5 Tips for Photographing Portfolio-Worthy Costume Portraits

By: Charlie Moss

There’s been an explosion of interest in photographing costume portraits over the last few years. From movie cosplays to historically-inspired portraits – there’s no end to the kind of costumes that could make their way into your portrait portfolio.
Shooting someone who is playing a role can bring a whole new dimension to your images. It can add depth and vibrancy to your portfolio. People often lose their inhibitions about being in front of the camera if they are pretending to be someone else!
With that in mind, here are my top five tips for creating portfolio-worthy costume portraits.

1. Be inspired by history

Fabulous costume portraits have been created throughout history, both in photography and in other kinds of art. Julia Margaret Cameron, for example, was a British photographer born in 1815 who used to shoot people dressed up as characters from Shakespeare. Her contemporary, David Wilkie Wynfield, would photograph his friends wearing fancy dress in the style of the great 16th-Century Venetian artist, Titian.
And don’t just stop at taking inspiration from photographer either – there are thousands of years of portraits to take inspiration from. In the portrait above, I took inspiration from a painting called La belle ferronnière by Leonardo da Vinci. Other times I’ve been inspired by different historical artists – Rembrandt lighting is a popular technique amongst photographers too and a great place to start!
Never be afraid to try self-portraiture when you’re experimenting with different lighting and looks inspired by historical portraits. It can take a bit of practice to get it right, and you will almost certainly be your most patient model! The shot above is the result of an hour locked in my studio experimenting with light and self-portraiture. I cannot recommend the Fujifilm camera system and app highly enough for shooting self portraits. You can focus and shoot at the touch of your phone screen!
Costume portraits are a great excuse to step away from the kind of lighting that you would usually use and try something different. If you always use studio lights then how about trying some available light? That’s how artists would have mostly worked in the past, and if it worked for them then it must be worth trying! Equally, if you usually work with available light then perhaps this is an excellent opportunity to step outside your comfort zone and try something tight and controlled with studio lights?

2. Check the costume faithfulness

I’m not suggesting for one moment that you should become a victim to historical or film accuracy in your costume portraits. But it does pay to just think through all of the elements that your subject is wearing or surrounded by.
In a costume portrait, even more so than a regular portrait, every aspect of the costume and any props contribute to the story being told by the final image. Ideally, nothing should appear in the final image that wasn’t intentionally put there to be a part of the story.
So if you are shooting a portrait inspired by a period of history, or perhaps inspired by a film or comic book, just take a little time to research your inspiration before scheduling a shoot. Check that your costume, accessories, and props aren’t going to be jarring to the story you are trying to tell.
This is where it might be worthwhile working with costume designers if you are new to styling costume portraits. Their expertise and advice on putting together and styling different kinds of costumes could save you an awful lot of time and heartache in the long run! Of course, there are always opportunities to hire costumes from theatres too – it can be a surprisingly cost-effective option.

3. Set the scene

Think about the scene that you want your character to inhabit. Are they royalty sitting atop a beautiful throne, or are they a post-apocalyptic warrior tracking danger through the forest? Scouting out a location and sourcing props to suit can be half of the fun when it comes to staging a costume portrait!
You can find great locations in the most surprising places. I have shot in front of huge roller shutter doors on industrial estates, in a scrubby bit of forest that looked like a dreamy estate in the final images, and against an old stone wall in my back garden. With the right lighting, lens selection, framing choices, and post-processing the most unexpected locations can look great in portraits.
But, of course, there’s always the option to head into the studio! Taking a subject into the studio and placing them against a plain backdrop can serve to really highlight the story you are telling through their costume and appearance. It puts the focus squarely onto the subject. This style of studio shooting can be a double-edged sword. There’s less room for mistakes in this kind of controlled studio portrait, but the payoff can be more than worth it when it comes to portfolio-worthy images.

4. Give your subject a character

When people usually sit for portraits they are playing themselves. So when you have someone sit for a costume portrait, it is helpful if you can have them play a role. It can help them to get into character more quickly and easily.
Before you do the shoot – while you’re pulling together your styling and location – think about the character that you’re looking to capture and write down a few thoughts as part of a shoot plan.
Are they a brooding young Victorian poet who lost their love? Perhaps they’re an underground rebel trying to uncover a government conspiracy four decades in the future? This is the driving force behind the entire shoot, so gear everything towards bringing this character to life.
Once you have your subject dressed up and with makeup done, equipped with props, and in the location you have chosen, all these elements should come together to help them portray the character. It’s their portrayal of the character that will shine through, tell the story, and truly make your shots portfolio-worthy.

5. Don’t forget the post-processing

You’ve styled an amazing shoot in a fantastically atmospheric location with a great team, and you’ve collaboratively told a compelling story. So what is next? Post-processing – that’s what.
The choices you make on the computer or in the darkroom after the shoot really help you focus the storytelling. Good post-processing can help elevate a portrait to something extraordinary.
You can make stylistic choices in post-processing that you may not otherwise make if you were shooting regular headshots or family portraits. For instance, when I shoot images with an apocalyptic theme, I tend to add lots of layers over the top to create a grungy look to the piece. If I am shooting something inspired by a sci-fi movie, then I often choose to push the colors quite hard to resemble the film grading used by cinematographers. Moreover, if I shoot something medieval- or viking-ish, I usually dull all the colors down and make the finished shots look “dusty” and worn.
With practice, you’ll find your style for post-processing costume portraits. Don’t be afraid to step outside of your comfort zone and do something different from your usual approach. Everything about these images is already completely different from how most people would approach a regular portrait. It’s a chance to experiment!

Now that you’re armed with my top tips for shooting costume portraits, it’s time to try it out
yourself! Remember to create a character, set the scene, and think about every element that you’re placing in the image. That way, you’ll tell a compelling and consistent story that shines through in the final image.
I’d love to see your attempts at shooting costume portraits. Post an image in the comments for everyone to see!

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4 Tips to Get You Out of Your Comfort Zone for Photographic Inspiration

By: Ana Mireles

Are you feeling uninspired? Perhaps you’re stuck in your photography practice and feel like you’ve reached the best of your abilities? Don’t worry, we all feel like that sometimes. In most cases, all you need is to get out of your comfort zone to find new and exciting challenges. Here are some tips to get you out of your comfort zone for photographic inspiration.

1. Change your focal length.

All of us have a preferred focal length either because it’s the only lens we have, or because it’s the fittest for the kind of photography that we do. So the problem is not that you have it, it is that it impacts a lot of your photographic behaviors as well. You might think it’s not a big deal, but it’s vastly different working with a fixed focal length than a zoom lens, or shooting with a wide angle lens than a telephoto lens.

The focal length you use affects the physical distance you need between you and your subject. With a telephoto lens, you can be further away and still get close detail. A wide-angle lens allows you to fit in a bigger scene even if you are closer to your subject. Making this change means you walk around your subject to get the shot, which helps you find new perspectives and points of view. Sometimes you can’t get closer or further away as you may need, forcing you to reframe and rethink your entire image.

Another thing that changes when you modify the distance between your camera and subject is the Depth of Field. Depth of Field depends on the Aperture (f/stop). If you take two images with the same aperture but one of them is with a wide-angle lens, and the other is with a telephoto, the latter will have a shallower depth of field. If you’d like to understand this concept in more depth, I recommend you read my article How to Use Still-Life to Understand Focal Lengths. In any case, the results of your images may be different to what you are used to, and this inevitably pushes you out of your comfort zone.

2. Change the type of photography you do

One of the beauties about photography is how versatile it can be. You can photograph practically anything. I don’t mean that any photographer can do every kind of photography. Each one needs its own set of skills, and that’s why I recommend this exercise.
You can be a wedding photographer, a landscape photographer, or a food photographer – it doesn’t matter. There is always another type of photography you can try. For example, if you’re a portrait photographer, used to dealing with people, go and shoot some architecture photography or any subject you can’t move or control. If you usually do macro or abstract details, go wider and try to compose a scene from urban photography. You’ll be amazed at how changing what you see also changes the way you think. It opens your mind to new possibilities.

As a photographer, no matter what your specialty, you are working with light. However, it most certainly different working with studio lights doing a still life than natural light while shooting a landscape. One is not better than the other, nor is it easier. They are just different and as a result, require different skills. Studio lighting means learning to set everything from scratch. You create the amount and type of light you want.
However, natural light means learning what time of the day is best, dealing with weather conditions and so on. It also means having the right equipment. I’m not suggesting that you go and spend a lot of money on something you may not use much as there’s always a way to adapt and improvise. This is also part of going out of the comfort zone.

3. A small change can go a long way

Expanding your creativity can be done by changing a small thing from your photographic routine. Change the time of the day that you go out to shoot, go back to a place you visited in a different season, or walk the opposite way when you go out the door. New conditions or new places spark new ideas.

4. Change equipment

I already mentioned focal length, but the lens is not the only thing you can change to challenge yourself. Try a different camera. I’m not suggesting that you go out and buy an extra camera. You can try renting for a day or exchange cameras with a friend. You can switch from your camera to your phone and vice-versa. The composition is different when shooting full-frame and crop-sensor. It’s challenging to photograph a maximum amount of photos with a film camera instead of the (almost) limitless and immediate result of digital. However, it doesn’t matter what you use (more or less professional than your regular equipment), what matters is that it’s different.

Conclusion

There are many ways to push your photography and creativity further. Try some of these tips or come up with some of your own. See where it takes you. One last piece of advice: don’t be afraid of doing bad photos. There is a reason why your comfort zone IS your comfort zone. You’ve mastered it, you like it, and you create great images. Expect that you won’t achieve the same results when you change photographic genres – that’s all the more reason to try it!

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The Real Consequences of Taking a Break from Photography

By: John McIntire

Have you ever felt fed up with your photography? Disillusioned? Frustrated? Uninspired? Burnt out? If that’s the case for you, you are not alone in those feelings. Most of us feel that way at some point or another, often on multiple occasions. Fortunately, there is and always has been a lot of sound advice available for when you feel that way.
Advice that prompts you to try new techniques for a different perspective and a fresh outlook is one great example of common advice that may help you to overcome the frustration.

Sometimes doing something different, like getting out of the studio, can be enough to give
you a fresh perspective on things.

This article discusses one particular piece of common advice that’s given to photographers a lot. You will have probably heard (or read it) given to someone else at some point, even if it hasn’t been given to you. That advice is when you feel this way, take a break from photography. On the surface, this can seem like a great idea and a great piece of advice. However, once you dig a bit deeper and dissect the possible outcomes (as this article does), you should see that the repercussions of following through with a break from photography can be significant.

Where is this coming from

This topic is quite personal. I followed this advice several years ago after struggling with severe burn out. Because of this, the topics discussed in this article are based on some of the things I experienced after taking a break. That said, even though this is quite personal, I try to keep that aspect out of this article as much as possible and keep things analytical and leave the anecdotes to a minimum.
Even so, you’re situation and experiences won’t be the same as mine. I may have experienced these consequences, but that doesn’t mean you will. If you are considering taking a break from your photography, do have a good, hard think about if any of this applies to you.

There are benefits

Taking a break did allow me the chance to spend time creating images that matter to no
one other than me.

As mentioned, the advice photographers often get is to take a break from photography. This does have some benefits (and I did experience those).
By taking a step back, you can gain both space and time to give things an honest appraisal and discover exactly what is causing the feelings of frustration that led you to the point of wanting to take a break in the first place. This a huge advantage and if used well, you can take that insight and fix, or cut out, whatever was causing your frustrations.
Some of the things that are easier to evaluate from a safe distance include: what you like and don’t like, the direction your photography is heading in, your working habits, and your personal values and how they apply to your photography.

I used to use a white background a lot because I loved it. At some point, I stopped loving it
and became bored, but didn’t realize until I took a long step back.

That time can also give you the opportunity to let some information sink in. If there’s a concept or a technique that you just can’t wrap your head around, stepping away from actively pursuing it gives your brain the opportunity to work on the problem in the background.

The downsides

While the positive consequences of taking a break can be obvious, some of the potential negative consequences are less so.

Habits and systems

As you develop as a photographer, so does your list of processes and systems that help you 

achieve what you do. A post-processing workflow is just one example of something that may 

be disrupted by taking an extended break from photography.

If you’ve been involved with photography for any amount of time, you have gradually built a series of habits and systems that you go through every time you take photos. This could be your post-processing workflow, it could be the way you research locations, or it could be the way you conduct yourself on social media.
The thing is, these habits and processes were built step by step. You didn’t just wake up one day and have a complete post-processing workflow in place.
When you decide to take a break, you’re taking a break from your habits and routines. If these were developed over years of practice and daily ritual, what happens when your break is over? Chances are, when you come back, you may very well struggle to jump back into those complex habits. Instead of building things up gradually, you are trying to get back into a routine all at once. This can extremely difficult at the best of times.

While on my break, I spent a fair amount of time shooting landscapes for fun and as an
excuse to be outside. While fun, landscape photography requires a very different approach
and set of processes to portraits.

If you think about this just in the context of social media, posting content everyday (or at least regularly) can be a significant job with plenty of work going into each post. Stopping that routine and then trying to come back to it months later could be overwhelming and it might take significant effort to overcome a challenge like that.
Once you add that to the possibility that once you step away from social media, you may very well recognize just how toxic it can be, which makes it all the harder to willingly step back into that arena.

Things change

Depending on how long your break is for, things that you take for granted can change dramatically. My break lasted a couple of years. In that time, Photoshop transformed into something only slightly recognizable. Lightroom transformed into the go-to for photographers, and Instagram went from iOS users only to taking over the world.
You can probably see the disadvantages here. In this technological world, everything changes at a ridiculous pace. By taking time out, you are removing yourself from a position where you can adjust to these changes as they happen. When you decide to come back, you now have an enormous workload of stuff that you have to learn or relearn just to put yourself at the same level you were before.

People change

If you’re a portrait photographer, or any sort of social photographer, this is probably the most applicable point to you.
Much as the tools of the trade change over time, so will your network. Once you’re on a break, any previous contacts or clients will move on and find another photographer. Models, make-up artist and other collaborators may move on or change focus themselves.

Over time, your network of clients, collaborators and co-conspirators changes organically. 

However, if you’re on a break, you don’t have as many opportunities to add new people to 

your network.

This applies equally to social media and real life networking.
If you weren’t on a break, this would still happen, but your network would still be growing naturally. However, if you’re not there to grow that network, the holes that these people leave will be empty once your break is over. If your break is an extended one over a couple years, you may come back to find that the network that you put a significant amount of time and effort into building is decimated.

Piecing it back together

All of these things on their own may not seem insurmountable, but once you add them all together, they can accumulate to an enormous challenge that will set you back in both time and effort.
Having to refocus on these things also means that once you’ve decided that you’re ready to come back to photography, you have to put a great deal of time into the things that aren’t photography.
For a lot of people who are frustrated and disillusioned with their photography, it is often these ancillary administrative tasks that cause the feelings of frustration and disillusionment in the first place.

Weigh your choices

If you are in a position where you are considering taking a break, I understand and I empathize. A lot of photographers have been there before.
Before you make a decision, please, please take the time to consider all of the possible consequences of taking a break.
Again, my circumstances will be different from yours and your consequences may not look remotely like mine, but there will be consequences that you may not be able to see yet. Please try to take them into account.
Have you taken a break from photography or considering it? Feel free to share your experiences in the comments below.

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Concert Photography 101: Cameras and Lenses for Beginners

By: Suzi Pratt

If you’ve ever wondered how to become a concert photographer, one of the very first steps is to acquire the right gear. You’ve probably been to a concert or festival and seen music photographers hauling tons of equipment such as two camera bodies and enormous lenses. While it’s certainly ideal for a professional to have this much stuff (and then some), most beginners or amateurs absolutely don’t need this much gear to get started. Read on for some of my suggestions on how to gear up as a beginning doing concert photography.

Concert photography rules

Before we get into gear, let’s discuss your typical concert photography setting. Whether you’re shooting a big arena show or a small, casual performance in a bar, concert photography rules are more or less the same. You get to shoot for the first three songs only, and cannot use a flash or strobe of any sort. With these two rules in mind, this means that you need gear that allows you to adjust and shoot quickly and pull off shots in a low lighting setting.

What kind of camera do you need?

First off, invest in a solid DSLR camera. While there are point and shoot cameras that could arguably get the job done, you need the lens choices that come with DSLRs. It doesn’t really matter what brand you choose. What does matter is being comfortable using it and knowing that you have a wide variety of lenses to pair with it. Canon and Nikon are two of the biggest camera brands that are among the most popular for concert photographers.

Crop Sensor or Full Frame?

When researching DSLR camera options, you’ll have a choice between investing in a crop sensor or full frame camera. The differences between the two types of DSLR cameras is best explained in this article.
To quickly summarize, crop sensor cameras are typically smaller in size and much cheaper than full frame cameras. The main disadvantage to crop sensor cameras has to do with their smaller sensor sizes that will impact available ISO options, thus resulting in slightly noisier or grainy photos than full frame cameras. In short, start out with a crop sensor camera if you’re on a budget, and aim to upgrade to a full frame camera the further you get in your concert photography career.

Canon 5D Mark III (full frame) on the left and a 6D on the right.

Suggested concert photography cameras

Full Frame

• Canon EOS 6D
• Canon 5D Mark IV
• Nikon D810
• Nikon D750
• Nikon D610

Crop Sensor

• Canon 7D Mark II
• Canon 77D
• Canon 80D
• Canon EOS Rebel T6i
• Nikon D500
• Nikon D7500
• Nikon D5600
• Nikon D3400

What are the best concert photography lenses?

After you’ve invested in a DSLR, be sure to budget for the purchase of accompanying lenses, which can end up being just as expensive as the camera body. Generally speaking, you shouldn’t use the kit lens that automatically comes with your DSLR camera.
Most of these kit lenses are fine for shooting in ample lighting conditions, but they won’t perform well in the low light settings of concerts. Instead, what you want is a fast lens with a wide aperture (or f-stop) of between f/1.2-f/2.8. This will help you capture moving subjects in dark settings.

Canon 24-70mm f/2.8 and 70-200 f/2.8.

Start with prime lenses

For beginning concert photographers on a budget, prime lenses are your best bet. While these lenses have fixed focal lengths, meaning you can’t zoom with them, their low f-stops mean they will shoot better in low light. Prices and exact lens models will vary according to which camera brand you’ve chosen. Since I’m a Canon shooter, these lenses are geared toward Canon.

• 50mm f/1.4 (or the cheaper 50mm f/1.8) – for Nikon try the 50mm f/1.8G
• 85mm f/1.8 – for Nikon try the 85mm f/1.8G
• 35mm f/1.4  – for Nikon try the 35mm f/1.4

Put these lenses on your wish list

Pretty much every professional concert photographer will have two go-to lenses on hand: a 24-70mm f/2.8 midrange zoom lens, and a 70-200mm f/2.8 telephoto lens. Neither of these lenses is cheap and should definitely be considered a long-term investment. But if you can afford one or both, don’t hesitate to add these lenses to your concert photography kit.

Keep an eye on third party brands

While it’s certainly ideal to purchase lenses in the same brand as your DSLR camera manufacturer, there are many third party companies producing cheaper and sometimes even better options. Great lens options exist from Sigma, Tamron, and Tokina, to name a few. Again, the specific options will depend on the DSLR camera body you’ve chosen, but here are a few possible options for Canon shooters:

• Tokina 11-16mm f/2.8 (for Canon EF-S/crop sensor or Nikon DX)
• Sigma 17-50mm f/2.8 (for Canon EF-S/crop sensor or Nikon DX)
• Sigma 24-70mm f/2.8

If you’re on a budget

It’s a reality that concert photography equipment isn’t cheap. But there are some ways to score more affordable camera gear. First, look into used or refurbished camera bodies and/or lenses. As long as you purchase from an accredited source, you can save hundreds of dollars on gear.
On the flip side, keep in mind that camera gear retains its value as long as you take care of it. So if you buy a lower-end camera or lens and want to upgrade later on, it’s pretty easy to sell off your old gear to help you invest in newer options.
Finally, look for older models or previous versions of gear. For example, you could spring for the brand new Canon 5D Mark IV camera body, or you can save over $1,000 by investing in the older yet still very functional Canon 5D Mark III. The same is true for many other camera bodies and lenses on the market. It all depends on your budget and what kind of features you absolutely need to have.

In Conclusion

Consistently pulling off pro-quality concert photos often requires investing in pro-grade camera gear. But it’s best to start small and to upgrade over time as your skills and budget increase. What are your go-to concert photography cameras and lenses? Let me know in the comments below!

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Review of the New Nikon D5600 Camera Body

By: Leanne Cole

The Nikon D5000 series debuted its first camera in 2009, and since then new versions have emerged over time. Now the Nikon D5600 has been released. The series has been very popular for Nikon and this one won’t disappoint. It has many of the features that are found on previous models plus some new ones which make it even better.

The Nikon D5600 – image courtesy Nikon Australia

First Impressions of the Nikon D5600

There is nothing like getting that gold box that all Nikon cameras come in and opening it up for the first time. Inside you will find an instruction manual, eye-piece cover for doing long exposures, battery, charger, and of course, the camera.
I normally use a Nikon D800, which is a big camera, so the size of the D5600 was a real surprise to me. It is small and fits easily into my hand. It is light, and compared to many cameras is a good choice to carry around. Sitting side-by-side with a Panasonic Lumix mirrorless camera there wasn’t a lot of difference in size.
The Nikon D5600 is a DX camera body or cropped sensor, so many of the lenses for it are also light. However, you do have to be careful if you mount a full frame lens on it. They are a lot heavier and it may seem like the lens could come off. Of course, it won’t, but be aware and be careful.

The Nikon D5600 is small and not that heavy.

Using the Nikon D5600

When you get a new camera you don’t want to get it out of the box and wonder how to use it. If it seems too complicated, then you may lose interest and not want to use it anymore. Thankfully, this camera is easy. It doesn’t take much to figure out how to take photos with it.
Most of the controls are available in the menu and you get access on the LCD, which is also a touch screen. You no longer have to scroll through different settings to be able to get what you want, you can just touch it and make your changes. All the settings become buttons on the back that you touch and change, all very quickly.

Using Live View to see what you are photographing.

The D5000 series has always had a screen that you can move and change so you can see what you are doing in Live View; this one is much the same as the others. However, with it being a touch screen you do have to be careful as you can start taking photos without meaning too.
The autofocus was fast even when using it with Live View. Once you click the button there isn’t a lot of shutter lag time (time between pressing the button and the image being taken) unlike older Nikons. This makes taking photos much faster no matter how you are doing it.

Using the camera to take photos looking through the viewfinder.

Battery

Without a doubt, Live View will chew through your battery. After spending one to two hours in the city, and the following day going out to take more images, the battery started dying. You would not be able to spend all day using Live View unless you had spare batteries.
After having said that, however, when the battery indicator light starts blinking, if you turn off Live View and close the screen so you don’t get image previews you can continue taking photos and the battery will last a lot longer. You should only use Live View when you really need it.

Use Live View to take images that would otherwise be difficult to get. These statues are too 

high for me to get images looking through the viewfinder.

The Menu

The menu for the D5600 is very similar to other amateur-level Nikons. If you have had another in the past then navigating your way through the D5600 shouldn’t be an issue. As stated previously, it is all touch screen and makes the whole process very easy to use.
Being able to use the camera without having the manual right beside you is good. For Nikon users, you will find that the manual is not necessary, though people new to the brand may find it more difficult. The manual for this camera is very basic, and I found it hard to figure out. It is almost like it is in point form. Not the type of manual that long time users are used to.

Images

With the 24 megapixels that this camera is capable of you are going to get larger file sizes for each image. The images are 6000 x 4000 pixels, which can mean that you can get them printed quite large. They aren’t that much smaller than those taken with full frame.
If you are shooting jpegs the images are around 6-7 MB each, Raw are around 26 MB. You have to consider this when purchasing the camera because if you shoot a lot then it is a lot of images to store. You will need to consider backup storage and a lot of it. However, it is a problem that most photographers who use digital are facing as cameras become more advanced .

The file sizes give you enough information to work with and process your images.

ISO settings

For many photographers, not having a good ISO range in the past could have been a deal breaker. But with most new cameras you get a really good range that will suit just about any situation that you find yourself shooting. The ISO range on the Nikon D5600 starts at 100 and goes up to 25,600. It is hard to imagine what you would ever use ISO 25,600 for, but it is there if you are ever in that situation.

Changing ISO quickly for indoor images is easy with the touch controls.

WiFi and Snapbridge

Like most modern cameras the Nikon D5600 does come with WiFi features. You can use it to get photos from the camera to your phone.
This is the first in the D5000 series to have Snapbridge. This is a new feature from Nikon and allows your phone and the camera to communicate via Bluetooth. It seems to work better for Apple users than Android, but Nikon does seem to favor the former more for many things.

You can use the Wifi and Snapbridge functions to get images from your camera to your phone for 

instant uploading to your Social Media.

Who would buy the Nikon D5600 camera?

The D5600 is not the most entry -level camera for Nikon, but one rung up the ladder. If you are just starting in photography you may think to start at the bottom. However, if you think you may really enjoy photography you would find this a great camera to learn with, and it has many features that you can grow into. It will do almost everything you ever need. The D5600 would be a great camera to start with and continue to use as you learn about photography.
It would also be a great choice for someone who wants to get back into photography and understands how a camera works. For someone who isn’t sure how often they will use it, but they want something that will give them a lot of choice, this could be the camera for them. An amateur who will go out on the weekend to shoot, but doesn’t necessarily want to get too serious will enjoy the D5600.

Great camera to walk around with in the city.

Finally

The Nikon D5600 camera would be great for many people. With all the options it offers they will likely find that they could use it for long time. With the new features that Nikon has put on this camera, it is getting more sophisticated. It is easy to use and to carry around, hard to imagine many who wouldn’t like this new camera in the D-range. The D5600 is a good update in the popular series.

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How to Choose Your First Camera Drone and Skyrocket Your Photography

By: Paul Archer

Maybe you are in love with photography and in the process of turning it into a passion. You might be a professional photographer who’s always searching to improve, or you might just like capturing those beautiful trips like no other. If you’re in any of these categories, you might want to consider buying yourself a drone.

This guide is all you need to help you make a choice. I have experimented with most of the drones on the market so you don’t have to.

How useful is a drone for photography?

I think you already imagine how cool it could be to reach those places you always wanted. No more climbing trees for great panoramas. And best of all, you can literally fly your camera wherever you like (within the law, of course).

Bonus: You’ll be able to take unbelievable videos as well.
Maybe, you always thought taking pictures is where you’ll stop, but don’t tell me you’ve never been fascinated by one of those cool drone videos on YouTube.
The great thing about a drone is that most of the time, it comes with an included gimbal that stabilizes the image perfectly. That feat alone makes both video and photography easy to do and cinematic almost straight away.

Will you be able to afford it?

Gone are the days where only blockbuster movies had the budget to record and shoot photos from the air. Today, thanks to less expensive technology and increasing popularity of quad-copters, almost everyone can afford a drone. And the results are absolutely fascinating.
These are my general recommendations when it comes to pricing for a good camera drone:

• If it’s a drone that comes with a camera, you will need to spend over $400 if you want to have image stabilization.
• You can also pick a cheaper drone with GPS and stabilization that comes with no camera. That might be a good option if you already have a GoPro or action-camera and a tight budget.
• If you want a beginner drone just to learn how to fly, don’t spend more than $50.

How to pick your first camera drone

So you decided to get into drones and skyrocket your photography/videography. I have created an infographic explaining the main things you should look for in a camera drone. Now you have two paths you can choose from:

1. Get a small beginner drone (under $50) to learn the basics of piloting it, and only after that buy a more expensive one.
2. Get a more expensive drone with GPS, which is stable enough when flying and can return to home automatically if you mess up.

What are the best inexpensive beginner drones?

Ways you can go about buying your first beginner drone:

• Get two or more VERY cheap drones (at $15 each) and simply learn the basics of flying in the house, while having a backup.
• Get one cheap beginner drone (around $50), that usually comes with a low-quality camera (I don’t recommend this because it’s nothing like the more expensive ones).
• Choose a cheap beginner drone and the more expensive one at the same time, if you want to just try it a few times and then jump into the action.

Here are my top beginner drones you can start with:

• JJRC H36 – A super resilient drone that works great inside. This is what I would recommend any friend. About $18.99 on Amazon

• Cheerson CX-10 – A very small drone that’s around $20 and can do flips. About $18.99 on Amazon.

• Hubsan x4 – A very sturdy and well-made drone with a camera. About $32 on Amazon.

What are my top choices for a camera drone?

This is my top three list of recommendations I have for different types of consumers, ranging from $500 to $1500 USD.

I’ll underline the main features you should look for in each drone, while also spotting the drawbacks of each.

#1 – DJI Mavic Pro Platinum – My overall winner

This quad-copter is one of the most popular right now, for some really good reasons. The DJI Mavic Pro Platinum is the newer version of the Mavic, but it is quieter and has a longer battery life.


This is why I would recommend it.

I’d recommend it to anyone from travel enthusiast to the professional photographer and so on. It has its limitations, but for the price of about $1000, here’s why it rocks:

• It comes with a stellar gimbal (a motorized system that stabilizes the camera while in the air).
• Has a 4K camera with a fixed aperture of f/2.2 – This makes it pretty good even in low light conditions.
• You can take amazing photos in 12mp resolution.
• It’s foldable – This makes it the most portable high-quality camera on my list, and pretty much on the market. You can simply take it in a small bag and go on your vacation, no problem.
• Long range – it can go up to 7 km in perfect conditions, which is more than enough for anyone.
• Long battery life – it promises about 30 minutes of flight time, but in real life conditions, 26 minutes is more likely.
• Has great GPS and return to home features.
• Has front sensors for detecting obstacles and stopping in time.

Disadvantages: Can’t really think of anything. It’s amazing for the price.

#2 – Xiaomi MI 4K drone – The cheapest, yet still amazing

The Xiaomi MI 4K drone costs about $500 and comes with all you need for great photo/video results.

• Just as the Mavic before, it comes with an amazing gimbal and camera attached to it, in order to keep the image steady in the air.
• Again, you can shoot 4K photos (12.4 mp) and video or go lower in resolution so you can record in more frames, and do slow-motion.
• The range is over 3 km, which is absolutely fantastic.
• Battery life is said to be 27 minutes, but in real life, I got a maximum of 24.
• It comes with very good GPS and returns to home when the battery is low and also when the signal is lost (just like the Mavic)

Disadvantages of the Xiaomi 4k drone

• It’s not nearly as portable as the Mavic.
• It is louder.
• It doesn’t have the front facing sensors to stop before impact that the Mavic does.

Consider how much these drawbacks mean to you when you take into account the super cheap price. Don’t get fooled thinking a smaller price means lower quality. Xiaomi, just like DJI, is a Chinese company with a focus on creating high-quality hardware, that’s impressive even by western standards.

#3 – DJI Phantom 4 Professional – the pro choice at a small price

You have probably heard of drones like Phantom 3 or 4 by now, and they were all amazing, but the DJI Phantom 4 Professional is on the next level.

If the DJI Mavic Pro Platinum is not enough for you in terms of camera capability and you want more professional freedom in your work, this is the best way to go.


Here’s what this $1500 drone comes with:

• The 4K camera we’ve been used to has a 1-inch sensor now. This means nighttime photos will be considerably better and less noisy compared to any of the previous drones.
• The 20mp sensor also delivers amazing quality photos and video.
• It can shoot 4K in 60fps and Full HD in 120FPS and comes with a mechanical shutter (just like your DSLR), so you get a smooth video image and no rolling shutter effect.
• It’s super secure with obstacle sensing in 5 directions: 2 front sensing cameras, 2 side infrared detectors, Sonar and cameras on the bottom (to land precisely), And even one in the back!
• Just like the Mavic Pro Platinum, it comes with 30-minute flight time, 3-axis gimbal stabilization and 7 km range (but, this time, it’s dual-band transmission, so the signal is more secure).

What are a few disadvantages: It’s bulky and loud. It can’t fold up, so if you want to take it on vacation, it will be harder to carry.

I recommend this drone for the more professional bunch of people, who want to use it more intensely for professional projects and don’t mind the bigger form size. This drone is great for people who want to have more control over their images, and it’s perfect if you want to shoot at high ISO in lower light.

Over to you

I only gave you three choices because I believe these are the best of each price category. So, depending on your budget, you can confidently choose one of these, as there’s simply no competition on the market right now.
Don’t forget to fly safe and check the regulation in your area!

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Cinematic Drone Video | DJI Mavic Pro Footage