The Best Fujifilm X-Series Kits for Travel Photography

By: Matt Murray

Travel has always been my first love. In 1994 I bought my first camera – a Pentax Zoom 90 WR point and shoot – because I was going to Europe for a two-year working holiday. The only way to share photos with family back then was to have the film developed and post the prints home!

While photography (and technology) has changed remarkably in the last 25 years, what you should look for in a camera for travel photography is much the same: small, light, capable of great results and preferably weather resistant.

I’ve used all sorts of camera brands over the years. However, for me, Fujifilm X-Series cameras and lenses are the perfect travel companions. Whether it’s a trip to the Australian outback, visiting remote Buddhist temples in the Javanese jungle, photographing puffins in the Faroe Islands or capturing traffic trails in Taiwan, my X-Series cameras have always produced stunning results. Here are my recommended Fujifilm X-Series kits for your next big adventure.

Best minimalist kit

Camera: Fujifilm X100F
Lens: Fixed F2 Fujinon lens
Weight: 469 grams

The best minimalist kit choice was easily the stunning Fujifilm X100F. This is the best compact digital camera ever made. Yes, it really is that good!

Many photographers – including diehard users of other brands – use this as their “take everywhere” shooter. The X100F is small and quiet, and the fast f/2 Fujinon lens creates beautiful images. It may be small, but it boasts an impressive array of features including a leaf shutter and built-in neutral density filter.

Like all the cameras I feature in this article, the X100F can shoot RAW alongside Fujifilm’s array of stunning JPG film simulations, that replicate the look of classic films such as Provia and Velvia. Fujifilm cameras produce the best JPGs I’ve seen straight out of the camera.

This choice is a little unusual as it has a fixed lens. That’s right. You can’t take it off and swap it for another lens. If the 23mm focal length (35mm in full-frame terms) isn’t your preferred choice, the system also has wide-angle conversion and telephoto converter lenses. However, these do add extra weight to your kit. One of the few downsides to the X100F is that it’s not weather resistant. But, at least it’s small enough to fit in your pocket during a downpour.

One body plus one lens kit

Camera body: X-T30
Lens: XF 18-55mm F2.8-4 R LM OIS lens
Approximate weight: 693 grams

If you only have space to take one body and one lens on a trip, I would recommend the brand new Fujifilm X-T30 with the XF 18-55mm F/2.8-4 R LM OIS lens. I’ve been using this line of cameras since buying the X-T10 as a second body back up to my X-T1, and I’ve also used the X-T20. The X-T cameras with a “0” after them are lighter, cheaper, non-weather resistant versions of the flagship models, but usually feature much of the same technology. For example, the X-T30 has the same 26.1MP X-Trans 4 CMOS sensor as the X-T3.

Alternatives for the camera body would be the X-T20 and the X-E3. The X-T20 gives you a screen that tilts up and down for overhead and low to the ground shots. Whereas, the X-E3 is the more minimalist choice, and features a joystick that controls where the focus point is in the frame. The X-T30 and the X-T3 have both of these features.

My choice of lens for this kit is the XF 18-55mm F/2.8-4 R LM OIS. Not only is it one of my favorite Fujifilm lenses, but it’s also the lens that I’ve used the most over the last three years.

Often sold with camera bodies, many newcomers to the X-Series remark that the XF 18-55mm F2.8-4 R LM OIS lens is “surprisingly good for a kit lens.” In no way is this lens like the subpar beginner kit lenses produced by other manufacturers. The XF 18-55mm F/2.8-4 R LM OIS is a stunningly sharp lens in its own right and has produced some of my favorite images ever.

It may not be weather resistant, but it does feature OIS (optical image stabilization) to ensure your shots are as sharp as possible at lower shutter speeds. It’s a variable aperture zoom lens, meaning that the maximum aperture changes as you zoom through the range. However, you can still shoot at f/2.8 at the 18mm focal length, and f/4 at the 55mm end. It’s a top lens for landscape, cityscape, and portraits.

Best kit under 1kg

Camera body: X-T30
Lenses: XF 18-55mm F/2.8-4 R LM OIS + XF 35mm f/1.4 R
Approximate weight: 880 grams

My picks for the best kit weighing under 1kg include the same choices as the ‘One body plus one lens’ kit above, with the addition of the XF 35mm f/1.4 R. The first time I used this lens, I was blown away by its sharpness and stunning bokeh. It’s a top lens for portraits, still life subjects and even street shooting.

It did have a reputation of being slow to focus, but with Fujifilm’s ongoing firmware updates to both lenses and camera bodies, this has greatly improved. I wouldn’t hesitate to use it in any situation. This lens has a fast maximum aperture of f/1.4 that enables you to shoot images handheld at night without raising the ISO too high or lowering the shutter speed too low.

One zoom, two fast primes kit

Camera bodies: X-T30
Lenses: XF 18-55mm F2.8-4 R LM OIS + XF 35 1.4 R + XF 60mm f2.4 R Macro
Approximate weight: 1.095kg

For a lightweight travel kit weighing just over 1kg and featuring two fast prime lenses, add the XF 60mm f/2.4 R Macro to the kit above. This is another option often overlooked by newer lenses on the block, but it offers superb image quality for portraits and macro shots.

Although it’s not a true macro lens (it offers 1:2 magnification rather than the standard 1:1 magnification for a true macro lens), it is an incredibly light option for close up shots. It weighs less than a third of the weight of Fujifilm’s XF 80mm F/2.8 R LM OIS WR Macro lens.

Best weather resistant kit

Camera bodies: X-T3
Lenses: XF 16mm F1.4 R WR, 23f2, XF 50-140mmF2.8 R LM OIS WR.
Approximate weight: 2.6 kg check

The best weather resistant kit features Fujifilm’s newest X-Series flagship camera. The X-T3 has won high praise from users and critics alike since its release in mid-2018. It is an impressive performer, having the fastest autofocus in the X-Series lineup and a continuous shooting rate of up to 20 frames per second. I’ve really enjoyed using this camera alongside my X-T2, which is still an excellent camera.

The newcomer to this kit is the XF 16 f/1.4 WR lens – often praised as the best lens in the X-Series lineup. Weather resistant, the lens is optically stunning, and a solid performer for landscape, cityscape, and low light shots. With a close focusing distance of 15cm, the XF 16 f1.4 WR lens is highly versatile. I’ve loved using it for food photography.

Best travel kit with zoom lenses

Camera bodies: X-T3 and X-T30
Lenses: XF 18-55mm F/2.8-4 R LM OIS and XF 50-140mm F/2.8 R LM OIS WR.
Weight: 1.8kg

This kit gives you the best of both worlds: the light X-T30 with the XF 18-55mm F/2.8-4 R LM OIS lens, and a weather resistant combo of the X-T3 with the stunning XF 50-140mm F/2.8 R LM OIS WR lens.

Weighing in at 995 grams, you might actually question why I would choose this lens as part of a travel kit? I’ve even been laughed at when I’ve suggested this lens for travel. Although it’s heavy, this lens is a must-have in my travel photography kit.

Like an equivalent focal range 70-200mm, the lens has a constant maximum aperture of f/2.8, meaning that you can shoot with a shallow depth of field throughout the zoom range. This is particularly helpful during low light situations, or to achieve shallow depth of field at any time.

This XF 50-140mm F/2.8 R LM OIS WR lens also features OIS (optical image stabilization) and has a pleasing bokeh. I’ve used this lens for landscape, cityscape, and portraits. If I could only pick one lens for travel, I’d have to flip a coin to choose between the two amazing zooms in this kit.

If you have different weight or budget considerations, you could substitute the excellent XF 55-200mm F/3.5-4.8 R LM OIS lens in this kit. I’ve never regretted taking this lens along with me on trips, but if you plan on shooting in low light at the far range of the zoom, you will be shooting at a maximum aperture of f/4.8, which may slow down shutter speeds. Thankfully, this is another lens with OIS (optical image stabilization).

My favorite kit

Camera bodies: X-T3 and X-T2
Lenses: XF 16mm F/1.4 R WR + XF 18-55mm F/2.8-4 R LM OIS + XF 35mm f/1.4 R + XF 50-140mm F/2.8 R LM OIS WR
Approximate weight: 2.9 kg

This is my favorite kit. It may be the heaviest listed in this list, but this is what I would typically take on my travel adventures. It pairs two weather resistant camera bodies with my two favorite zooms and two favorite primes. This kit has a reach from 16-140mm (24-210 in full-frame terms) and covers many shooting situations. The XF 50-140mm F/2.8 R LM OIS WR lens may not be the longest in the X-Series lineup, but it’s still capable of capturing stunning wildlife images.

X-Series options I don’t recommend for travel kits

X-T100

In 2018, Fujifilm released the entry-level X-T100. Although this attractive looking camera looks very much like the rest of the X-Series line-up, its autofocus can’t match the cameras I’ve featured above.

18-135mm lens

The XF18-135mm lens is often on the list of recommended lenses for Fujifilm travel photography. Having owned and used one, it doesn’t make my list. For a slower, all-in-one travel zoom, I don’t think it has enough reach.

27mm lens

The 27mm F/2.8 pancake lens is sharp, and you can often buy them at a bargain price. It’s a firm favorite amongst many Fujifilm photographers, but it doesn’t make my list as it’s the only lens in the lineup not to have a ring on the lens to change aperture.

Conclusion

The Fujifilm X-Series range is perfect for travel photographers for so many reasons.

With an impressive lineup of prime and zoom lenses for all budgets, the X-Series has you covered for a wide range of situations including low light photography and adverse weather conditions. The camera bodies feature retro charm and excellent ergonomics, and no other system can match the beauty of Fujifilm’s straight out of camera JPGs.

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How to Photograph Birds

A Post By: Darren Rowse

The following tip has been submitted by Phillip Kirkham, a reader of DPS and avid wildlife photographer – see his own website (the source of all bird photos in this post). You can also read more about him at the end of his article.

How to photograph birds

Unfortunately, July and August are probably the worst months of the year for this task because most species look their worst just now, and also vegetation and food supply is at its best, so it is difficult enough just to see the birds, never mind pointing a lens at them. However, a few helpful tips now should prepare you for the Autumn months when many species are busily eating and hiding food ready for the long winter months ahead.

Perhaps if I take you through the various steps which I make when embarking on a typical bird photographic outing:-

1. Venue, where to visit and when. If my trip is to be a known reserve, then some local knowledge before I set out is invaluable. What species will I encounter? Are there hides available and which way do they face in relation to the sun? How near to the subject I am likely to be? What is the weather forecast for the area I am going?

2. Following on from point 1, if there is no hide available then will I be allowed to erect a temporary one, or can I get near enough to my subject in my car. The vehicle makes a surprisingly useful hide, with many species being quite unafraid of them. So long as you make no fast movements, and I always have the camera pointing out of the window before I approach my subject. Beanbags are particularly useful for this, and here’s a little tip, fill them with sunflower seeds, you can always use a few to attract your subject even closer!

3. Equipment. I always take more than I need, but if you have made a long journey for that special species there is nothing worse than to find you’ve run out of battery or memory and haven’t got back up. It is also important to note that for bird photography, you inevitably need to be very near AND have plenty of magnification. A blue tit at 20 metres looks very small, even with an 800mm lens! Don’t forget the tripod.

4. Once at the destination, cameras on tripod, pointing in direction of birds remember about composing the shot. I always like to set out with an image in my mind, and return with it in my camera. Don’t get so excited at first glimpse of the species that you forget to check those dials. Higher ISO makes it easier to choose higher film speed. I nearly always choose Av priority, so I know what F stop I am on (for instance F5.6) and that should give me a fast enough film speed to avoid blur from the bird’s movement. I will then compose the bird in the viewfinder AND PAY ATTENTION TO BACKGROUND DETAIL. After capturing 20 images or so, I will then start to alter settings and orientation; this can often make the difference between an ordinary “keeper” and an outstanding winner.

5. Body Language. I realise that this is part of paragraph 4 above, but it is so important that I have given it a paragraph of its own. Intimate wildlife knowledge can be learnt to a lesser extent from others, but to a far greater extent by just watching and listening wildlife. It can be the body language of the subject that results in the one in a lifetime photograph. A naturally relaxed bird will have its feathers quite loose, but just before flight they will all tense, if you see this and start clicking the shutter at the right time it can result in a wonderful “take off” image. When I was in S Africa, I noticed a bull elephant start twitching his tail and becoming very agitated, I then quickly changed to a more open lens and just in time to capture him charging at another bull and engaging in quite a tussle.

6. The eye has it. In 99% of wildlife images it is vital to get the eye in focus, wings can be blurred, parts can be missed, but remember, keep the eye in focus – nice and sharp.

7. Processing. I take virtually all my images in RAW format. This allows much more flexibility when processing. In particular, white balance, ie temperature variation, of your shot can be adjusted to get your colours dead right, and this is so important with wildlife photography. Once you have cropped and carried out the various adjustments such as colour, levels, curves, saturation and the rest to your image, the final task should be USM. I usually apply : Amount 90%, Radius 0.3, Threshold 1. I repeat this four or five times until a small white halo starts to appear around the subject, then back off once in the Photoshop history.

8. Library. It is all too easy to take literally thousands of images using digital, so remember to have some type of system for storing and cataloguing your images, so that you can quickly return to them as desired.

Finally, please remember that we are only visitors to this world, so when out enjoying wildlife take only photographs and leave nothing but time.

About Phillip Kirkham – I am 56 and live with my wife in a cottage by the sea on the Isle of Bute, Scotland. I moved here to become a full time freelance photographer, concentrating on wildlife. I have spent the last 4 years seriously capturing wildlife images, starting mainly with birds, but now photographing anything that moves, from tiny orange soldier beetles to bull elephants fighting. I only use digital cameras, my weaponry consisting of Canon 1DS2, 1D2, 20D, and assorted lenses from 20mm through macro 180mm, up to 800mm. Tripods consist of Gitzo with Wimberley head for telephoto work and Manfrotto Neotec with multi angled head for landscapes and macro I use Photoshop CS2 for all my processing and have 4 Epson printers, up to A2 size. I have my own web site and am a moderator on the superb website of the United Kingdom Nature Photographers, a place where wildlife photographers share invaluable tips and knowledge.

I also run photography workshops in the grounds of Mount Stuart, here on Bute.

See Phillip’s photos at Nature Photography by Phillip Kirkham.

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Free Photography books to Download Today

Below are several free photography books which are recommended time and time again, and for good reason.

If you enjoy the free photography books, make sure you visit the sites below to leave comments/thank the authors for their hard work.

Creative Lens Techniques – by Photo Answers

Selective focus and hyperfocal distance are two of the topics covered in this interesting read by Jessops and Photo Answers magazine.

Before The Shutter: Planning Your Next Travel Photography Adventure by Anne McKinnell

An interesting read on a topic that’s not very often discussed – the planning that goes behind a photography trip. You’ll learn essential tips and techniques to get the most from your next trip, to be well prepared before you even pick up your camera.

Starting a Photo Business – by Photo Shelter

These guys know what they’re talking about when it comes to building a successful photography business. If you need a hand with where to start, check out this free ebook.

Insights from Beyond the Lens – Inside The Art and Craft of Landscape Photography – by Robert Rodriguez Jr

Stunning landscape photography and an entertaining read about  a journey to discover the art, craft and passion that lies behind landscape photography.

A Photographer’s E-Guide to Making Sharp Photographs – by Scott Bourne

Getting sharp photos isn’t just about your shutter speed. Learn the tips and tricks to a razor sharp photo in this great free ebook by one of the industry’s greats.

Nine Motivational Essays on Photography – by Scott Bourne

A break from the technical stuff with this inspirational free photography ebook based on Scott’s own experiences in the field.

The Photographer’s Social Media Handbook – by Photo Shelter

Even though some of the information in this free ebook by Photo Shelter is dated, there’s still a lot of useful tips that can guide you through the social media maze. There’s a more up to date (2016) guide to social media available by Shoot Dot Edit but I was unable to download it for you at this time due to their server error – you may have better luck.

20 Indispensable Photo Tips – by Ian Plant

Ian kindly shared his photography gear and favourite wildlife and landscape work on Shotkit recently and I urge you to check out his free photography ebook.

Going Candid – by Thomas Leuthard

The first ebook of Thomas Leuthard where he describes the basics of Street Photography based on his own experiences pounding the pavement.

The Heart of Portraiture: Examples of Portrait Photography – by Don Giannatti

20 examples of portrait photography and a discussion on the technique and thought process that went into shooting them, all from photographer and author of Lighting Essentials.

31 Days to Overcome Your Fear of Shooting Street Photography – by Eric Kim

Eric is a wealth of knowledge on the topic of street photography. His fearless attitude when it comes to getting the shot is explained in this free photography ebook. Never fear pressing the shutter on the street again!

13 Tips for Wildlife Photography  – by Photo Naturalist

Essential reading for your next safari trip to Africa, or simply when you feel like taking a walk on the wild side, camera in hand!

Essays on Inspiration, Creativity & Vision in Photography – by Scott Bourne

Another interesting free read by Scott Bourne, this time on how he maintains creativity in his work.

Five Easy Steps To Shoot In Manual Mode – by Kimberly Gauthier

Shooting in manual mode is essential for your advancement as a photographer. This free ebook does a good job in breaking down the steps necessary to make that jump.

How to Take Stunning Food Photos – by Learn Food Photography

Whether you want to become a professional food photographer or just want some tips to make your Instagram updates look their best, this free ebook will help.

Shooting Black & White on your dSLR – by Photo Answers

Free books do have their limits though, so if you’d like to go further in depth on the vast topic of photography, try these...

https://resources.digital-photography-school.com/ref/937/http://

How to Make Interesting Abstract Smoke Photos

By: Rick Ohnsman 

How would you like to learn a little “photo magic?” A magician not wanting to reveal his secrets might tell you his trick was all done with “smoke and mirrors.” The expression speaks of a kind of deception used to fool the viewer. No fooling here though, as you’ll learn the technique. You really will photograph smoke and later, mirror your image to add even more interest. So it really is smoke and mirrors. Shall we begin?

Can you see the Firebird? How was this done? Read on for the tricks to this abstract magic.

Tools for the trick

Here’s what you will need to create your photo:

Camera

Most cameras will work for this kind of photography. Being able to use manual control and manual focus will make things easier. You will also need to be able to fire a flash mounted off-camera using either a wired or wireless method. A lens which will allow you to focus on an object a few feet away will be best. The shots shown here were done with the Canon “nifty fifty”, a 50mm f/1.8 prime lens mounted on a Canon 50D camera. For a relatively inexpensive lens, it is very sharp.

A package of 40 incense sticks from the dollar store is probably enough for a lifetime of smoke photography.

Flash

You will want an external flash you can mount off-camera. The pop-up flash on the camera won’t work for this. You will be mounting the flash off to the side of your shot so it illuminates the column of smoke pointing perpendicular to the direction you’re pointing the camera. Having a light stand on which you can mount it will be helpful. You also don’t want any of the light to hit the background or flare into the camera, so a snoot which will direct the beam of the flash at the smoke column works well. You may also be able to fashion a “barn-door” arrangement with cardboard (or even tape). Whatever works to keep the light only on what you want – the smoke column.

Tripod

The flash will provide plenty of light and also freeze the action, so you really aren’t concerned about motion blur. The advantage of a tripod is simply to help you compose and frame the shot and provide some consistency.  If you don’t have a tripod or simply prefer to handhold your camera, that’s okay too.

To better see the smoke and also give you more flexibility later in editing, a black or very dark background will work best. Black posterboard, black cloth, the black side of a reflector, or whatever you have should work. Because the column of smoke you’ll be photographing will be relatively small, you won’t need anything very large.

Smoke-producing object

Incense, the kind that comes in stick form, works very well for this kind of smoke photography.  It’s cheap, burns for a long time, and produces just the kind of smoke needed.

Location

Unless you have an absolutely calm day with no wind, shooting outdoors probably isn’t going to work. Even the slightest air currents will affect your smoke pattern. Shooting indoors, particularly in a modern home, might be a good way to test your smoke detectors but having the alarm go off just as you’re getting started with your work is rather disruptive.  I found shooting in the garage to be a good option. It was dark, the air was still, and after the session, it was easy to open the door and clear the smoke. Just be aware of the requirements needed; still air, no smoke detectors, (or at least temporarily disarmed ones), the ability to make the room dark, and a door or window you can open afterward to clear the smoke afterward, and you’ll be set.

Setting up

The diagram above shows a basic setup. Put your camera on a tripod a couple of feet from where you will place the incense stick.  Taping the stick to light stand may allow you more flexibility in positioning it in the frame, but whatever you use, you will want to frame the shot so you put just the tip of the stick at the bottom of the frame, leaving a couple of feet above for the column of smoke. Whether you use a portrait or landscape orientation with your camera is up to you, just remember the smoke will drift around. Being a little loose with the framing isn’t a bad idea, you can always crop later.

The background should be a couple of feet behind the incense stick. If you light properly, it won’t show anyway so this isn’t crucial.

Position the flash on a light stand so it’s to the side of the camera and points perpendicularly to the camera angle. You will be side-lighting the smoke. Some photographers also put a reflector on the opposite side to bounce a little light on the other side of the smoke. You can experiment and see if you like that.  The shots here use only the one flash. As mentioned above, what is crucial is that no light fall on the background nor flare into the camera lens. A snoot is the easiest means of achieving this.

The smoke patterns are constantly changing and no two will be alike.

Camera and flash settings

In the darkened room where you’re working, use a flashlight or other dim lighting so you can still see the incense stick and do your framing. Focus on the tip of the stick, then turn off the autofocus so the focus stays locked.  Leaving on autofocus will almost guarantee frustration, as while shooting, the camera lens may hunt, trying to find and focus on the drifting smoke.

Shoot in Raw mode, (which you usually do, yes?) Doing so will allow greater editing flexibility later.

Set your camera around ISO 200, f/8 and about 1/60th of a second for starters.

Leave the flash off.

Make a shot before lighting the incense in the darkened room.

You should get a totally black frame and that’s what you want with no flash.

Now put the flash in manual mode and set it to about half power. You should have already connected it to the camera with a cord or perhaps set up a radio trigger so it will fire when the shutter is tripped.

Make a shot with the flash on and you should be able to just see the tip incense stick.  If so, you’re now ready to get smokin’.

This image is straight out of the camera. Note the tip of the incense stick at the bottom right.

Making your photos

Light the incense stick, blow out the flame and a thin column of smoke will rise from the tip.

Make a shot and check it. Is it focused?

Be sure, as you don’t want to make a whole series only to later find out they aren’t sharp. If you need to adjust your focus or perhaps go to a smaller f/stop for more depth of field, do so now.

Also, check the exposure. If things are too bright, drop the flash power or reduce the ISO. If the smoke is too dim, do the opposite. You want to clearly see the smoke, but nothing else.

If all looks good, keep making shots. Occasionally wave your hand near the smoke column or gently blow on it to vary the smoke pattern. You will want some variety so you can later choose your favorite shots.

This is the same image as the one before it, but horizontally mirrored and colored with a gradient.

Basic editing

What program you want to edit with is up to you. You will want to adjust the blacks so as to leave only the white smoke details. Then adjust the whites, highlights, shadows, exposure, and contrast by eye, tuning the shot to your liking.

If there are elements you wish to eliminate, paint them out with a black adjustment brush or use layers and masks in Photoshop if that is your preferred technique.

The Gordian Knot – This image was mirrored both horizontally and vertically and then colored with a gradient.

Mirrors and colors and abstracts, oh my!

You got the smoke, now what about the mirrors? Yes, the white smoke patterns on a black background are interesting but you can take this much further. I used Corel Paintshop Pro, but Photoshop would work too. Or for that matter, any photo editor that supports layers will work. (Keep in mind Lightroom does not support layers so while you can edit, colorize, and do other things with it, the mirroring part is beyond its capabilities).

Here are the basic steps:

• Open in your basic edited smoke image. Select the entire image and copy it.
• Paste the copied image on top of itself as a new layer.
• Mirror (flip) the upper layer horizontally or vertically. (In Photoshop, Edit, Transform, and Flip Horizontally or Vertically).
• Change the blending mode on the upper layer to Lighten. You will now see the upper layer mirrored and superimposed over the lower layer and some interesting patterns will be created.

Alien Gas – A straight smoke shot later colored green.

Purple Haze – Now, take the image above, reverse it so it’s a negative, (the black becomes white and the green becomes purple), then mirror it both horizontally and vertically.

You can move the layers so they overlap each other in various ways and change the pattern. You might want to make the canvas larger and put the mirrored image next to itself or even have multiple layers with the image flipped both horizontally and vertically.

You’ve now entered the realm of abstract art and anything goes.

Maybe you’d like to add some color?

Create another layer at the top of the stack and fill it with a gradient.  Now use the Overlay or Soft Light blending mode and watch your smoke take on the colors of the gradient.

If you’d like to hand-paint the smoke,  create a blank layer at the top. Turn the blending mode to Overlay, and using the Brush tool (and a color of your choice) to paint the smoke, watching the white smoke take on that color while the black is left untouched.

Try putting a photo on the upper layer and switching the blending mode on that layer to Overlay.

Like Rorschach inkblots, what you see is very individual. I call this one – The Witch Doctor

Something I find fascinating with these abstract smoke compositions is that they resemble Rorschach InkBlots. Everyone interprets them differently and can see different images in what are, after all, just random patterns of drifting smoke. The titles on these shots are what I interpret.

What do you see?

Smoke in other photos

You may have reasons to want to include smoke in your photos that is not an abstract interpretation. The same basic technique can work with side lighting.

The “Smokin’ Hot Peppers” was lit with two flashes, one on either side of the vase and an incense stick placed in and behind the peppers in the vase.

A flash on either side of the subject was the only difference here, otherwise, this image uses the same technique.

Pseudo-Smoke

Here’s one last trick that could work for you when you want something that looks like smoke but you’re in a no-smoking workspace.

Get some dental floss, fray it a bit, and tie it to a penlight or small flashlight letting the light shine down the length of the floss and onto your subject.

Now make a long exposure during which you keep the floss constantly moving. Smokeless smoke, just another option to have in your bag of photo tricks.

Looks like smoke, but it isn’t.

You’ll find that photographing smoke is all about the lighting. Side or backlighting will work best and a dark background helps the smoke show up better. Beyond that, it’s simply a matter of experimenting.

Give it a try and make a little photo magic. And share with us in the comments below!

Shooting Action Shots in Low Light Conditions

A Post By: Darren  

I love getting out and about to sporting events with my digital camera. Recently I went to the Australian Open Tennis and took a few hundred shots over the day (you can see one of M. Sanchez Loren to the right – not shot in low light but definately action). So when Amy Renfrey from the Digital Photography Success e-book asked me if I’d like to post this tip on taking Action Shots in lowlight situations I jumped at the opportunity. Here’s what she writes:

You know recently I have been getting a few requests to please help with fast action shots indoors. I remember when I too was frustrated with not being able to get a response from professional photographers about this situation. They were always so elusive with how they conducted themselves out on the field and what they did to get a certain effect.

So now I’m going to tell you about how to master this. Do you want the good news or the bad news first?

Okay good news is that yes it is possible. Bad news is that you do need a good camera with manual controls to do it. Now since you have already bought the ebook I am assuming that you have either a point and shoot camera or an slr. Either way, its better than a cheap camera that does nothing.

Okay good, so we got that established.

The secret is this: the reason fast action shots look blurry is normally because they are taken in level of low light, such as an indoor basketball stadium for example. What happens is the camera, if left on auto, automatically adjusts itself to low light levels, which means a slower shutter speed. A slower shutter speed occurs the camera needs time to get in as much light as possible due to this low level of light. Its great from the cameras point of view, but really, its annoying and disappointing.

So what can be done about it?

Well firstly, increase that shutter speed. You may notice an increase in digital noise but it will only be slight so don’t worry about it. After all its probably worth it for that ‘golden’ photo you are trying to get.

Its going to be hard getting more light into the camera, because usually you’ll be too far away for the flash to work appropriately anyway. This is why your shutter is the first consideration.

Something that might help further is this: Shot 1- take the shutter at a certain speed, shot 2- increase the shutter speed one notch, shot 3 then increase it again, and so on and so forth. If you have the patience and inclination, write down on a note pad exactly what shutter speed shot 1 was at, what shot 2 was at, etc. Then when you view the images on your computer later that night you will have the settings writing down so you know what shutter speed worked the best. Then you can apply that to other situations too.

So relax and work with what you’ve got. Increase the shutter speed or increase the light.

Read more of Amy’s Tips in Digital Photography Success.   

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