7 Digital Camera Predators and How to Keep them at Bay

By: Darren Rowse

The Digital Camera has a number of natural predators – things that in just a few seconds could snuff out it’s life and render you camera-less. Learn to identify your camera’s predators and take a few simple precautions and exercise a little care and you can keep your camera operating at it’s potential for years to come (well at least until it’s time for an upgrade). You really can never do enough digital camera maintenance.
Here are 7 natural predators of the digital camera and how to avoid them:

1. Sunscreen and Insect Repellent

It is important to protect yourself from the elements of sun and insect bites when shooting outdoors, however some of the things that you’ll use to do it can cause your camera harm. Sunscreen is generally oily and insect repellent often contains chemicals that you wouldn’t want to get in touch with the more delicate parts of your camera.
The way to limit the impact that these things have on your camera is pretty obvious and largely involves keeping those parts of your body that come into contact with these things clean. Wash your hands in fresh water after applying sunscreen and repellent and you’ll go a long way to keeping your camera clean. If you do get your camera greasy make sure you clean it off as quickly as you can.
Lastly – don’t fall into the temptation of putting sunscreen and repellent into your camera bag. I know it’s tempting so that you don’t have to carry another bag – but it’s really not worth the risk as a leak could end your camera’s life. If you do travel with them together make sure you have a sealed bag for the liquids.

2. Sand

There is nothing that frightens me more than the thought of sand getting into my camera. Cameras have moving parts and to get something as gritty and abrasive as sand into them can quickly put your camera out of action or at least damage it so that you end up with scratches through it.
Ultimately the only protection against sand is not taking your camera to sandy places. Of course this is not particularly feasible and you’ll need to do what you can to keep sand and your camera separate.
Sealable bags are great to travel with, cleaning brushes to get those stray grains off your camera can be useful and cleaning clothes are helpful.
Always be particularly aware of your surrounds and things like wind or people kicking balls or throwing Frisbees when you’re changing lenses, memory cards and batteries as these are high risk moments that sand just loves to swoop in. Also – learn to think ahead about what lens you might need so that you can change it inside in a more stable environment before hitting the beach.

3. Dust

Like sand, dust is a natural enemy of the digital camera. It’s a more subtle attacker in that it generally won’t scratch your moving parts – but it is just as damaging, particularly when it works its way into your camera’s inner parts and settles on your image sensor.
Once again – wipe your camera down each day, be careful of when and where you change lenses and travel with your camera in a sealed bag.
Also if you have a DSLR consider getting it’s image sensor professionally cleaned (or learn to do it yourself – with care) every now and again if you do find marks on your sensor (you’ll notice them most at small apertures – to test it, set your camera to it’s smallest aperture and shoot at a white wall or ceiling).

4. Moisture/Water

Moisture attacks cameras in numerous ways. At it’s most extreme it attacks as water which has the ability to quickly end the life of your camera (I regularly get emails from digital camera owners who’ve dropped cameras in all kinds of liquids including the ocean, baths, rivers and even toilets). Use you camera’s wrist or neck straps to keep your cameras out of water and always be aware of where you put it an how it can be knocked.
A more subtle attacker when it comes to moisture is condensation. Particularly noticeable is when you move from one temperature to another with your camera (for example from air-conditioning to humid ones). Investing in silica gel packs is one way to help with this as they absorb moisture in your camera bag. Some people suggest putting it in a sealed plastic bag when moving between temperatures – this might work well but is not particularly practical in many situations, especially when you have a large camera. Ideally you want to warm your camera up naturally and slowly – it’s definitely a challenge. Other than that – wipe off your camera regularly when in humid environments.

5. Salt

While the beach presents photographers with wonderful photographic opportunities it also can be a dangerous place with many digital camera predators – not the least of which is salt which has a habit of getting into your camera and lenses and causing all kinds of problems (including corrosion).
Fight the impact that salt has on your camera by wiping it clean at least once per day while shooting in salty places.
If you have a DSLR use UV filters on your lenses to give an extra level of protection and avoid opening your camera up (to change batteries, memory cards or lenses) as much as possible. When not shooting, keep your camera safely in your camera bag and be particularly aware of positioning yourself in sea spray on windy days.

6. Thieves

Another natural predator of expensive photographic equipment is the thief when you least expect it will swoop in and steal your gear away from you – leaving you feeling frustrated, violated and wondering what you did to deserve it.
Always be aware of where your gear is and how accessible it is to others. Get yourself a camera bag that doesn’t scream ‘I’ve got a camera in here’ if you can (there are some great brands on the market – I use this Crumpler bag for this reason).
Keep your cameras on your body if in a risky environment, keep your bags zipped up and well fastened, consider having your bag on your front rather than your back in high risk situations, insure your gear and try to be selective and not every travel with too much of it at any one time.

7. Bumps and Drops

The downfall of many cameras comes quite literally when they are dropped or bumped into other hard objects. While some cameras now come with shock proof casings the majority of cameras do not and need to be treated as delicate objects.
Use a padded camera bag or casing (and use it when your camera is not in use, be aware of where you put your camera, be careful when passing it from one person to another etc. Also check your house and contents insurance to see whether it covers accidental damage (many do). It’s just common sense really but I’m quite amazed at how often silly accidents end the lives of expensive pieces of equipment.

Good Gear

Hopefully you’re feeling a little more prepared to venture out with your digital camera feeling confident at your ability to keep it’s natural predators away.
If you’re looking for some gear to help you with some of the above you might like to check out some of the camera cleaning products at Amazon and their range of Crumpler Camera Bags which I’m a big fan of.

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How to Hold a Camera

By: Darren Rowse

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One of the common problems that many new digital (and film) photographers have is ‘camera shake’ where images seem blurry – usually because the camera was not held still enough while the shutter was depressed. This is especially common in shots taken in low light situations where the shutter is open for longer periods of time. Even the smallest movement of the camera can cause it and the only real way to eliminate it is with a tripod.
Adding to camera shake is a technique that is increasingly common with digital camera users of holding the camera at arms length away from them as they take shots – often with one hand. While this might be a good way to frame your shot the further away from your body (a fairly stable thing) you hold a camera the more chance you have of swaying or shaking as you take your shot.

How to Hold a Camera

Tripods are the best way to stop camera shake because they have three sturdy legs that keep things very still – but if you don’t have one then another simple way to enhance the stability of the camera is to hold onto it with two hands.
While it can be tempting to shoot one handed a two hands will increase your stillness (like three legs on a tripod being better than one).
Exactly how you should grip your camera will depend upon what type of digital camera you are using and varies from person to person depending upon preference. There is no real right or wrong way to do it but here’s the technique that I generally use:

1. Use your right hand to grip the right hand end of the camera. Your forefinger should sit lightly above the shutter release, your other three fingers curling around the front of the camera. Your right thumb grips onto the back of the camera. Most cameras these days have some sort of grip and even impressions for where fingers should go so this should feel natural. Use a strong grip with your right hand but don’t grip it so tightly that you end up shaking the camera. (keep in mind our previous post on shutter technique – squeeze the shutter don’t jab at it).
2. The positioning of your left hand will depend upon your camera but in in general it should support the weight of the camera and will either sit underneath the camera or under/around a lens if you have a DSLR.
3. If you’re shooting using the view finder to line up your shot you’ll have the camera nice and close into your body which will add extra stability but if you’re using the LCD make sure you don’t hold your camera too far away from you. Tuck your elbows into your sides and lean the camera out a little from your face (around 30cm). Alternatively use the viewfinder if it’s not too small or difficult to see through (a problem on many point and shoots these days).
4. Add extra stability by leaning against a solid object like a wall or a tree or by sitting or kneeling down. If you have to stand and don’t have anything to lean on for extra support put your feet shoulder width apart to give yourself a steady stance. The stiller you can keep your body the stiller the camera will be.

Holding a camera in this way will allow you flexibility of being able to line up shots quickly but will also help you to hold still for the crucial moment of your shutter being open.
Another quick bonus tip on how to hold a camera – before you take your shot take a gentle but deep breath, hold it, then take the shot and exhale. The other method people use is the exact opposite – exhale and before inhaling again take the shot. It’s amazing how much a body rises and falls simply by breathing – being conscious of it can give you an edge.
Of course each person will have their own little techniques that they are more comfortable with and ultimately you need to find what works best for you – but in the early days of familiarizing yourself with your new digital camera it’s worth considering your technique.
One last note on how to hold a camera – this post is about ‘holding a camera’ in a way that will help eliminate camera shake. It’s not rocket science – but it’s amazing how many people get it wrong and wonder why their images are blurry.
There are of course many other techniques for decreasing camera shake that should be used in conjunction with the way you hold it. Shutter speed, lenses with image stabilization and of course tripods can all help – we’ll cover these and more in future posts.
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Fujifilm Instax Mini film packs are just $30 — their lowest price ever

Never run out of film for your Fujifilm Instax Mini camera with a value pack from Amazon.

Image: Fujifilm

Ryan LakichMashable Deals1 day ago

TL;DR: A value pack of 60 replacement film sheets for the Fujifilm Instax Mini camera is just $30, which is its lowest price yet on Amazon.

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When school is out, you need to keep the kids engaged somehow. Or perhaps you want a unique way to remember your next vacation to Europe without constantly checking your Instagram. Instant film cameras are back in a fun way, but to avoid running out of film you need to keep plenty in stock. Amazon can help you enjoy plenty of hours of fun with a value pack deal for the Fujifilm Instax Mini.
Keep snapping all summer long with a Fujifilm Instax Mini value pack for 60 photos for only $30. While Amazon doesn't list this as a sale on their site, this is still the lowest price we've seen yet on this particular value pack. You only pay 50 cents for each photo, so it equals a better deal in the long run versus a 20-pack of sheets for $11.99.
These film sheets are compatible with the entire line of Fujifilm Instax Mini cameras. If you're new to the world of retro instant cameras, you can get your own Fujifilm Instax Mini 9 starter bundle for $50 off at $99.95. It's about the easiest camera you'll ever use. Just point and shoot with a built-in flash and your clear photos with vibrant colors are instantly ready. The Instax Mini works as a great way to help kids find their creativity, or you can relive the glory days of Polaroid cameras. Each photo fits perfectly in your wallet or purse and serves as a unique little memento to share with friends.
A Fujifilm Instax Mini might be the most fun you've had with a camera in years, and no Snapchat filter can replace instant photos. But to make sure you don't run out in the middle of your next vacation, grab one of these Instant Max value packs for just $30 to fill up your next photo album of memories.

Fujifilm Instant Max instant film value pack of 60 sheets — $30

The 7 Nature Photography Mistakes You Don’t Know You’re Making

By: Jaymes Dempsey

Do you like to do nature photography?
Then you might be making these 7 mistakes.

And here’s the thing:
These nature photography mistakes are the kind that you don’t even know you’re making. They’re the type of mistakes that are easy to miss, but they’re absolutely critical to your photography.
To discover these mistakes (and to ensure you never make them again!), read on!

1. Shooting under bad lighting

I’m going to start with the single most critical, most common mistake I see nature photographers making:
Shooting in poor lighting conditions.
Because good light is absolutely essential to good nature photography.

In fact, I’d go so far as to say that without good light, you cannot get a good photo. It’s so easy to have the perfect setup, the perfect composition, and the perfect settings…
…only to ruin the shot with bad light.
So what counts as bad light?
Two main situations.
First, shooting under the harsh, midday sun will pretty much always ruin your shots. The midday sun just isn’t good for nature photography!
And second, shooting in low light, at any time of the day. Unless you’re shooting with a tripod, your shots will end up grainy or blurry, which you definitely don’t want.
Which begs the question:
What is good light?
I recommend that you do nature photography at two main times.
First, you can capture some great nature photography under cloudy skies. Cloudy light is especially great for photography that involves color because the clouds diffuse the light and saturate the colors.

Second, you can always rely on the golden hours, which are the two hours after sunrise and before sunset. Golden-hour light is warm, wonderful and, well, golden. It’s perfect for capturing that stunning, once-in-a-lifetime shot.
In fact, most of the best nature photography you’ve seen was probably taken during golden hour. It’s just that amazing!

2. Shooting your subject from a standing height

Here’s another common nature photography mistake:
Not paying attention to your angle!
(More specifically, photographing from a standing height, so that you’re shooting down toward your subject.)
This is especially problematic in wildlife and macro photography, where shooting downward conveys a sense of dominance and separation.
Instead of shooting downward, try to get on a level with your subject. That way, the viewer will feel much more connected, like they’re in the same world as your subject.

And don’t just shoot from a single angle. Try to experiment with different possibilities, and
take note of the way a different angle results in a different nature photo.
This is a great way to get out of a creative rut: Force yourself to shoot a subject from an angle you’ve never used before. Get on the ground and shoot upward!

3. Using a (slightly) messy background

In nature photography, the background is absolutely essential.
If you don’t include the perfect background, then your photos just won’t stun the viewer.
And one of the easiest mistakes to make is using a messy background.
You’ve got to do everything you can to avoid the mess. You must avoid chaos. Instead, you need to produce a background that’s as simple as possible:

• Uniform in color
• No additional subjects
• No lines or shapes

Your goal is to make your subject stand out. And to do that, you have to eliminate everything that’s unnecessary in the background. Only include the essentials.

4. Photographing low-quality subjects

Once you’ve found a subject…
…do you check to make sure that it’s not damaged, dirty, or poor quality?
It’s so easy to forget this step. And yet it’s critical to capturing a stunning nature photo.
I recommend you always do a quick evaluation of your subject.
If it’s a flower, then you’ll want to ask yourself:

• Are there any blemishes or holes?
• Are there any spots of dirt or mud?
• Are there any insects in the center of the flower?

If it’s a landscape, then think about:

• Whether there’s any litter or human-made items
• Whether your foreground subject is damaged

Your evaluation doesn’t need to be in-depth. You should just spend enough time to be certain your subject is in good shape.

5. Not including a point of focus in your compositions

This is another quick way to ruin a great nature photo.
Because basically, every composition must have a point of focus.
By this, I mean that you must include a subject. Something that viewers can latch onto. The subject can be whatever you like (as long as it’s there!).

If you’re shooting landscapes, then try to include a subject in both the foreground and the background. Ideally, the foreground subject will lead the eye to the background.
If you’re shooting wildlife, then your subject is pretty much guaranteed. Just make sure that you emphasize the wildlife in your photo!
And if you’re shooting macro photos, then make sure that an aspect of your subject is tack-sharp, so that your viewer’s eyes go straight to it.

6. Shooting low-contrast scenes

This mistake is a bit more advanced, but still important to keep in mind.
When you’re doing nature photography, you should strive to avoid ultra-low contrast scenes.
By ‘low-contrast scenes,’ I’m referring to those with very little variation in tone (that is, lights and darks) and color.
A low-contrast scene might be almost entirely white.
Or it might be entirely red, or blue, or black.
What’s the problem with low-contrast scenes?
The lack of contrast makes every element blend in. So no single element stands out, and the photo becomes boring.
Which is exactly what you want to avoid.
Instead, look for scenes where the subject pops off the background. And look for scenes where you have some nice shadows and nice highlights.

I should note: It is possible to use low-contrast scenes for an artistic effect. But you have to do it deliberately, and it’s extremely easy to mess it up.
So I recommend you stick to high-contrast scenes. That’s how you’ll avoid low-contrast issues!

7. Not post-processing your nature photos

There are three fundamental aspects of every nature photo. They are:

1. Light
2. Composition
3. Post-Processing

If you can nail all three of these things, then you’re set. Your photos will be stunning. And we’ve already talked about light, and how you should shoot during the golden hours. We’ve already talked about composition, and how you must include a point of focus.
But we haven’t talked about post-processing. And here’s the thing:
Without post-processing, your nature photos just won’t stand out. Because editing is what adds that finishing touch, that last bit of shine, to your nature photography.

Now, you don’t have to do much editing. But there are a few things I recommend you do to every photo:

1. Check the exposure. It’s especially common to let your photos remain underexposed. So make sure that the shadows in your photo still look nice and detailed.
2. Check the contrast. In general, I recommend boosting the contrast of your nature photos. This gives an extra bit of punch and will help your images stand out.
3. Check the saturation. While it’s easy to overdo this step, a little bit of saturation goes a long way. You want your colors to look deep, but natural.

If you can just follow these three steps, then your nature photography will look so much better.

Nature photography mistakes: conclusion

Now you should know all about these seven deadly nature photography mistakes.
And you’re prepared to avoid them!
The key is to just keep a lookout. Maybe even create a checklist.

Then, when you’re shooting in the field, you’ll make sure that none of these happens, and your photography will turn out better than ever.
Have any nature photography mistakes that I didn’t discuss? Share them in the comments!

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6 Ways to Make Your Photography Stand Out

A Post By: Karthika Gupta

When was the last time you googled your city and your genre photographer? I tried this the other day, and I used ‘Chicago lifestyle’ and ‘travel photographer.’ The search results returned 18.5K results. Yes, that is ‘K’ as in thousands.
Photography is an extremely competitive field and it can be difficult to make your photography stand out. Low cost of entry in terms of gear, free online tutorials and a pool of clients who want everything for ‘free’ or ‘low budget’ means there is work for anyone who wants to get into the field. Sure, some genres are harder to get into than others, perhaps. But the reality is that if you want to get paid to take photos for someone else, chances are you will be able to do that relatively easily.

Now, I am not against any of this. We all start somewhere, and I had also done the ‘free’ photoshoot when I was starting to get my feet wet. I understand all that is needed to become a photographer.
But I quickly learned that the $50 or $100 photoshoots are not worth my time, effort, and talent. As a photographer, there are many expenses such as:

• gear insurance
• business registration
• taxes
• administrative overheads including website domain name and hosting
• travel costs etc.,

I was effectively paying people to let me take their photo.
That math did not add up and made no sense what so ever.
If you want to make it long term in the photography industry, there are several things you need to do to get yourself on the right track and stand out from the rest of the crowd when it comes to your skill, your business practices and your presence – on and offline!

1. Consistency

Don’t be a one-hit wonder. Consistently create and produce new work. Even if that work is just for you, personal projects or collaborative projects.
If you have to do ‘free’ or ‘low budget’ shoots, have a plan on when, how, and what you are going to get and give from these shoots. Spending 6 months providing free shoots or low-cost shoots to build up your portfolio is okay, but taking 2 years to do so is a bit much.
Also, realize that free/low-cost shoots tend to look very different from clients who are willing to spend $1000 or more on a family photo shoot. So be practical with your goals.

It took me years of practice to find a style that I liked and that worked with my personal
asthetic – a clean, bright style of imagery.

2. Authenticity

A lot of photographers offer styled photo shoots and portfolio-building photoshoots. This is where a bunch of photographers walk through a styled setup and create work that they can showcase on their portfolio. There is nothing wrong with this but only if you use this as a way to build your skill.
For example, you are editing clients of different skin tones, learning how to photograph in challenging light or how to pose and interact with clients. Don’t use these images as ‘your’ work. You are better off indicating images from a styled shoot as such than you are in showcasing work/styling that isnt your own.

I love 1:1 styled shoot because they give me creative freedom and a chance to create
unique images.

Instead of consistently looking for styled shoots for building a portfolio, invest in one of your own. It doesn’t have to be elaborate or fancy. Loop in a few vendors and see if you can set something up that can fit your brand and theirs. This is a win-win for all involved. That way, you create unique images and also make friends in the industry.

3. Play well with others in this space

This relates to number 2. Make friends in the industry. I belong to many FB groups and Whatsapp groups for creatives and photographers. We meet, chat, connect over business issues as well as offer advice and help as needed. I also am a part of a group with many different kinds of entrepreneurs to build a community of like-minded people and professionals. I have gotten a lot of business from these groups but have also made some life long friends and mentors. People who are always there for me because I am always there for them.

A collaborative photoshoot with a fellow photographer to create portfolio and editorial 

photos. The image is a triple exposure on film.

No matter what level of business you are at or even if you are just a hobbyist, there are
always people who are just like you and are looking for the same things as you – friendship,
love for photography and camaraderie. Give out as much as you can, be helpful and uplift
others who are on this journey with you. The more you put out there, the more you will
receive from the universe.

4. Patience is key

Photography is a very competitive industry. At any given point in time, there are bound to be people who can do something better than you. And that is totally okay. Know where your strengths lie and use those to your advantage. Aim to be in it for the long haul and not just the short term gigs that are one and done deals. Build relationships with your clients so that they will refer you and come back time and time again for quality results.
Success doesn’t happen overnight. Be consistent and be patient, and things will happen in their own time.

5. Success your way

Whether you choose to be in business or not, be true to your art. Get inspiration from other photographers and daily life. There are many amazing things around us at any given point in time. Just because no-one else photographs it, does not make it boring. Similarly, think outside the box. Just because everyone photographs something a certain way, does not mean you have to follow the pack.

When you are starting out, don’t obsess over clients, getting work, and making money. Yes, they are absolutely important but take the time to perfect your art (to the point where you are confident charging money for your photography). Then, money and fame will follow.

6. Have a 360 approach to your career

When I used to work in Corporate America many many years ago, one of the companies I worked for had a 360-degree approach to annual performance evaluation. My performance was judged by how effective I was in four areas: my peers in my team and across teams, my managers, and those who worked for me. Apply this approach to your photography. No matter where you are committed to helping those just starting out, collaborate with your peers, learn from those who are where you want to be. This can be in terms of meetups, workshops, and conferences or even just meeting for a cup of coffee to connect with others.

I started teaching technique at conferences and love meeting and connecting with other 

photographers who have become good friends.

Your photography career and mindset around your work and your art will grow in leaps
and bounds when you have a mindset of abundance instead of scarcity.

If you have read through this article in its entirety, you would have noticed that I talked nothing about camera brands, lens, lighting, models, posing etc.
In my opinion, the tips for making your photography stand out from the crowd focus on things that are more important. Your attitude towards yourself and others, your mindset, your willingness to get help and help others, and your long term vision for where you want to be, are far more important than your skill with the camera. After all, almost anyone can take a picture – simply point and shoot. It takes a lot more to become a successful photographer who consistently creates art.

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Comparing a 50mm Versus 85mm Lens for Photographing People

By: Meredith Clark

As a writer for Digital Photography School, one of the most frequently asked questions I receive from beginner and intermediate photographers is, “If I have to choose just ONE lens to buy right now, which one should I choose?” We’ve previously discussed the differences between a 24mm lens and a 50mm lens for photographing people, and in that same vein, it’s time for another lens showdown!

In this article, we’ll be discussing the differences between an 85mm and a 50mm lens for photographing people. Once again, I’ll walk you through several sets of similar images taken with each lens so that you can easily see the differences between the two. Hopefully, you can walk away with a better understanding of which lens might be the best upgrade for you.
To keep things consistent, all images in this article were taken with a Canon 60D, and either the Canon 50mm f/1.8 lens or the Canon 85mm f/1.8 lens. The Canon 60D is an APS-C sensor (cropped sensor) camera, so in order to determine the functioning focal length of these lenses on this camera, multiply the lens focal length by 1.6 (multiply by 1.5 if you use Nikon). So on a cropped sensor camera, the 50mm lens functions roughly as an 80mm lens, and the 50mm lens functions as a 136mm lens.

1. Differences in Depth of Field

This image was taken with Canon 85mm lens at f/1.8.

One of the biggest differences between the 85mm lens and the 50mm lens is the distance that you’ll need to stand from your subject. With the 85mm lens, the minimum focusing distance is 2.8 ft, and with the 50mm lens, the minimum focusing distance is 1.15 ft.
This means that in general, you will be standing further away from your subject with the 85mm lens, than you will with the 50mm. In turn, this decreases the depth of field, which means that images shot with the 85mm lens tend to have much blurrier bokeh than images shot with the 50mm lens, even when using the same aperture.

This image was taken with a Canon 50mm at f/1.8.

You can see the difference clearly in the cherry blossoms in the background of the two images above, both of which were shot at f/1.8. The cherry blossoms are fairly well blurred in both images, but the shape of the blossoms is more defined in the image taken with the 50mm lens, and the blossoms are significantly more blurred and creamy in the image that with the 85mm lens.
Of course, everyone has a different preference when it comes to bokeh. Some prefer the more uniform creaminess that the 85mm lens offers, while other photographers prefer to have a little more definition in the background.

Left: 85mm lens | Right: 50mm lens.

You may even find that you prefer different approaches in different applications! For example, I usually favor the more uniform bokeh of the 85mm lens. However, when I’m photographing in the grass, I prefer the bit of texture which the 50mm lens provides (see the examples above).
This is purely a matter of preference, so start making mental notes about which type of images you tend to prefer when you look at other photographers’ work. If you find that you are always drawn to the creamier texture, then the 85mm lens may be a better fit for you. If you prefer a bit more texture in the background, you may want to consider the 50mm lens instead.

2. Differences in Framing

This image was taken with 50mm lens.

In addition, spend some time thinking about the content of your backdrops. Using an 85mm lens will result in an image that is more closely framed on your subject. On the other hand, shooting with the 50mm lens will result in an image that includes more of the background (though not nearly as much as shooting with the Canon 24mm lens).
Do you happily hike up to the top of a mountain for a photo session? You might want to consider the 50mm lens in order to more fully capture the trees and vistas in the background behind your portrait subject(s).

This image was taken in exactly the same place as the previous one, only using the 85mm 

lens instead of the 50mm.

On the other hand, do you often find yourself trying to disguise the background in your images? Do you shoot on location with backgrounds that are sometimes out of your control and/or unpredictable?  In that case, you may want to consider the 85mm lens.
When you combine the decreased depth of field of the 85mm lens with the closer framing of your subject, the 85mm lens is stellar at creating beautiful portrait images at almost any location.

3. Differences in Shooting Distance

This image was taken with 50mm lens.

Remember when I said that when you’re using an 85mm lens you’ll be standing further away from your subject than you would be using a 50mm lens? Here’s another reason why that’s important to know, I almost never use my 85mm lens inside our home.
Our house is just over 1,000 square feet, and depending on the room, sometimes I physically cannot back up far enough to use my 85mm lens. Aside from official photography business, it’s important to me to be able to capture little day to day moments of our family, and so having a fast lens that I can use indoors is a must-have for me.
As much as I love my 85mm lens, it just isn’t a great fit for that purpose given the size of our home. Your mileage may vary.

This image was taken with 85mm lens.

On the other hand, when we’re outdoors I often prefer my 85mm lens. In that situation, standing further away from my subjects is a good thing. I can let my kids play and have fun without being all up in their business. Having a bit more space between them and the camera means that they’re able to relax more easily, which in turn leads to more genuine expressions and candid smiles.

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Nikon Releasing 900 Dollar Full-Frame Mirrorless Camera?

By: Jaymes Dempsey

According to Nikkei, Nikon plans to release a mirrorless camera before the 2019 fiscal year is out.
And it’ll likely be a budget option, one that comes in at about half the price of the Nikon Z6.
Here’s the direct (translated) quote from Nikkei:

Nikon will introduce a new mid-price mirrorless camera product in fiscal 2019. The same interchangeable lens can be used in the product that corresponds to a sister model such as the high-end model “Z7” launched by the company in the autumn of [2018]. It is expected that the price will be in the 100,000 yen range, which is easier for the general consumer to pick up than the leading 200,000 to 400,000 yen model. The aim is to develop the demand of users other than existing enthusiasts.

Regarding price: 100,000 yen falls around 900 dollars, which would be a dramatic reduction in price compared to the Z7 and even the Z6, Nikon’s two current full-frame mirrorless models.
A 900 dollar full-frame mirrorless option would likely be welcomed by those DSLR shooters who just can’t afford the current Nikon mirrorless prices, but are looking for something lighter than their current DSLR setup.
But we also have to ask:
What Z-level features will Nikon leave behind in order to cut costs?
First of all, we can’t be sure the new mirrorless option is full frame. The original report doesn’t say this outright. But the claim that the new product “corresponds to a sister model such as the high-end model ‘Z7′” suggests the new camera won’t be fundamentally different. And an APS-C Z mirrorless body would be fundamentally different.
But even if the camera is full frame, other important features might be dropped.
For instance, might we see the loss of an EVF? Personally, I would see this as deeply frustrating. Mirrorless EVFs are one of the strengths of mirrorless systems. I wouldn’t like to see it go.
What do you think? What will this new mirrorless camera be like?
And would you be interested in purchasing it?

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Tips for Taking Better Pictures from a Moving Vehicle

By: Hannele Luhtasela-el Showk

Have you ever been stuck in a car or a bus and seen all this great photographic potential passing you by? Fantastic landscapes, funny signs, unusual animals, and stunning compositions seem to always appear when I’m stuck in the passenger seat of a car. It’s frustrating, especially if the car can’t stop to let you capture the view.

A fantastically colorful landscape by the highway in the Atlas mountains of Morocco.

The Challenge

For someone who actually doesn’t like the idea of just driving through an area and taking photos of it through the window (maybe because it feels so impersonal), I’ve done a surprising amount of it. Often because it’s a now-or-never situation; the view won’t be there later, or I won’t be returning in the near future.
Sometimes I’m on a highway and can’t stop, or there are so many photos I’d like to take that I feel bad asking the driver to stop over and over again. Also, taking photos from a car or bus can be great for people who have a hard time walking.

I couldn’t resist this view seen through a bus window in Iceland.

In a car, bus, or train, there are many contexts in which it’s inappropriate, difficult or impossible to take a photo. Fortunately, there are also many situations in which you don’t have to leave completely empty-handed. It is possible to take photos from a moving vehicle, but it takes a bit of knowledge and planning.
It’s a suboptimal situation but sometimes you just have to find a way to make the best of it. Most likely it’s better than not trying at all! In this article, I hope to give some tips to help make your trips more enjoyable and creative. Let’s begin!

The amazing houses and views in the mountains of northern Morocco were difficult to 

resist, even though it was a bit tricky to compose well.

When to try and when not to shoot

Safety is paramount

Even though trying is almost always better than not, there definitely are situations where you shouldn’t be taking photos from a moving vehicle. Remember that you’re sitting in a metal box moving through space at high speeds!
It goes without saying that you shouldn’t be doing any photography if you’re the driver. But as a passenger, you also need to be aware of how your photography may pose a danger to you or others. In short: think about safety.
Make sure you don’t block the driver’s line of sight or disturb them in some other way. Communicate with the driver and the other passengers. If you’re on a tour bus, don’t block other the passengers’ view through the window.

A very old photo I took through a car window. There are clearly some issues in terms of 

sharpness and composition, but it’s still a lovely memory.

If you’re in a car and planning to open a window, make sure nothing can fly out and be aware that there might be branches or objects by the side of the road that can hit you or your camera. Also be aware of oncoming traffic, and don’t lean out! Only slow down if it won’t disrupt the flow of traffic and if you convince the driver to stop the car for a photo break, make sure it’s in a safe place.

Is it worth it?

Even if everything’s okay in terms of safety, there are a few other things to consider before you start photographing.
Can the car stop for a little while instead of you attempting to take pictures through the window? If not, can the window be opened? Is there enough light for photography? Will doing so mean that you’ll miss out on seeing and enjoying the view?
There may also be places where I wouldn’t recommend photographing through a window. Driving through a city or village pointing a telephoto lens at people could be considered a bit creepy.

This is how you do it

Enough of the don’ts and the warnings. It’s time to learn how to take great photos in this challenging situation.

Expose right

Not surprisingly, the most challenging part of this kind of photography is dealing with movement. In a moving car, your subject matter might swoop by at very high speeds.
In practical terms, this means using a shutter speed that can freeze that movement, finding an aperture that allows for enough depth of field, and choosing the ISO that makes all of that possible.

Here, the car was moving quite slowly so I got quite a sharp photo with a relatively wide 

angle. The dark and rainy weather made exposure a bit challenging, but it also made the sky 

much more dramatic.

The desired exposure depends a lot on what kind of a photograph you want. To get a sharp
landscape photo from a moving vehicle, it’s important to have a fast enough shutter speed.
How fast depends on how fast you’re moving, but faster is generally better. I would suggest using at least 1/400th, but preferably faster. Be aware that the foreground is more likely to reveal signs of movement, whereas photographing something that’s further from the road is more likely to be successful.

A photo with a lot of depth, taken from a moving car.

If we continue with the example of a landscape photo, it’s also important to have a large enough depth of field to get a sharp capture of the whole view. This means you’ll need to use a small aperture, preferably around f/8.0, also depending on the sweet spot of your lens.
If you have the chance, try different settings, but if you can only take one or two photos, aim for a small aperture. Again, this depends a lot on what kind of photograph you’re aiming for and light levels.

I was aiming for a sharp photo of these beautiful geological features rushing past the 

car in the Moroccan Atlas mountains.

The last element of exposure, ISO, doesn’t make as much of a difference to this kind of
photography as shutter speed and aperture do. ISO has the effect it always has, so the lower it is, the better.
Still, with modern DSLRs, using a higher ISO might be the key to allowing you to use the shutter speed and aperture you need while not adding a lot of noise.

It was cloudy and rainy, but by aiming for silhouettes and a dark atmosphere, this 

industrial view turned out sharp enough.

Plan well

It might seem difficult to plan in these situations, but there are usually some things that can help you create as good a photograph as possible. Even before you take your photo you can observe the light levels outside, which can help you with exposure.
You may also be able to get a good composition by observing the landscape outside and imagine what it might look like behind that curve or beyond that next hill. You can also see when there will be power lines appearing in your photo. I find that one of the most annoying parts of this kind of photography is power lines. They always get in the way!
Also, remember that this is one of those situations where taking a lot of photos is not a bad thing.

Really annoying power lines! Still, I decided that I wanted to document the aftermath of a 

pretty bad storm outside Rabat, Morocco.

Optimise

To get as good a photo as possible, you should open the window to avoid unfortunate reflections or dirt in your photo. A closed window will also limit your movement and your options when it comes to composing.
There are many situations in which opening the window isn’t really a great idea, though. Remember that the most important thing is safety. If you can’t open the window, use the viewfinder and possibly a polarizing filter to try to avoid getting reflections and dirt in your photo.

I didn’t have time to open the window so I photographed this view of houses seemingly 

pressed between mountains and clouds through the window.

Have you taken photos out of a car, bus, or train? I find the hardest part to be composing the photo.
What do you think? What benefits and challenges have you noticed? Do you have any tips for better photography on the road?

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