[Photography] How to Clean Camera Gear: My Step-By-Step Approach

The post How to Clean Camera Gear: My Step-By-Step Approach appeared first on Digital Photography School. It was authored by Daniel.

As you’re likely already aware, photography equipment is not cheap. Camera bodies can cost thousands of dollars, and it’s not uncommon for lenses to be even more expensive than the bodies. As a result, it can be very tempting to baby your equipment: treat it with extra caution and wrap it up in cotton wool so that no harm will come to it.

The problem with such an approach is that you’ll miss out on spectacular photos because you’re so focused on taking care of your equipment. You’ll refuse to photograph near sand, near dust, in humid environments, in snow, in rain. And you’ll keep your gear packed away in a bag until the very last moment, which just doesn’t work in many shooting scenarios.

But I have good news. With the right care and maintenance, your camera equipment will last and continue to perform for many years – no matter the conditions, and without the babying!

As a professional photographer, my equipment is often subject to not-so-camera-friendly circumstances. Rain, snow, dust, and even champagne (yes, really!) are not uncommon encounters for my cameras and lenses. Even though I generally take precautions (for example, I use rain covers on my cameras and lenses if it’s raining), there are times when the conditions are unavoidable and my equipment gets a little dirty. It’s going to happen.

But because I care for my equipment (even though it may look like I don’t!), it keeps on performing and hasn’t let me down yet. So I thought I would share my approach to camera care so you can clean and maintain your gear long into the future, too!

My recommended cleaning supplies

The good news about caring for your equipment is that it’s relatively cheap to buy what you need. Given how so few things in photography are cheap, this comes as a nice relief! Here is a list of what I use to care for my gear:

From a camera store

An overview of some essential cleaning items.

• Rocket blower: I use this a lot! Squeezing it blasts out a puff of air to blow away any dust.

My rocket blower. It’s simple yet effective!

• Lens pen: I have just added one of these to my kit. At one end there’s a small soft, cleaning tip. At the other is a retractable brush. I haven’t had the time to use it extensively but have been impressed with it so far. However, the cleaning tip is quite small so it’s not something I use on my larger lenses, such as my 400mm f/2.8; that would take forever!
• Pre-moistened lens wipes: I love these things. These are almost like the refresher towelettes you can get at KFC, but for lenses. They’re pre-moistened with a lens cleaning solution that quickly evaporates from the lens. They’re also dirt cheap. I use the Zeiss brand ones, which cost a little more than $10 for a pack of 200.

• Microfiber cleaning cloths: Another cheap must-have. I like to have several of these. I use one just to buff lenses after using my Zeiss wipes, and I use another to clean the lenses without any product at all. I avoid using the same one across many devices (e.g., I won’t use a cloth to clean my iPhone screen and then use it to clean my lenses.)

From a regular store (non-camera tools)

• A paintbrush: These are very handy at removing dust from the surface of camera bodies and lens barrels. Buy this brand new. You don’t want it to be super soft either, as it’s just being used on the outside of the cameras and lenses and not on anything that needs to be protected.

• Makeup brush: This is something that people often laugh when they see it in my bag. But then they think, “Hey, that’s a good idea!” If you want to add one to your kit, make sure you buy one brand new. You don’t want your partner’s or friend’s blush going all over your lens! Generally, the more expensive brushes are better as their bristles are much softer. The one I have is also retractable, which is ideal as it protects the brush.

• Tek Towel: I got a Tek Towel for my birthday years ago and decided to use it to clean my gear. It works brilliantly, but a clean towel will work just as well.

• Ziploc bag: This is where I store my cleaning gear to keep it clean and as dust-free as possible!

With these items, I am able to keep my lenses and camera bodies looking (almost) like new. Now let’s take a look at my cleaning workflow!

How to clean lenses

Lenses are easy to scratch if you’re not careful, but with the right approach, you can keep your precious glass clean and scratch-free. This is what I do and recommend:

Step 1: Use the rocket blower

The first step is to remove any larger bits of dust and dirt from the front lens element. For this, I use the rocket blower. Squeezing it blows air out of the tip and will blow away larger, looser bits of dust.

It’s important not to use a cloth for this step as this can drag dust over the lens and scratch the glass element. This is why a rocket blower is very useful and should always be used first.

Step 2: Use the lens pen

Hopefully, the blower was able to remove all the dust. However, there are times when some little specs remain. To remove these, I use the brush on the end of my lens pen. A quick flick of the brush around the lens should do the trick.

You shouldn’t need to apply much (or any) pressure. A light brushing motion should remove all the dust from the surface of the lens.

You may need to do a quick repeat with the blower, though. If you don’t have a lens pen, a makeup brush works just as well.

Step 3: Clean the front element

Your lens glass should now be free of dust and other debris. If there are some marks on the glass surface, now’s the time to give it a little clean.

First, use the cleaning end of the lens pen. It is very soft and doesn’t damage the glass at all, so it is ideal for this. Using a circular motion, work your way around the lens until all the marks have been removed. This may take several passes to achieve.

It’s important that you don’t push on the lens too hard. Just keep going around in a circular fashion until it’s satisfied. Give the lens another blast with the blower if necessary.

If you don’t have a lens pen, a clean microfiber cloth will do the job. Just use the same circular motion. Repeating the motion is preferred over applying more pressure!

Step 4: Get rid of stubborn marks

At this point, I am normally done cleaning a lens. Sometimes, however, there is muck on the lens that just will not budge no matter how many times it’s cleaned. This is when I use the pre-moistened lens tissues.

Using the same circular motion as above, I work my way around the lens element until it’s completely cleaned (I normally go over it two or three times). Then I get a microfiber cloth (generally, one that I use just for this purpose) and give the lens a bit of a buff using the same circular motion. I’ll go over it a few times.

I favor these tissues over sprays because I don’t like the idea of having a bottle of liquid inside my camera bag. If it breaks, it can leak into my gear and cause major damage. I also quite like their single-use quality.

For me, using cleaning solutions is an absolute last resort and not something I do each and every time I clean my gear. I also don’t breathe on my lenses (you know, to fog them up to make it easier to wipe off grime) if I can avoid it. If you’re like me and drink a lot of coffee, your breath can be slightly acidic; with repeated use, it can wear down the coatings on your lens. At least that’s what I read in a Nikon article a while back!

Step 5: Don’t forget the lens cap!

The front element is now clean. But for me, the process is still not yet finished. Before placing the lens cap back on, I have a quick look at it – there could be grit and dust on it that is about to be put back on my newly cleaned lens.

Giving your lens cap a quick once over with the blower and a paintbrush will keep it and the lens cleaner!

Step 6: Clean the rear element

Now it’s time to have a quick look at the rear element (i.e., the bit that goes inside your camera). This shouldn’t be too messy; after all, it stays hidden away when you’re photographing. But dust can fall on it, especially when changing lenses – and this dust, while it may not show up in pictures, can definitely make its way onto the sensor.

I like to give it a quick once over with the rocket blower, making sure the bottom of the lens is facing down. (This will stop any dust from falling back on it!) 

Some rear elements are further recessed into the lens than others. With a lens that features a more exposed rear element, I also may give a quick wipe with a microfiber cloth or lens pen.

The rear element on this lens is very close to the surface!

Occasionally, I’ll give the mount a clean, too, as well as the lens contacts. For this, I just use a Tek Towel, although any clean towel will do. Carefully wipe around the mount and go over it a couple of times. A small amount of alcohol on a cotton tip can be used to clean the contacts. (Cleaning the contacts every now and then can help to prevent errors between the camera and lens caused by a build-up of grime.)

Now it’s time to give the rear cap a quick clean. Remove any dust with the blower and put the cap back on the lens!

The rear element is much deeper in the barrel of this lens.

Step 6: Clean the outside of the lens

Now that the exposed lens elements (both the front and rear) and the lens mount are clean, it’s time to give the outside a quick look. For this, I whisk away any dust with the paintbrush and wipe the whole surface area with a Tek Towel. If I’ve been at the beach (salt in the air) or my lens got wet with salt water or alcohol, I’ll dampen the towel with fresh water to remove any salt, champagne, etc.

This step, while very quick and simple, has proven to be quite helpful in picking up some things that may need my attention. For example, a while back I was cleaning my 70-200mm lens and I noticed that the end of the barrel was a little loose. I took it to Canon; the team fixed it in 10 minutes and charged me nothing. Prevention is the best remedy.

How to clean a camera

Here is a view of one of my camera bodies without its body cap. Care should be taken when cleaning around the lens mount to avoid dust, dirt, etc., from falling inside. It’s good practice to do this with the lens mount facing down.

Cleaning the camera is much easier and quicker than cleaning the lenses. I start by giving the outside a once-over with the paintbrush, followed by a thorough wipe-down with the towel. I make sure to dampen the wipe-down towel in fresh water if I’ve been at the beach. I make sure the screens and the viewfinder are all nice and clean, too.

As with lenses, I make sure that the mount and the contacts on the body are clean using the same steps.

While I have the body cap off, I’ll also blow out any dust that may be in the camera with the blower. With this step, I am much more cautious as I don’t want to blow into the body too much. I also have the camera mount facing down to prevent dust from re-entering. This step can help reduce the amount of particles inside the camera that may eventually find their way onto the sensor.

I don’t clean the camera sensor

For me, the camera sensor is where the cleaning process stops. I don’t do my own sensor cleaning because I much prefer it to be done by the right people. Some people like to do their own sensor cleaning, and that’s completely fine. This is just something I like to give to professionals because if anything goes wrong, I can blame them.

My thoughts on filters

You may have noticed that I haven’t mentioned anything about UV filters. The reason for that is simple: I don’t use them. I am yet to be convinced that they will actually save a lens from breaking if it’s dropped and have the view that if a lens is going to break from a fall, it will break, filter or no filter.

I always use lens hoods, which not only help to reduce lens flare but also provide some protection from objects falling onto the front element. However, if you’re in an extremely dusty environment, for example, then a UV filter could be a smart investment.

Keep your camera gear clean!

That’s it for my gear-cleaning process. This isn’t something I do after each and every shoot, but I do try to get to it at least once a month or after shoots where my gear has been a little abused by the elements. It may seem that there are a lot of steps involved, but it doesn’t take that long to do it. It’s even quite therapeutic when you get into it!

I can’t guarantee that cleaning your cameras and lenses will keep your equipment working forever, but it’ll certainly help it last a long time, and it’ll save you from needing to spend tons of money on repairs or new gear.

Now over to you:

How do you clean your gear? Do you have any other tools you use? What’s your procedure and how often do you do it? Please share in the comments below.

The post How to Clean Camera Gear: My Step-By-Step Approach appeared first on Digital Photography School. It was authored by Daniel.

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[Photography] How to Avoid and Reduce Noise in Your Photos (A Practical Guide)

The post How to Avoid and Reduce Noise in Your Photos (A Practical Guide) appeared first on Digital Photography School. It was authored by Barry J Brady.

We’ve all seen it in our images: that uneven grainy look that makes even otherwise outstanding photos look unappealing. But how can you avoid noise? And, in cases where it’s unavoidable, how do you reduce noise in photos?

Fortunately, dealing with noise is easier than you might realize, even if you don’t own a $5000+ camera with breathtaking low-light capabilities. In this article, I’m going to share plenty of tips and tricks for both preventing and removing noise, including:

• What causes image noise
• Five simple ways to stop noise from ever appearing in your images
• A noise reduction workflow you can use to reduce noise in Lightroom and Adobe Camera Raw

Sound good? Let’s dive right in, starting with the important first question:

What is noise?

Reducing noise in your images can make a huge difference to the overall quality.

In the context of digital photography, noise is aberrant pixels that appear in your image files.

In other words, noise is made up of pixels not correctly representing the color or exposure of the scene. If you photograph a dark blue wall, and in certain portions of the file, you can see speckles of white, red, or green, noise is probably the culprit!

You’re likely familiar with another type of noise: the static that you sometimes hear when you’re tuning a radio or watching TV. That static is caused by signal distortion or interference; it’s not deliberately included as part of the broadcast but is instead a result of the broadcasting process.

Technically, almost every image file contains some level of noise, even if it’s invisible to the naked eye. If you open an apparently noise-free photo and zoom in to 400%, for instance, you’ll probably start to see aberrations in the pixels, even if they’re slight. However, in this article, I’ve focused my discussion on significant noise (i.e., noise that’s visible or that threatens to become visible with small adjustments in post-processing).

Why does noise happen?

Noise is introduced when you shoot a long-exposure image or use a high ISO setting on your camera.

(What counts as a high ISO setting? That depends on your camera model, but these days, most cameras start producing noisy files around ISO 1600 or 3200.)

Does that mean you should never do long exposures or go over ISO 100? No! There are times you may need – or even want – to use long exposures or raise the ISO. Landscape photographers, event photographers, and wildlife photographers shoot in low light all the time, which requires long exposures and/or a high ISO.

At the same time, there are simple ways to avoid too much noise in your photos, even when using the above techniques, which I’ll discuss in the next section:

5 ways to reduce noise in-camera

Below, I share the five methods for minimizing noise while out shooting.

Not every method will apply to every situation, which is why it pays to be familiar with all of them – and to carefully choose the right method for your particular shot.

1. Shoot at lower ISO settings

Yes, we’re starting with the most obvious method. But photographers often push their ISO too high, too fast, leading to bad image quality.

Now, if your camera includes relatively new sensor technology, the ISO functionality will be great. You shouldn’t see too much noise creeping into your images, even up to ISO 3200. However, there might still be some noise at the higher ISO numbers, such as ISO 6400, ISO 12800, and beyond.

So don’t raise your ISO with abandon. Instead, be aware of your exposure, and recognize that shooting at a high ISO will produce more noise in your images. Boost your ISO if necessary, but consider other options before dialing in ISO 12800.

Here are a few items to think about before increasing the ISO:

• Open your aperture to its widest setting (e.g., f/2.8)
• If you are shooting in low light, use a tripod and drop your shutter speed
• If you are shooting a smaller subject (e.g., a person), use a flash

Each of these strategies will help you get a nice, bright exposure – without unnecessarily raising the ISO.

Of course, if your shots are still turning out dark, then you will need to push the ISO up higher. I’d recommend doing some test shots to find out your camera’s ISO capabilities and at what point the ISO settings start to really degrade image quality.

For many years, I shot on a Nikon D80, and I knew that anything above ISO 500 was really difficult to use. Noise at ISO 640 and beyond became difficult to remove. And if I was able to successfully remove it, the whole image looked like a watercolor painting thanks to the noise reduction process. So I worked within my constraints.

2. Shoot in RAW format

Does the idea of shooting in RAW intimidate you? It shouldn’t! RAW is a great way to get the best out of your images, so be sure to use it.

You don’t have to shoot RAW all the time. But when you notice that the light is becoming a little too dark, switch over to RAW.

Why is this so important?

JPEGs come with compression – a process during which noise becomes baked into your images. So removing noise in post-production becomes really tough (as does increasing exposure, which is often important in high-ISO situations).

3. Expose correctly from the start

Boosting a too-dark exposure will reveal noise – which is why it’s essential that you get your exposures right from the very beginning.

When out shooting, I highly recommend checking your camera’s LCD – including the histogram – to make sure you’ve nailed the exposure.

And don’t be afraid to take several shots at different exposures, especially if you’re dealing with a tricky scene; better to be safe than sorry!

Also, the higher your ISO, the more unforgiving the file. In other words: If you’re using a high ISO, you had better get the exposure right, because boosting an underexposed high-ISO image will result in a noisy mess.

(Of course, don’t overexpose, either. While overexposure won’t cause problems with noise, it will obliterate detail, which is never a good thing.)

4. Be careful when doing long exposures

Long exposures produce some of the most dramatic images.

But if the exposure is too long, the camera sensor may heat up, causing unwanted noise.

Don’t let this stop you from doing long exposures – if you love long exposures, then do long exposures – just be aware of how your camera handles the long exposure time.

In fact, you might consider shooting a series of long exposures, then checking each file on your computer for noise.

Then, once you’ve determined your camera’s limitations, make sure you don’t set your shutter speed for longer than your camera can handle.

The key point here is to know the limits of your gear and to shoot within those limits. You’ll end up with great images and have an easy time when editing.

Long exposure images can increase noise in a scene.

5. Use in-camera noise reduction

Most cameras offer a function called Long Exposure Noise Reduction, and if you’re doing long exposures, it’s a good idea to turn it on.

Why?

Well, as discussed above, long exposure photos are especially prone to noise. A long exposure noise reduction option is designed to counteract this issue – by taking a second shot after the first, then using the noise profile of the second image to subtract noise from the first.

Long exposure noise reduction comes with a serious drawback, though: it takes time, usually as long as the original exposure. So if you use a 30-second shutter speed, the camera will take an additional 30 seconds to get rid of the noise. And if you shoot for an hour, you’ll need another hour to reduce the noise, which is an annoyingly long time to wait!

So yes, it may be impractical if you are doing 10-minute shots. But for medium-length long exposures, it’s often worth doing.

(And if you do have the timed, do it on the very long exposures too, as it can dramatically improve the image quality.)

Use in-camera noise reduction for long exposures!

Reducing noise in Lightroom or Adobe Camera Raw

Even with the best techniques, you’ll still end up with noise in your photos – at least on occasion.

This is where post-processing noise reduction techniques come in handy!

Different software offers different noise reduction options, and I’m going to focus on two popular (and near-identical) programs from Adobe: Lightroom Classic and Adobe Camera Raw.

Below, I share my recommended workflow, but as you follow along, note that you’ll be able to use very similar methods in other programs!

Also note that you’ll generally want to complete all your other edits before reducing noise. This is because exposure adjustments, as well as sharpening adjustments, can make noise more visible. If you start by reducing noise and then apply a series of edits that amplify any existing noise, you’ll be forced to reduce noise a second time. This is inefficient, and it can also degrade image quality (since the noise reduction process does involve some loss of detail). So once you’ve done your basic edits, here’s how to proceed:

Step 1: Open your image and view it at 100 percent

Start by opening your image in Lightroom or Photoshop.

Note that RAW images opened in Photoshop will first go through Adobe Camera Raw, which is what you want. Again, remember that the controls in Adobe Camera Raw and Lightroom are almost identical, so most of the instructions are applicable to both ACR and Lightroom users.

The noise reduction sliders in Adobe Camera Raw are identical in Lightroom.

I recommend viewing your image full screen, then zooming into 100 percent. The goal is to look for noise; after all, not all images require noise reduction.

Adobe Camera Raw has some powerful noise reduction tools.

If you don’t see any noise, then there’s no need to apply any noise reduction. However, if you do notice some noise, and you feel it’s harming the image quality, proceed with the next step:

Step 1.5: Try the Denoise button (optional)

Adobe recently added an AI-powered denoise feature to Lightroom. It works by analyzing your selected image for noise; then it creates a DNG copy of your file that has been tweaked to remove noise while retaining detail.

Importantly, the Denoise button is only available in Lightroom, not Adobe Camera Raw. So if you’re an ACR user, you’ll want to skip straight to the next step. If you’re a Lightroom user, however, you’ll find the AI Denoise option in the Detail panel:

If you’re looking to reduce noise in your photos and you don’t mind waiting around, hitting the Denoise button can often do the trick. Once you press the button, you’ll see this dialog box, which includes a few basic settings:

I like to leave the Denoise Amount slider at its default value, though if the zoomed-in preview on the left looks either too noisy or too smooth, I’ll adjust the slider accordingly.

In Lightroom, I also recommend making sure the Create Stack option is checked. This tells the program to group the noise-reduced file with the original file for easy reference later.

Finally, hit Enhance, and wait for Lightroom’s AI to process your file.

In my experience, this approach does a reasonably good job of reducing noise, but it comes with a huge downside:

It takes forever to run (unless you own a state-of-the-art computer, at least).

If you look carefully at the screenshot I included above, Lightroom estimates that the noise reduction process will take a whopping 13 minutes to complete. For some folks, that won’t be a problem, but for others – such as those who edit high volumes of photos for clients – it’s just not worth the wait.

Regardless, you can always proceed with the manual noise reduction steps I discuss below:

Step 2: Adjust the Luminance slider

The Luminance slider reduces luminance noise (i.e., noise resulting from over- or underexposed pixels).

And many, many high-ISO images suffer from excessive luminance noise.

So zoom in to 100 percent, then boost the Luminance slider until the noise starts to disappear.

Don’t go too far, however,

Step 3: Fine-tune your result with the Luminance Detail and Luminance Contrast sliders

The Luminance Detail and Luminance Contrast sliders control the amount of detail and contrast preserved in your photos following luminance noise reduction.

You see, noise reduction smooths out noisy pixels, which automatically reduces detail and contrast. But by boosting these sliders, you’ll retain detail and contrast.

As you’d expect, the sliders do come with a drawback:

When you increase the values, you decrease the strength of the noise reduction. So while you’ll end up with a sharper image, you’ll also see more noise.

Step 4: Adjust the Color slider

The Color slider reduces color noise – which is the second type of noise you’ll find in your photos (often in the underexposed shadow areas).

So boost the Color noise slider, and zoom into 100 percent to see its effects.

Step 5: Fine-tune your result with the Color Detail and Color Smoothness sliders

As with luminance noise reduction (above), you can further adjust your image with the Color Detail and Color Smoothness sliders.

Want more detail in your photo? Boost the Color Detail slider. Higher values will protect thin, detailed color edges, but can also result in color speckles. Lower values remove color speckles but can result in color bleeding.

Want to keep colors nice and smooth? Boost the Color Smoothness slider.

And you’re done!

A final note on noise reduction

While I wish I could give you standard, one-size-fits-all settings for noise reduction, it just doesn’t work that way. Every image is different, so you’ll need to slide each adjustment around until you get your desired result.

I tend to increase Luminance and Color to about 50, then work from there. I slide each option up and down, carefully watching how it affects the image while zoomed in to 100 percent.

Then, after each adjustment, I zoom out to see the effect it has on the overall image. And if I’m happy with an adjustment, I move onto the next slider.

Is the process a little tedious? Sure. But if done properly, you’ll eliminate most of the unsightly noise in just about any image.

Practice is also important here, so try this on as many images as you can. Pretty soon, you’ll be able to predict the effect of each change.

How to avoid and reduce noise in your photos: final words

Now that you’ve finished this article, you know that avoiding and reducing noise shouldn’t be too complicated. Just follow the steps I’ve given, and your images will turn out great!

While it’s best to avoid noise from the get-go, reducing noise during post-processing is definitely a solid option. So focus on a two-pronged approach: do your best to avoid noise, and then clean up any remaining noise with software.

Now over to you:

Do you have any other tips for noise reduction and removal? Share your thoughts in the comments below!

The post How to Avoid and Reduce Noise in Your Photos (A Practical Guide) appeared first on Digital Photography School. It was authored by Barry J Brady.

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[Photography] How Does Distance Affect Depth of Field?

The post How Does Distance Affect Depth of Field? appeared first on Digital Photography School. It was authored by Al Jurina.

Let’s say that you’ve been taking photos for a while now. You’ve got yourself a good DSLR or mirrorless camera, and you’ve recognized that the standard 18-55mm kit lens that comes with your camera, while nice, doesn’t give you the shots you’re looking for.

So you plunk down your money on a wide-aperture prime lens, such as the 50mm f/1.8 that everybody is talking about, mount it on your camera, change your aperture to its widest setting, and start shooting. You spend all day photographing with this wonderful little lens. Then you get home, review your files on your computer, and realize that 80% of your shots are out of focus.

This used to happen to me. And when it did, I concluded that shooting wide open was just not possible because I ended up with too many shots that were out of focus. I incorrectly reasoned that I always needed to close down my aperture when shooting portrait subjects, or they would end up out of focus because the maximum aperture – and its consequently shallow depth of field – was just too unusable wide open.

For a while, I only used my 50mm f/1.8 lens at f/4 because it was the widest aperture that I trusted to get the shot in focus. It’s crazy, I know, and it was severely limiting, too. (Try shooting low-light portraits at f/4!) But then I figured out something that has changed my use of wide-aperture lenses forever:

The depth of field is not solely determined by your aperture setting and the lens focal length. It’s also determined by your distance from your subject.

In other words, it’s possible to capture shots with a deeper depth of field while using a wide aperture – and it’s possible to capture shots with a shallow depth of field while using a narrow aperture.

Let me explain…

Understanding the basics of aperture and depth of field

Use a wide aperture and get close to your subject for a photo like this one!

Before we continue, I want to break down the meaning of “aperture,” “wide open,” and “fast primes.”

First of all, aperture refers to the size of the diaphragm inside your lens. When you dial in a wide aperture (e.g., f/1.8) the lens diaphragm opens up, and – all else being equal – you end up with a small plane of focus (i.e., a shallow depth of field effect). When you dial in a narrow aperture (e.g., f/8), the lens diaphragm closes down, and you get a greater plane of focus (i.e., a deep depth of field effect).

Second, to shoot wide open means that you are choosing to photograph at your lens’s widest aperture setting or f-stop. The maximum aperture setting varies from lens to lens. If you’re unsure of your own lens’s widest aperture, you can check the manufacturer’s website, though on a lot of lenses, this value is listed somewhere on the lens itself. (Canon usually lists it on the front of the lens, and Nikon lists it on the lens body. Generally, it’s written as a ratio that looks something like this: 1:2.8, 1:1.8, and so on.

Finally, a fast prime lens has one focal length (i.e., it does not zoom) and has a relatively wide maximum aperture. The wide aperture can let in a lot of light, which makes it easy to use faster shutter speeds in dim conditions, hence the name. Most photographers consider a fast lens to have an aperture number of f/2.8 or wider (the smaller the number, the wider the aperture).

Two of the most popular features of fast prime lenses are their ability to create beautiful out-of-focus backgrounds, as well as their ability to handle low-light conditions because of the aforementioned large apertures.

Distance affects the depth of field

Let me let you in on a little secret about achieving a shallower depth of field: it’s about the aperture setting, and it’s about the focal length, but it’s also about the distance to your subject.

Most people learn that wide-aperture settings blur the background and let in more light, but they never understand that how close they’re standing to their subject matters, too.

You won’t find many manuals on subject-to-camera distance. It’s a topic that doesn’t get enough attention, and while it sounds tricky, it’s really not. Let’s look at it as simply as possible: the closer you are to your subject, the shallower the depth of field relative to your chosen aperture.

So if you are shooting a 50mm lens at f/1.8 and you are 20 feet away from your subject, you will have more depth of field than you will if you are shooting with the same lens and same aperture setting 2 feet away from your subject.

To get more mathematical, if you’re using a 50mm lens at f/1.8 and photographing something at 4 feet, your depth of field will be around 1.5 inches deep. But if you take a few steps back so that you’re photographing that same subject from 10 feet, you will have a depth of field of close to 10 inches.

What I’m hoping to convey is not that your aperture setting doesn’t matter. Rather, I want you to understand that even with an ultra-wide aperture, such as f/1.8, you can take photos without feeling like most of the shots will turn out blurry. The key is to ensure there’s enough distance between you and your subject!

Comparison photos

To illustrate the point, let’s take a look at a few sample photos. For these images, I’ve used the same 35mm lens at its widest aperture (f/1.4). However, I’ve changed the distance between my camera and my subject so you can see exactly how depth of field is affected.

First, I’ve photographed this subject from a distance of 2 feet:

Shot at 2 feet with a 35mm lens at f/1.4.

Notice the shallow depth of field effect? Since I was close to my subject and using an f/1.4 aperture, the hair and body are starting to blur, even if the nose is sharp.

Here’s what happens, however, when I use that same f/1.4 aperture but move back a few steps (so that I’m approximately 9 feet from my subject):

Shot at 9 feet with a 35mm lens at f/1.4.

The subject’s face is completely in focus, and the subject’s t-shirt and hair are much sharper than before. Of course, when you move farther away, you’ll end up with more space around your subject – but for the purposes of comparison, I’ve cropped this second image so the framing is the same.

Here’s another example, this time featuring a smaller, more product-like subject. The first shot was captured at 35mm and f/1.4 with the camera at a distance of 2 feet:

Shot at 2 ft with a 35mm lens at f/1.4.

As you can see, the back of the cup, and especially the most distant pencils, are starting to blur. I was too close!

Now look what happens when I move back to 9 feet:

Shot at 9 ft with a 35mm lens at f/1.4.

Those back pencils are suddenly much sharper, and it’s all thanks to the greater distance! (Again, I’ve cropped the image so the framing is the same.)

Get to know your lenses!

Now that you’re familiar with the “hidden” factor affecting depth of field, it’s very important that you get to really know your lens and its abilities. For instance, if you happen to know that you shoot a lot of portraiture close to your subjects, be aware of how much depth of field your lens gives you at three feet, four feet, and so on, when shooting wide open. With experience, you will be able to immediately predict the depth of field your lens will give you based on the distance you are away from your subject!

This next photo was captured at 5 feet using my 85mm f/1.4 lens:

Shot at 5 feet with an 85mm lens at f/1.4.

But when I moved back and cropped for similar framing, this is the result:

Shot at 12 feet with an 85mm lens at f/1.4.

The depth of field does increase in the second image, though not as dramatically as in my previous examples due to the longer (85mm) focal length.

Change your distance, control the depth of field

If your photos are coming out blurry when you’re shooting wide open, you can work on your focusing technique or use a narrower aperture – but you should also think about your distance from the subject!

One caveat is that moving away from your subject will widen the frame, so you’ll need to make different compositional decisions to account for the increased space.

Regardless, the next time you find yourself frustrated at your results shooting with that fast lens at its widest aperture, take a step or two back. You might like the results!

Now over to you:

Do you struggle to capture sharp photos at wide apertures? Do you have additional tips for managing fast lenses? Leave your thoughts in the comments below!

The post How Does Distance Affect Depth of Field? appeared first on Digital Photography School. It was authored by Al Jurina.

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[Photography] 15 Summer Landscape Photography Tips (+ Examples)

The post 15 Summer Landscape Photography Tips (+ Examples) appeared first on Digital Photography School. It was authored by Jeremy Flint.

Summer is a mixed bag for landscape photographers. On the one hand, you get a lot of the good stuff: fully leafed vegetation, (often) great sunrises and sunsets, fields carpeted with flowers, and warmer weather.

On the other hand, summer comes with several major drawbacks. Depending on the location, you can expect blistering heat, large crowds (especially in touristy areas), early sunrise and late sunset times, harsh light throughout much of the day, and increased travel costs. Plus, it can be easy to fall into the trap of capturing the same old, same old summer photos: a bright sunset, some pops of color, a relatively empty blue sky. So how do you get over these hurdles?

Creating beautiful summer landscape photos is very possible, but you have to take the right approach. That’s what this article is all about; in it, you’ll find plenty of tips, tricks, and secrets for amazing scenic photos during the hottest months of the year. I discuss lighting, weather, composition, and so much more, all with the aim of dramatically enhancing your shots!

So whether you’re new to landscape photography and are looking to do some fun summer shooting or you’re an enthusiast aiming to improve your images, here are some tips to help you on your way!

1. Start with an idea or a theme

If you’re struggling to produce work that you’re proud of, it can help to give yourself a theme or a project!

To capture successful images of summer, start by thinking about the types of themes and subjects you want to photograph. Ask yourself: What subjects interest me most?

Of course, what you shoot largely depends on what is around you; for example, in the UK, summer is a brilliant time to see wildflowers in bloom. There is always an explosion of reds and pinks, as fields are often carpeted in poppies. There are also bursts of purple as lavender fields flourish, and this can also make great subjects for summer landscape photography.

Summer also provides a great opportunity to capture fully leafed vegetation such as trees and hedgerows, as well as gorgeous sunrises and sunsets, plenty of joy, and beautifully dramatic weather.

You don’t need to restrict yourself, but if you can set out some type of structure or guiding idea in advance, it’ll help you a) find inspiration, and b) dig deep artistically so you can avoid capturing cliched photos. Even if you’re more of a “shoot first, think later” type of person, I encourage you to try giving yourself a thematic assignment and see how it goes!

2. Think both wide and detailed

Water – such as lakes, rivers, and streams – as well as dramatic weather make great subjects for wide-angle summer landscape photography. You should definitely pursue this type of summer landscape photography, and if you work hard, you can expect to end up with some eye-popping scenic shots.

But in addition to capturing the sweeping vistas of gorgeous landscape scenes, don’t forget to look for the finer details. You may find stunning gems, such as insects or animals hidden in the landscape, or intimate aspects of the wider scene, such as individual flowers emerging from the soil. A macro lens can be helpful here, as can a telephoto zoom (such as a 70-200mm f/4 lens).

3. Don’t forget to location scout, if possible

A great way to identify good places to shoot? Do some location scouting!

Of course, you may already know places in your local area that are great for photography, but make sure to look at them with a photographer’s eye; consider where the sun will be at different times of the day, how the location will be affected by the weather, etc.

In addition to relying on locations you already know, do some research. You can simply walk around and explore – you never know when you’ll stumble across a great scene! – or you can do a bit of Googling. Look for places other photographers have shot, recommendations from locals, and lists of the best landscape photography spots near you.

Then, the next time you’re ready to head out with your camera, you know exactly where to go. I’ll also note that if you photograph a location for the first time and you recognize its potential, it’s often worth going back a few more times over the next couple of weeks. Even if your first photoshoot goes well, if you return at different times of day or during different conditions, it’ll give you the opportunity to explore new compositions and really get to know the area – which often results in even better images!

4. Look for those splashes of color

When it comes to summer landscape photography, careful use of color can truly transform your photos.

For optimal results, aim to simplify your shot’s color palette, focusing on a few dominant colors. If these colors happen to be complementary or analogous, even better! Such color combinations can tie the entire composition together and immediately draw the viewer’s attention.

Don’t be afraid to incorporate vibrant bursts of color into your shots. Wildflowers are perfect for this purpose. Place them in the foreground, allowing them to catch the viewer’s eye before guiding their gaze toward the captivating backdrop.

Speaking of which:

5. Combine foreground and background elements

Looking to capture stunning landscapes that are full of depth? Here’s a nifty technique for you:

Start by identifying a majestic background subject like a towering mountain, a mesmerizing sky, or a captivating tree.

Then add some foreground interest! Seek out intriguing elements closer to your lens, such as colorful flowers, fallen logs, meandering rivers, or swaying grasses. Really, anything that piques your interest can work.

Play around with your framing until you can showcase both the fascinating foreground and the captivating background in a single shot. You might need to adjust your lens aperture to achieve the desired depth of field (unless you’re aiming for a shallow depth of field effect, that is!).

Take a look at this next photo, which I composed to include beautiful valleys and mountains in the background, but with poppies in the foreground in order to add depth and keep the viewer engaged:

Not every summer landscape photo needs to include foreground interest, of course, but by combining foreground and background elements, you can often create a photo that’s more compelling compared to a more conventional one-layer shot. Professional landscape photographers use this technique all the time; just take a look at your favorite landscape snapper’s portfolio, and you’re bound to see some of these near-far scenic shots.

6. Check the weather (in advance)

When undertaking summer landscape photography, be sure to always check the weather conditions before heading out. Although the weather can be more stable in summer, there are often periods of heavy rain and dramatic conditions that can severely impact the outcome of your images.

Aim to shoot on the days when the weather suits what you would like to achieve. For example, if bright landscapes are your preferred shooting subject, go out on sunny days. Alternatively, if dark, brooding skies or rain is your thing, then look for overcast, gloomy, stormy days to capture the shots you’re after.

And since the weather can be unpredictable, it’s important to be prepared for the worst. For one, always make sure you have rain covers or shelter so you can wait out the bad weather if needed (while keeping you and your gear safe!). Additionally, always head out knowing that you may not get the shots that you’re after; it happens, and sometimes it takes returning to the same location several times before you achieve that stunning summer image!

7. Consider the time of day

Days are longest and nights are shortest during the summer, with the day length decreasing after the summer solstice. There is therefore a longer period between first and last light compared with the spring or autumn.

Consequently, the sun will stay higher for longer during the summer, which means you will have more daylight time to do summer landscape photography. On the other hand, it makes night photography difficult, plus it pushes the golden hours (see the next tip!) into the early morning and late evening.

So make sure you always think about the changing light before heading out, and always check a sunrise and sunset calendar; that way, you can maximize your shooting time and get the type of shots you’re after.

8. Shoot when the light is best

Consider the light you like best for summer landscape photography. Do you prefer harsh light? Soft light? Dramatic light? Make sure you get out to shoot when the light fits your interests.

Generally speaking, the best light is at the start and end of the day – because as the sun rises and sets, the light offers golden hues and magical contrast. The vibrant colors at this time are amazing for summer landscape photography, so aim to set your alarm early and stay out late to maximize the best of the summer light.

In contrast, the light at midday is usually a lot harsher, especially when you have direct sunlight. So make sure to take this into consideration when photographing the landscape.

If you are out doing summer landscape photography in the middle of the day, be aware that the midday heat brings haze, which can make images look flat. This isn’t necessarily a bad thing, but it’s important to be aware of the effect so you can use it – or avoid it – in your photos.

Many serious landscape photographers dislike harsh midday light, so they’ll spend the middle of the day scouting for photos (or sometimes taking a nap!). Whether that’s an approach you wish to take depends on your goals and aesthetic preferences!

9. Make the most out of the conditions

Often, you have limited time at your chosen location to do summer landscape photography, so make sure you get the most out of the conditions you are presented with. Whether you’re dealing with rain or bright sunlight, you’ll have ample opportunities to capture the landscape at its best.

For instance, you can use overcast skies and rain to your advantage. There are still subjects that you can photograph; woodlands are great areas to shoot under cloudy skies, as are waterfalls. The rain can increase waterfall fullness, and both waterfalls and woodlands tend to look more photogenic in overcast light.

10. Handle the heat appropriately

Summer can be scorching hot, and the sun’s relentless rays can be unforgiving.

It’s crucial to take appropriate measures to stay cool and safe. Keep yourself hydrated by carrying plenty of water, apply sunscreen when needed, and don a hat for added protection.

If extreme temperatures are in the forecast, consider staying indoors for a few days or plan your outdoor photography escapades for the early morning or evening hours.

11. Incorporate wildlife into your shots

While this article focuses on landscape photography, let’s not forget that some of the most breathtaking shots include both wildlife and scenery. These are all about capturing the wildlife in its natural habitat, which can be challenging but incredibly rewarding.

Take a moment to research the wildlife you want to feature in your photos and consider how you can approach them closely without alerting them. You might want to use a blind to discreetly photograph your subjects or brush up on your stalking skills.

Then find a location that boasts stunning scenery and abundant wildlife. While national parks are excellent choices, don’t worry if you don’t have one nearby. There are countless other incredible spots to explore and capture amazing wildlife-landscape images!

12. Use leading lines

One approach you can utilize in your landscape images during summer is leading lines, which refer to lines that lead the viewer’s eye into the frame. It’s a pretty popular technique, and it’s a great way to create photos that engage with the viewer.

In summer, there are specific things you can find in the landscape that you can use to lead the eye, such as roads, walkways, hedgerows, lines of flowers and vegetation, coastal paths, and trees. Of course, there’s no set list of acceptable leading lines – so feel free to experiment and test out different options as you go along.

13. Keep your gear protected

I touched on this earlier, but it bears repeating:

Bad weather can make for great photos, especially when the rain starts to fall. However, bad weather can also seriously damage your equipment.

Therefore, if you like to capture dramatic weather, make sure you keep your camera protected at all times. Always bring a rain cover, and make sure it’s snugly fitted over your camera. When you go to capture a photo, you may need to temporarily uncover your camera to adjust your lens’s focal length (if you’re using a zoom), so make sure you work fast and expose your setup to the elements as briefly as possible.

Pro tip: If you like dramatic skies but don’t want to risk getting your gear wet, look to capture your summer landscape images in the period just after a storm has passed. You may even get lucky and see a rainbow!

14. Select your settings carefully

I am often asked about the best camera settings for summer landscape photography, but in truth, it really depends on what you are trying to achieve and what you want to emphasize in your scene.

As a general rule, an aperture of around f/8 to f/16 will help create more depth in an image and keep your entire scene sharp. If you want to keep parts of the frame out of focus, an aperture of, say, f/4-f/5.6 is the way to go. And a low ISO will give a higher-quality file (such as ISO 100-400).

As for the shutter speed: If you’re shooting handheld, stick to 1/50s or above, though the specifics vary depending on your technique, the lens focal length, whether your gear packs image stabilization, etc. Of course, a sturdy tripod will let you go much lower, and you can use it to create all sorts of interesting artistic effects, such as motion blur in waterfalls.

Finally, make sure you shoot in RAW. RAW files are larger than JPEGs and do require editing before they can be shared online, but they offer far more latitude in post-processing so that you can make adjustments to colors and tones as needed.

15. Photograph in your own backyard

Many landscape photographers believe they have to venture far and wide to capture stunning photos. But guess what? You can create breathtaking shots right in your own backyard!

With the right composition, lighting, and settings, even those seemingly “boring” nearby parks can give rise to captivating shots.

Start by exploring the parks in your area. Go on some scouting adventures, where you hit the trails just to see what treasures you can uncover.

Don’t worry about capturing those classic breathtaking scenes, and focus instead on capturing the beauty of each subject through your photographs.

Summer landscape photography tips: final words

We’ve reached the end of our article – but your summer landscape photography adventure has only just begun!

Now it’s time to grab your camera, head out into the great outdoors, and put these tips into action. Summer landscape photography can be tough, but with the right approach, you can capture the essence of the season in all its glory.

So enjoy yourself! Take some breathtaking photos! And good luck!

Now over to you:

Do you have any tips for beautiful summer landscape photos? Do you have any summer images you’re proud of? Share your thoughts and photos in the comments below!

The post 15 Summer Landscape Photography Tips (+ Examples) appeared first on Digital Photography School. It was authored by Jeremy Flint.

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