose; this small “loop” gives the pattern its name.

Nikon D800 | 105mm | f/8 | 1/200s | ISO 400

To create the loop of shadow, you can position your main (key) light so it’s above and slightly to the side of your subject. Note that, along with the loop shadow cast by your subject’s nose, some of the subject’s face will be in shadow, and they’ll also have a shadow under their chin.

The size and intensity of the loop shadow depend on:

• The type of light
• The light’s position
• Whether the light is direct or diffused
• The amount of ambient light
• Other light sources or reflectors

Even once you have a loop lighting approach dialed in, the way you manage your main light will dramatically alter the results. If your key light is positioned farther away from your subject, the lighting intensity will change. And as you move the light to one side or the other, higher or lower, the shadows on your subject will change, too.

Of course, if you adjust the position of your key light too much, you’ll eventually lose the loop lighting effect; instead, you might create another common pattern, such as Rembrandt lighting, split lighting, or butterfly lighting.

Nikon D800 | 105mm | f/8 | 1/250s | ISO 400

When should you use loop lighting?

If your goal is to create a highly flattering portrait, then loop lighting is one of your best options.

As I mentioned above, it’s easy to set up; you only need a few pieces of lighting gear (or nice ambient lighting).

And because loop lighting requires minimal gear, you can spend more time connecting with your subject. You’ll also have more opportunities to make sure your camera and lens are behaving as desired.

What makes loop lighting so flattering? It’s very gentle on your subject’s face. Yes, it creates some shadows, but they aren’t very harsh (compared to other lighting styles). Instead, loop lighting produces light and shadow that show the facial contours pleasantly. As long as you can get the angle of light right, the shadows will complement the person nicely.

Other techniques, such as Rembrandt lighting, produce shadows that cover more of the face. If you want your portraits to feature a more intense feel, such an approach works well; in fact, dark shadows on the face tend to add drama and even mystery because part of the face is hidden.

However, if your goal is to create a beautiful portrait that emphasizes the subject’s features, loop lighting is a better option.

By the way, people with more oval-shaped faces will especially appreciate the loop lighting technique. Why? It accentuates cheekbones, which tends to create a slimming look.

Nikon D800 | 105mm | f/11 | 1/200s | ISO 400

Getting started with loop lighting: step by step

When you start doing studio portraiture, it’s a good idea to experiment with a wide variety of lighting styles and techniques. Loop lighting is a great first option.

Because loop lighting is both easy and flattering, you’re far more likely to receive positive feedback from the person you’re photographing, which will encourage repeat shoots and referrals (it’ll make you feel more motivated, too!).

Remember: The less you need to pay attention to the lighting, the more you can focus on communicating with your subject. So start out with an easy, one-light setup. Only add a reflector or a second light source once you’ve had plenty of time to practice.

So how should you approach loop lighting for the first time? Here’s my recommended step-by-step approach:

Step 1: Prepare yourself for the photoshoot

Before your subject arrives, make sure that you’re ready to capture a loop-lit photo.

Take a look at the location. Think mainly about the ambient light and the background. Will you rely on available light? Or will you add a light source to create the loop lighting effect? Where will you position your light source and subject?

Ensure you have all the necessary gear; if you plan to use artificial lighting, set up your equipment in advance and make sure it all works as expected.

The more you can determine before your subject even arrives, the better your results will be.

Step 2: Position your light source

Once your subject arrives, ask them to stand or sit in position, then adjust your light so it’s slightly above and to the side of their face. The goal is to create that little loop of shadow under the nose, and I encourage you to clearly communicate this with your subject; otherwise, they’ll have no idea what you’re trying to achieve.

If you’re using a speedlight or strobe, you’ll generally need to capture a series of test photos. Take a shot, check the results on the back of your camera, adjust the light’s position, and shoot again. It may take a few tries before you see a nice loop shadow, and that’s okay – though the more efficient your testing process, the more comfortable the subject will feel.

If you’re worried about the setup process and/or you need to work quickly, consider starting with a continuous light source (such as an artificial continuous light or ambient light). That way, you can see where the shadows fall on the face, and you can skip the entire testing process.

Regardless, I find that talking to people about what I am doing and how I want them positioned helps them feel relaxed. If you take people through the photoshoot process, they’ll feel more confident, which shows in their facial expressions.

Step 3: Modify the lighting

At this point, you should have that nice loop-lighting shadow, but it often pays to refine the overall effect.

For instance, you can bring in a reflector – and while this isn’t absolutely necessary, it’ll soften the shadows on the subject’s face for an even more flattering result.

You can test out a few different reflector positions: beneath the subject’s chin, on the side opposite the light source, or somewhere in between. As you move the reflector, pay careful attention to the shadows on your subject’s face; the difference may be subtle, but it can be very significant.

Adding some diffusion to the light source will also help soften the shadows, which will make the image less dramatic. Of course, less drama isn’t always ideal, so you’ll need to decide if this is the type of look you want.

Nikon D800 | 105mm | f/8 | 1/200s | ISO 400

Step 4: Add a second light

You can create a beautiful loop lighting effect with just one light source, but if you want to take your portraits to the next level, consider adding a light behind your subject.

Make sure the light is positioned either directly behind your subject or just outside the frame. It should be directed at your subject’s back, though you’ll need to make sure the spread is confined to the subject’s head and shoulders; the goal is to help them pop off the screen, which is especially important when you’re capturing dark hair on an already-dark backdrop.

Loop lighting: final words

Nikon D800 | 105mm | f/11 | 1/250s | ISO 400

Loop lighting is a simple and effective technique for flattering portraits. You don’t need anything other than your camera, a lens, and a light source, so it’s great for beginners (though using additional lighting gear will give you more options).

So practice the technique until you know it well. As with any simple lighting style, you can tweak aspects of your setup to achieve different looks, so don’t be afraid to experiment. And make sure you communicate with your subject along the way!

The more you practice, the better you’ll get, and the more you’ll please your subjects. Happy shooting!

How do you plan to use loop lighting in your next photoshoot? Share your thoughts in the comments below!

The post Loop Lighting: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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[Photography] Weekly Photo Challenge – Rules (Breaking them!)

The post Weekly Photo Challenge – Rules (Breaking them!) appeared first on Digital Photography School. It was authored by Sime.

You’ve come a long way (with your photography) in the last couple of years, haven’t you! You now have a good grasp of general ‘photography rules’ Now, break them and make the best photograph you can. That’s your challenge! Free form rule breakin’ fun – let’s see what you come up with!

Tag your shots #dPSWeeklyChallenge and #dPSRuleBreakers and share them on our Facebook Group or in the comments below this post.

Here’s a look at some rules that you already know – click this link

Not sure where to start? Break the rule of thirds? Over exposing for the hell of it? Wonky horizons that suit a scene? That’s easy, right?

Thirds? Centred? Pick a rule, I’ve broken a few but I like it… Captured with my ever handy RX100

Shot into the sun, overexposed to light up the centred subject, everything else blown out! Captured with the old Canon 5D MkII

Remember to tag your shots #dPSWeeklyCHallenge and #dPSRuleBreakers and, as always, have a nice week!

The post Weekly Photo Challenge – Rules (Breaking them!) appeared first on Digital Photography School. It was authored by Sime.

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[Photography] Sony Launches the a7R V, with AI Autofocus, 61 MP, and 8K Recording

The post Sony Launches the a7R V, with AI Autofocus, 61 MP, and 8K Recording appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

On Wednesday, Sony announced the a7R V, a high-resolution, feature-packed, AI-equipped mirrorless camera that comes as the successor to the hugely popular a7R IV.

Like the a7R IV, the a7R V ostensibly caters to professional landscape and commercial photographers requiring class-leading resolution; thanks to a whopping 61-megapixel sensor equipped with impressive high-ISO capabilities and outstanding dynamic range, photographers can capture detailed landscape and product shots, which can then be heavily cropped and turned into impeccable prints, magazine spreads, and even billboards. 

But while the original a7R models sacrificed speed in favor of resolution, the R-series’ autofocus capabilities have improved steadily over the last decade, and the latest a7R iteration represents yet another major leap forward. 

Specifically, the a7R V boasts autofocus technology that is, I suspect, the best we’ve ever seen in a consumer camera – which is especially astounding, given the R-series’ resolution-focused design. As Sony explains, “The Alpha 7R V features next-generation AF Real-Time Recognition AF, with advanced accuracy and broader subject recognition thanks to a new AI (artificial intelligence) processing unit with deep learning. The state-of-the-art AI processing uses detailed information about human form and pose estimation to dramatically improve recognition accuracy beyond systems which only detect face and eye and make full use of its potential.”

It’s not that Sony’s AF systems haven’t previously relied on AI technology. (They have.) But – at least as Sony tells it – the a7R V’s AI-based autofocus moves the camera’s tracking a step beyond all previous AF systems, thanks to a deeper analysis of subjects and more comprehensive object recognition. Assuming the AF system is as effective as it sounds, portrait, event, and even sports photographers will want to take advantage of the a7R V’s unique capabilities when tracking fast-moving subjects across a room, a dance floor, or a football field.

In addition to its superior tracking capabilities, the a7R V’s AF system can identify a wider variety of subjects than ever before, including insects, birds, animals, trains, cars, and planes. The camera should impress wildlife photographers – who will appreciate the boosted ability to follow animals as they race, fight, and forage – and especially macro photographers, who frequently struggle to maintain focus on insects when working at high magnifications.

In fact, what’s remarkable is just how well-rounded the a7R V actually is. There’s the high-megapixel sensor and next-gen autofocus, but there’s also a slew of other features: 10 frames-per-second continuous shooting, a unique “multi-angle” screen that flips upward and outward for maximum flexibility, a 9.44M-dot electronic viewfinder for a lifelike shooting experience, outstanding 8-stop in-body image stabilization for sharp images in low light, and 8K/24p recording for high-resolution videos, all packed into a compact, durable body.

At the end of the day, the a7R V is a resolution-first camera, which is why it’ll likely be the top full-frame option for landscape and other fine-art photographers as we move into 2023. But its other capabilities – the AF tracking, the ergonomics, the video recording – are equally worthy of note, and will ensure that the a7R V also becomes a go-to option for generalist professionals and hobbyists.

So if you’re a serious photographer in need of a new camera, check out the Sony a7R V. It’ll begin shipping in early December, but you can currently preorder it for $3900.

Now over to you:

What do you think of the new a7R V? Are you impressed? Disappointed? Will you buy it? Share your thoughts in the comments below!

The post Sony Launches the a7R V, with AI Autofocus, 61 MP, and 8K Recording appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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[Photography] 9 Tips for Mouthwatering Commercial Food Photography

The post 9 Tips for Mouthwatering Commercial Food Photography appeared first on Digital Photography School. It was authored by Suzi Pratt.

Have you been tasked with photographing food for a client? Or are you simply looking to level up your commercial food photography game?

You’ve come to the right place.

In this article, I share my best tips for commercial food photoshoots, including:

• How to find plenty of photographic inspiration
• How to create a variety of beautiful setups
• How to increase your odds of getting hired a second time
• Much more!

While these tips apply to all commercial food photography, throughout this article, I do reference a photoshoot where I was tasked with capturing chocolate chip cookies for my local grocery store. I use the cookie session to illustrate my various points (and I show you the various cookie images I created during the session).

Ready to learn how to capture great commercial food photos for clients? Let’s get started!

1. Carefully select your gear

Food photography has special equipment requirements – and when you’re doing commercial food photography, you have to be even more careful when choosing gear, as you must make sure you satisfy all your client’s needs.

Starting with food photography cameras: You can use pretty much any APS-C or full-frame mirrorless or DSLR model, though higher-resolution cameras are generally better (especially if your client plans to print big). And if you plan to shoot handheld, then class-leading low-light capabilities are essential; they’ll keep your images looking clean even when you’re working at high ISOs.

Lens choice depends much more heavily on the specific project, but macro glass almost always comes in handy. These close-focusing lenses will let you zoom in to capture small details and perspectives – and in a day and age where just about everyone can take decent photos with a smartphone, it’s important to create images that your client can’t easily capture on their own. It can also be a good idea to bring a wide-to-standard zoom, such as a 24-70mm lens; that way, you can capture a variety of food compositions from a variety of angles.

(I always photograph food with two camera bodies – a Canon 5D Mark III and a Canon 6D – as well as two lenses – a 24-70mm f/2.8 and a 100mm f/2.8 macro lens.)

Lighting-wise, you can easily use reflectors and natural lighting (assuming the room where you plan to work has windows), but I prefer a simple and cheap off-camera flash setup consisting of a single speedlight, a shoot-through umbrella, and a reflector. (You’ll also need a lighting stand to hold the flash.)

Here’s my lighting setup in action (as used during my cookie photoshoot):

2. Choose the right location (and set up the room)

Generally speaking, food photography can be done just about anywhere, but you should always check with your client to see if they have a preference. For instance, they might want to shoot on-site in a particular location, in which case you’ll need to bring all your gear and (potentially) some additional items, such as a table, a chair, linens, and plates.

If your client doesn’t have a preference, then you’re free to choose the location. If you plan to use natural light, make sure you choose a place with nice window lighting. And if you need to create an entire table setup, do your food photoshoot in an area with plenty of space.

By the way, there’s nothing wrong with conducting the shoot in your own personal studio as long as you have all the necessary props on hand. I knew my cookie photoshoot would feature lots of close-ups, so a fancy kitchen or dining room setup was unnecessary; instead, I worked in my own space but made sure I had a variety of surfaces and props to enhance my images.

3. Understand the client’s needs

There tend to be two main commercial food photography scenarios. Sometimes, the client will have a menu of prepared dishes and you’ll need to shoot as many as possible in a given time frame. Other times, the client will have one particular dish or menu item they want you to highlight.

Additionally, some clients are very particular and have specific moods or even shot ideas in mind – whereas other clients take a more laid-back approach that essentially amounts to, “Okay, just do your thing.”

It’s important that you know what your client wants in advance. That way, everyone’s happy, and you won’t need to do any reshooting. So discuss with your client what they’re looking for, and maybe mention a few of your ideas to see what they think. Ask if they have any example images that you can look at, and make sure you know how the images will be used (a magazine image will require a different compositional and technical approach than a Facebook cover photo, for example).

For my example assignment, the grocery store wanted me to focus solely on one particular item: an extraordinarily large chocolate chip cookie, dubbed “The Cookie.” The store had spent a year experimenting to come up with a special recipe, and they needed photos to help with promotional marketing, which would be blown up into large decals and posters (and would be plastered on walls and windows throughout the store). That meant I would need to produce files with the highest-possible resolutions, use ultra-sharp lenses, and ensure my images were technically perfect.

4. Find ideas using Pinterest

Even once I understand my client’s basic photo needs, I always head over to Pinterest and conduct some research. I look at other photoshoots that featured similar subjects and shooting requirements, and I try to identify patterns and generate ideas for my own work.

Many clients encourage photographers to add their own twist or dose of creativity, but it’s also important to understand the ways others have executed similar photoshoots (and it can be a good idea to capture a few of these more traditional shots during your commercial food session, just in case your client ends up wanting a more conventional image).

A quick search for “chocolate chip cookies” on Pinterest gave me a slew of different ideas for effectively photographing “The Cookie.” And while I would never copy images directly, it’s perfectly acceptable to incorporate elements from other photoshoots into your shots.

5. Use a variety of surfaces

Whenever you set up a room for a commercial food photoshoot, make sure you have plenty of surfaces on hand, such as:

• Wood (in various colors)
• Plates
• Marble
• Cutting boards
• Paper

The more surfaces you have, the more shots you’ll be able to create, and the more likely it is that you’ll satisfy your client. It’s good to offer the client a variety of surfaces and textures to choose from – plus, if you use several surfaces, your client can put together a sequence of photos that imply the food item is eaten in many different scenarios.

Per the researched examples that I had found, plus my own personal approach to food photography, I set out to shoot the cookies using three main surfaces: a ceramic plate on a granite countertop, a wooden cutting board, and the white paper napkins and packaging that comes with each cookie.

6. Incorporate people and action into the scene

Beginner food photographers often seek to show food on its own…

…yet it’s possible to create especially engaging, relatable photos by including people in the frame.

Note that you don’t need to show whole bodies or faces; you can simply include a hand holding a food item, a hand sprinkling ingredients, or an apron in the background.

For my cookie shoot, I took some photos that included a person holding out the cookie. I wanted to give the image a sense of purpose that the client might find helpful, and I also wanted to add a sense of scale so I could communicate the size of the giant dessert.

7. Use ingredients and pairings

Pretty much every food has a logical pairing. There’s white wine and fish, beer and burgers, and milk and cookies.

So determine a food that pairs well with the item you’re photographing. Then, instead of just focusing on the main subject, why not set the scene by introducing that natural pairing?

This approach can also make the image feel more authentic, it can help the viewer imagine the way the food would be eaten, and it can help provide scale, which is important if your food item is unusually small or large. In my case, I added a glass of milk to emphasize the cookies’ size:

8. Be open to feedback and further collaboration

As soon as you’ve finished your shoot, I encourage you to put together a quick first batch of photos for client feedback. The images don’t have to be perfect; just select a variety of shots, do a fast edit, and send them along. (Of course, make it clear to the client that you’re not sending a final product!)

After shooting my cookie photos, I sent over some images to the grocery store, hoping to get some helpful feedback. I was a bit surprised when the client replied, “These are great, but don’t quite fit our ideal vision.” Luckily, I was able to talk further with the client to hone in on what they were actually looking for, which were photos more like this:

You see, while the client’s initial instructions were to produce a variety of photos of “The Cookie,” it took an extra conversation to realize that there were two main points they really wanted to illustrate:

1. Size mattered. Since “The Cookie” was truly large, it was important to emphasize its huge size.
2. They wanted to see the goo. The selling point of “The Cookie” was the gooey chocolate center. My client wanted to see it in the photos!

Once I understood these points, the resulting images were macro shots (like the image included above). But because I asked for feedback early on in the process, and because I was willing to talk through the photos with my client, I was able to create a much more satisfying set of images.

9. Find the finished product and document it!

Whenever you do photography services for a client, make every effort to get your hands on the final product. Proof of your published photos is great for building your portfolio and credibility, plus it just feels really good to see your images blown up on the side of a building, hung in a restaurant, or featured on a menu.

Make sure you capture decent-quality images of the final product, too. Then share them on social media and add them to your website; that way, potential clients know exactly what you’re capable of!

Here, I’ve photographed my cookie photos, which were blown up and plastered on the side of the grocery store:

Commercial food photography tips: final words

Now that you’ve finished this article, you know how to capture incredible commercial food photos.

So use the tips I’ve shared. Communicate carefully with your clients. Choose the right gear, do research for inspiration, and spend plenty of time working with different textures, props, and food pairings.

Now over to you:

Which of these tips do you plan to use first? Do you have any additional ideas for tackling commercial food photoshoots? Share your thoughts in the comments below!

Table of contents

Food Photography

• GENERAL
  • The Ultimate Guide to Food Photography
  • Are You Making These Five Food Photography Mistakes?
  • 8 Tips for Food Photography Newbies
  • How I Shot It: Food Photography
• PREPARATION
  • How to Create a Budget Tabletop Photography Setup for Shooting Food and Products
  • DIY Food Photography Props on a Budget
  • How to Make Easy and Affordable DIY Food Photography Backdrops
  • Household Items to Bring to Your Next Food Photography Shoot
• LIGHTING
  • Five Essentials of Doing Dark Food Photography
  • How to Achieve Dark and Dramatic Food Portraits
  • One Light Set-Up For Food Photography
  • Restaurant Menu Food Photography Using Natural Light
  • Food Photography – When to Use Natural Light (and When Not To)
  • Food Photography – How to Shoot A Beverage With Only Two Lights
• COMPOSITION
  • 10 Tips to Improve Your Food Photography Styling
  • The Secret to Finding the Hero Angle in Food Photography
  • 11 Great Camera Angles for Food Photography
  • Using Focus Creatively with Food Photography
• GEAR
  • The Best Camera Gear for Food and Still Life Photography
  • A Basic Food Photography Kit
  • 10 Great Gifts for Food Photographers Under $50
• ADVANCED GUIDES
  • 7 Tips for Better Commercial Food Photography

    • 1. Carefully select your gear
    • 2. Choose the right location (and set up the room)
    • 3. Understand the client’s needs
    • 4. Find ideas using Pinterest
    • 5. Use a variety of surfaces
    • 6. Incorporate people and action into the scene
    • 7. Use ingredients and pairings
    • 8. Be open to feedback and further collaboration
    • 9. Find the finished product and document it!
    • Commercial food photography tips: final words
    • 1. Carefully select your gear
    • 2. Choose the right location (and set up the room)
    • 3. Understand the client’s needs
    • 4. Find ideas using Pinterest
    • 5. Use a variety of surfaces
    • 6. Incorporate people and action into the scene
    • 7. Use ingredients and pairings
    • 8. Be open to feedback and further collaboration
    • 9. Find the finished product and document it!
    • Commercial food photography tips: final words
  • How to Take Cool Food Photos in Your Refrigerator
  • 10 Tips For Food Photography When Travelling
  • How to Take Great Food Photos this Holiday Season
• CREATIVE TECHNIQUES
  • How to Create an Exploding Sandwich Food Photo
• POST-PROCESSING
  • How to Edit Food Photography Images Using Lightroom
  • How to Change a Background in Photoshop for Still Life or Food Photography
  • How to Make Food Photos Look Tastier with Luminar
• INSPIRATION
  • Collection of Food Photography to Make you Hungry

The post 9 Tips for Mouthwatering Commercial Food Photography appeared first on Digital Photography School. It was authored by Suzi Pratt.

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