Review: Fujifilm X-Pro2 Mirrorless Camera

By: Suzi Pratt 

Ever since Fujifilm unveiled their debut consumer camera in late 2010, the fixed-lens x100, the brand has become a favorite for professionals, and enthusiasts who seek an advanced digital camera experience, that still retains much of the look and quality of the classic film era.
Fujifilm’s very first mirrorless interchangeable-lens camera, the X-Pro1, was released in March 2012 to much praise from critics and users, and was recently replaced with its successor, the X-Pro2. Given the four year gap between camera models, there are many upgrades and improvements in the new X-Pro2, all achieved without adding significant weight or bulk to the camera. Prices are clearly a big differentiator at this point, with the older X-Pro1 going for as little as $799, and the X-Pro2 currently set at $1,699. But pricetag aside, just how many more features are packed into the X-Pro2, and is it worth it?

What’s in the Box

The Fuji X-Pro2 can be purchased body-only for $1,699; this basic kit comes with the following accessories in the box:

• NP-W126 Li-Ion Battery Pack
• BC-W126 Battery Charger
• Body Cap
• Shoulder Strap
• Strap Clip
• Clip Attaching Tool
• Protective Cover

Recommended Accessories

While the X-Pro2 has a slightly better battery life than its predecessor, it’s still on the low side. As a result, it doesn’t hurt to have a spare NP-W126 Li-Ion Battery, or two, on you for longer shoots. Since the X-Pro2 has dual SD card slots, having one or two memory cards is also handy, although in testing I never fully maxed out a single 32GB SD card.

In terms of lenses, this X-Pro2 was tested specifically with the Fujifilm 35mm f/2 WR, a beautiful prime lens that equates to about 56mm on a crop sensor, and the Fujifilm 18-55mm f/2.8-4, a compact mid-range zoom that’s about 28-88mm on a crop sensor. Both lenses are relatively affordable ($399 and $699 respectively) and together made for a solid, compact, travel photography kit. Lens preference will, of course, depend on your shooting style, and Fujifilm has many other lens choices available.

Technical Specs

Sensor and Image Capture

First, let’s review the X-Pro2’s specs, which are vastly improved over its predecessor.

• The X-Pro2 has an upgraded 24.3MP CMOS III APS-C sensor, giving it a significantly higher pixel count compared to the X-Pro1’s 16.3MP CMOS I sensor.
• The processor is also the new X Processor Pro.
• Native ISO range has also increased from 200-12800 (or 100-51200 in expanded mode).
• Continuous shooting on the X-Pro2 is also slightly faster at 8fps, up from 6fps on the X-Pro1, and a continuous high buffer of up to 83 JPEG frames compared to 21 frames on the X-Pro1.
• Metering is still 256 zone TTL, but besides Multi, Spot, and Average metering, the X-Pro2 adds Center-Weighted metering, which was absent on the X-Pro1.

Sample image shot at sunset. No tripod or extra lens filters.

Perhaps one of the biggest feature additions on the X-Pro2 is a shutter that allows for both mechanical and electronic capture; the latter allows for more flexibility. The mechanical shutter speed has increased to as high as 1/8000th, compared to 1/4000th on the X-Pro1. The X-Pro2 also enables the use of an electronic shutter speed with an even wider range of one second to 1/32,000. The X-Pro2 also includes Face and Eye Detection, meaning it will seek out faces and eyes when shooting. This is a very handy feature for photographing people, and it proved to be highly accurate during test shots.

Viewfinder and LCD

While both viewfinder and LCD sizes really didn’t change much in terms of physical size, both received a bump in resolution, and an updated User Interface in the X-Pro2. The viewfinder also finally allows for diopter adjustment, and the electronic viewfinder (EVF) has a wicked fast refresh rate of 85 frames per second. Still absent is a pop-out LCD screen.

Sample image. Shot handheld without a tripod.

Autofocus

The X-Pro2 has made some pretty giant leaps in the realm of autofocus. This camera now has 273 autofocus points, which is quite a bit more than 49 on X-Pro1. It also includes single, zone, wide/tracking autofocus modes, all of which were lacking on the X-Pro1. Finally, the X-Pro2 adds a physical feature that Canon DSLR users will find familiar: a mini joystick button which Fujifilm calls the focus lever. Besides acting as a button, the focus lever enables quick selection for all 273 autofocus points, and also helps you navigate through the menu.

Body and Handling

When it comes to the X-Pro2’s build, it is still comprised of a sleek, half matte black body, with a distinctly retro look. However, the build material is now magnesium-alloy versus aluminum for the X-Pro1. Despite using lighter material, the X-Pro2 is still slightly heavier than its predecessor, weighing in at 495 grams (17.5 oz.) versus 453 grams (16 oz.). In terms of dimensions, the X-Pro2 is a tiny bit wider and deeper, but it still looks about the same size as the X-Pro1.
The battery life on the X-Pro2 has been slightly improved, up to 380 frames, versus 300 frames on the X-Pro1. That’s still on the low side, so carrying a spare battery or two certainly won’t hurt. Camera startup time is a hair faster at 0.4 seconds, compared to 0.5 seconds. Also, the X-Pro2 now has dual SD card slots, which will certainly help with the increased size 24.3MP files. A built-in flash is still not included, but flash sync speed is now at 1/250 of a second, up from 1/180.
WiFi has been added to the X-Pro2 allowing for geotagging, wireless image transfer, and remote camera control. Finally, the X-Pro2 comes with improved weather sealing with 61 points of dust, water, and cold resistance. This doesn’t make the X-Pro2 waterproof, but it does allow for shooting in more diverse conditions.

Sample image shot with the Fujifilm 35mm f/2, handheld without a tripod.

Is It Worth It?

This is a difficult question to answer, given the plethora of vastly different digital camera options available today. Whether you go for the X-Pro2 or not, will really come down to your personal preferences and budget.
Personally, I loved the image quality of the X-Pro2, as well as its retro buttons and controls. With that said, the retro controls are unique to Fujifilm digital cameras, and can take some getting used to if you’ve been using a point and shoot, DSLR, or another brand of mirrorless camera. It’s also worth noting that while the X-Pro2 is definitely not as bulky and heavy as a professional DSLR, it’s not as compact and lightweight as other mirrorless cameras such as the Sony a6300, which has very similar technical specs, packed into a much smaller body.

I

Sample image shot outdoors, handheld with no extra filters.

Overall Thoughts

With higher shutter speeds of 1/8,000 or even 1/32,000 using the electronic viewfinder, higher ISO ranges, vastly improved autofocus, and enhanced weather sealing, the X-Pro2 has officially become a serious contender for professional photographers. If you’re looking to invest in a Fujifilm mirrorless interchangeable camera, it’s hard to go wrong with the X-Pro2. While deals can certainly be had with the older X-Pro1 model, the significant upgrades in the X-Pro2 make it a worthy investment if you have the money to spare.

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Avoid These 5 Major Mistakes Made By Travel Photographers

A Post By: Andrew S. Gibson

Whether you are traveling abroad or within your own country, there are several mistakes that I’ve seen travel photographers make that hinder the process of making memorable photos.

Mistake #1: Not being aware of cultural sensitivities and laws

When you travel to another country it’s easy to forget that the people there may see certain things differently than you. For example, in China, you will see signs up in temples asking you not to take photos. So it should be fairly obvious that doing so may cause offense.
Others are not so obvious. Did you know that in Spain the law prohibits photographers from taking photos of people in public without permission unless they are taking part in a cultural event such as a festival? That’s right, Spain is not a great place to be a street photographer (although that doesn’t stop people from doing it).
Unless you know this, you probably think taking candid photos of people in Spain is perfectly okay (as it is in most other places). Once you understand the attitude (and the law) towards photographing people in Spain, you can adjust your behavior to fit in with local expectations and behavior.
If you want to create a street photo of somebody, it’s best to stop them and ask for permission. That way you protect yourself and (added bonus!) keep out of trouble with the police.

I made this street portrait in Cadiz, Spain after asking the street vendor if I could take his photo. 

If I had tried to take a photo without him noticing it would have been illegal, and if he had called 

the police I would have been on the wrong side of the law.

Some countries have laws forbidding the photography of certain buildings, like airports. Did you know that photographers have been arrested, jailed, and accused of spying in Greece for photographing an airshow at a military base? If you’re going to Greece it’s a good idea to know which buildings are out of bounds for photographers. Make sure you’re aware of any legal restrictions in your country of travel.

Mistake #2: Being disrespectful to local people

When you travel somewhere new, especially somewhere that is exotic to you, it’s easy to treat people as if they were laid out, like colorful extras in a movie scene, for you to take photos of. That is not true, and it’s disrespectful and unkind to act as if it is. Imagine how you would feel if somebody from another country came and tried to take photos as you went about your daily life, without consideration for you and your feelings.
It seems to me that a big part of the problem is when people travel through other countries without interacting with locals in anything other than a commercial context, such as renting a hotel room or eating in a restaurant. Sometimes this is down to language – it’s hard to strike up a conversation in China if you don’t speak Chinese, for example.
But your travels (and life in general) can become a lot more interesting if you are open to non-commercial experiences with local people. Try having conversations with people about their hopes and dreams, what they do for a living, how they like living in their town and similar topics. You’ll gain a deeper understanding and appreciation of the places you’re traveling through when you do.

A Spanish friend of mine invited me to see a farm owned by a member of her family. I would never 

have gotten to see the farm or make this photo if we didn’t know each other.

Language study is an excellent way to meet local people. I have many good friends in Spain and South America that I met online through websites aimed to help people learn other languages. I’ve met most of them in person and learned a lot about their culture and countries in the process.

Mistake #3: Not putting safety first

Another mistake I’ve seen photographers make is forgetting to take care of their personal security or failing to take appropriate precautions to guard their gear against theft.
Most photographers travel to most places without any security problems, but there is always the potential for something to go wrong, especially if you don’t put much thought into your personal safety and the security of your camera and computer equipment. Some countries are safe, others can be dangerous, so make sure you do your research beforehand and take any appropriate precautions.
A good travel insurance policy that covers your gear (check the fine print) will help give you peace of mind if the worse does happen.

Mistake #4: Taking too much gear

We’ve all seen the type of photographer that walks around with a large dSLR camera and telephoto lens, perhaps even two, swinging from their side.
At the other extreme are photographers who travel with just one camera and one lens. When I worked at EOS magazine we published an article about a photographer who traveled to India with one camera and a single 50mm lens. He made some beautiful images so the approach worked for him.

During a recent trip to China, I calculated afterward that I had used my 35mm lens for 73% of the 

photos, including the one above. That tells me that I probably could have taken just that lens and 

still enjoyed a very productive journey.

There’s nothing wrong with taking lots of gear, especially if it works for you. Professionals often take lots of lenses so they know they are covered for just about any situation they may encounter. But there are a couple of things worth considering.

• The first is that a large camera and lens combo is an obvious target for theft. Smaller cameras attract less attention and don’t look as expensive.
• The other consideration is creative. If you have too much gear it’s heavy to carry around and you can waste time trying to decide which lens/camera combination to use.

The key is to think in advance about the subject matter you intend to photograph and what gear you’ll need for it. If you are into long exposure photography, for example, then you’re going to need a tripod, cable release and neutral density filters.
If you are photographing people, you need to decide what lens or lenses you are going to use for portraits. If you are photographing local architecture, you will probably need a good wide-angle lens. If you are going to walk around all day taking street photos, a small camera and lens are much less tiring than a large DSLR with a telephoto zoom.
You get the idea. Ultimately, you need to find the right balance between taking enough gear to meet your needs and taking too much. Also, if security is a concern, you may want to consider leaving your more expensive gear at home.

Mistake #5: Not doing enough research

If there’s one mistake that links all the others, it’s this one – not doing enough research. It’s important because it makes you aware of any local laws or cultural sensitivities you need to know (mistake #1).
As part of your research, you may get in touch with local people (mistake #2) who can give you advice or help you gain access to places or events you would never know about otherwise. Some photographers go even further and work with a fixer – somebody who introduces you to other people, translates if necessary, and acts as a bridge between you and the local culture.
Research alerts you to any security considerations (mistake #3). It helps you decide what gear you need to take, and avoid overload caused by taking too much equipment (mistake #4).
In other words, doing your research is a key part of avoiding the mistakes that many travel photographers make.

Research also helps you find interesting places to photograph, such as this ancient fishing village 

in north Devon.

These mistakes are based on my observations of other photographers while traveling. But what mistakes have you seen other photographers make? What mistakes have you made yourself? I’m looking forward to hearing your responses in the comments section below.

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Nikon Japan says it's temporarily ceasing 58mm F0.95 S Noct pre-orders due to demand

Published Oct 31, 2019 | Gannon Burgett

Nikon Japan has announced (translated) it’s temporarily suspending pre-orders for its new Nikkor Z 58mm F0.95 S Noct lens citing greater demand than the supply chain can currently handle.
In a press release published earlier today, Nikon Japan says it has ‘decided to suspend pre-orders,’ according to a machine-translated press release. ‘It is expected that it will take a considerable amount of time to deliver the product because we received many orders exceeding expectations.’
The press release goes on to say Nikon Japan is ‘working to resume orders, but the number of production of these products is limited due to the need for advanced manufacturing technology, and it may take time to resume orders.’
Nikon Japan concludes by apologizing for the inconvenience and saying it will further notify consumers when pre-orders resume.
At the moment, this appears to be a region-specific limitation, as other retailers around the globe still have the 58mm F0.95 S Noct available to pre-order. At the time of posting this, Adorama, B&H, Wex and Calumet still have pre-orders up. Neither Adorama nor Wex list an estimated shipping date, but B&H currently says the expected availability is November 27, 2019 and Calumet expects the first units to start shipping November 7, 2019.

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4 Film Photography Basics That Will Get You Started

By Jason D. Little 


If you’re one of those photographer’s who has been fighting the urge to try film for the first time, I have two words for you: Do it.
Ok, easier said than done. Once you decide to take the plunge, what next? It’ll take more than two words, but I do have a shortlist of film photography basics, that is essential items you will need to get started with film photography.

1. A Camera

Obviously. And since you’re just getting started, it’s best to keep it simple. You’ll want to get your hands on a basic 35mm camera. You can worry about all that medium and large format stuff later.
35mm film cameras are easy to find and they’re affordable. If you don’t find one in your attic or basement, you can look at charity shops, yard sales or local classifieds. And, of course, there’s always the internet. KEH, eBay and UsedPhotoPro are just a few of the sites that camera seekers have a habit of turning to.
Remember, you’re just looking for a starter camera. Above all, make sure it’s in good working condition. A built-in light meter is nice to have, but hardly a must.
You can expect to spend somewhere around $150 on a classic body like the Nikon FE, Olympus OM-1 or Canon AE-1.

Markus Spiske

2. A Lens

If you’re going to “overspend” on something, better it is a lens than a camera body (generally speaking). Don’t worry, though — getting a really good lens for your film camera doesn’t have to break the bank.
Canon, Nikon, Olympus, Minolta and Pentax all produced some wonderful lenses back in the day. You won’t have a hard time finding one that pairs perfectly with your camera of choice.
A 50mm f/1.8 for one of the camera bodies mentioned above, for example, might set you back around $70, depending on condition.

Markus Spiske

3. Film

A 35mm camera is nothing but a showpiece if you don’t have any film to put into it. Fortunately, there are plenty of options here as well. Again, you’ll want to choose something at the lower-priced end of the range.
Why? Because you’re likely to make mistakes as a beginner, and mistakes with film can be costly. You don’t get to delete shots you’ve ruined, so it’s best to minimize the cost of those mistakes as much as possible.
This means using a basic black and white or color negative film.
Some of the more affordable offerings from Kodak include Tri-X, Gold 200 and UltraMax 400. Ilford doesn’t make color film but their HP5+ is a legendary black and white option. Fujifilm offers Fujicolor 200 and Superia X-TRA 400.
Each of these companies also makes more expensive “pro” films and slide films. You may want to experiment with some of those other options down the road.
Kentmere and Ultrafine produce a line of “budget” black and white films.
Film costs can vary quite a lot by region and retailer but expect to spend approximately $3 to $4 per roll.

Markus Spiske

4. A Lab

When you finish a roll of film and you’re ready to retrieve the images you’ve captured on it, you’ll need a way to get that film developed. A film lab in every town and pharmacies that provide one-hour processing are largely a thing of the past, so you’ll probably end up mailing your film to the lab.
Indie Film Lab, The Darkroom, Richard Photo Lab and The Find Lab are a few well-respected mail-order options. Prices vary, of course, but you’ll spend about $10 per roll just for developing (shipping and scanning options will at least double your costs).
Just be aware that processing will be the priciest part of shooting film and, obviously, it’s an ongoing expense.

Free Stock

Final Thoughts

It’s easy to get your hands on a 35mm camera and some film. It’s also easy (though expensive) to get your film developed by someone else. What may not be so easy for beginner film shooters is tempering expectations.
Initially, you may be discouraged by your results or by the weird aesthetic quirks you may encounter — light leaks, grain, accidental double exposures, unexpected color shifts — things you don’t really deal with when shooting digital (noise and grain aren’t quite the same things).
Keep an open mind, give yourself room for error and be patient. Before long you’ll know whether film is something you feel is worth sticking with.

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$15,000 Stolen from NYC Studio by Photographer That Worked for CNN

By Kehl Bayern

A massive haul was taken from photographers Adorama Rewind’s Seth Miranda (and others) by none other than fellow photographer David Scott Holloway who admitted his guilt to police upon arrest.

Alex Andrews from Pexels.

Of course, it probably didn’t hurt that he was caught on surveillance cam ripping off his peers but that’s a whole other thing.

Though the gear was taken some three months back, Miranda reports that he and the others that had their stuff stolen were only made whole just recently.
In total, the gear was valued at anywhere between $USD 12,000 and $USD 15k. Interestingly, the whole thing is a bit more complex than a simple theft and seems to be some kind of combination of Holloway’s impressive resume and the use of his peers’ confidence in him that tinges the entire thing with an extra element of betrayal.
Having worked for CNN and the late Anthony Bourdain’s Parts Unknown, Holloway is pretty well known in the industry. Having just joined the studio in Spring 2019 according to PetaPixel, it wasn’t long before he used his access to take some seriously expensive gear.
It wasn’t smooth sailing with Holloway prior to the theft, however, with reports from those involved that state he was late with paying rent on his studio space and that he often reserved areas, only to not use them later, in order to remove their availability for others in the studio.
Even though he has an impressive resume in the industry, his execution of this whole operation leaves a lot to be desired and borders on the comical.
He quit his lease in July but turned in a fake key to management. He then returned in August and then stole the gear in question.
As far as looking for leads, we’re sure the police appreciated this bread crumb trail of bad behavior and dishonesty.
PetaPixel says one photographer told them, “He thought he was so smart…He only took the elevator to the 7th floor (the studio is on 12) then he got off and took the stairs the rest of the way. On his way out, he took the stairs all the way down. All that, but he wore the same hoodie and hat you see him wearing in all of his Instagram stories.”
To make matters even worse, he apparently helped with reorganizing the studio space before he dipped out of it and targeted specific photographers’ gear in his theft.
It gets better: Even though Holloway admitted the theft to police, because he returned the gear, there are no consequences in terms of jail time for him. As you can probably imagine, the photographers impacted by his actions aren’t very pleased with that.
When asked for comment, Holloway declined to answer PetaPixel’s questions on his attorney’s advice.
What do you think about this story? We love to hear your thoughts – leave them in the comments below.

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How To Photograph Rock Concerts – The Basics

By: Peter West Carey

Photo by Anirudh Koul

Live concert photography can be an exciting, yet, nerve-racking time.  The lights, the stage, the crowd….there are so many things out of your control as a photographer but that needn’t stop you from obtaining great results with a few hints to help get you started!

Introduce Yourself

This should be your first step in shooting a concert and getting the best results.  If you do not already know the artist personally, put in the effort to introduce yourself.  It can be email, phone call or one of those old fashioned “snail mail” letters.  Whichever route, get to the point quickly and let them know who you are and why you’ll be shooting the concert.  The second point will be the most important.  As artists themselves, musicians typically have a keen eye on their image and copyright as they are two of the biggest factors in doing what they do (as well as obviously turning out great music).  If you’re wanting to shoot for your own private portfolio, say so.  If you’re looking to sell images taken at their concert, you’ll need to be prepared to discuss things a bit more in depth.  But if you’re simply looking to have some fun and try a new style of photography and if the musician is more approachable, simply offering use of select concert photos to them may create a win-win situation.
The same can be said with building your portfolio.  In the beginning it may be necessary to work ‘on spec’, meaning you only get paid if they see something they like and purchase the rights to certain photos.  This is fine when you’re starting out trying to make some money at concert photography as you are being paid in experience (PIE) and also paying your dues to build a portfolio and reputation.  Later, with a passel of quality work to show off, it’s easier to negotiate a fee to artists more willing to pay for photos.

No matter your motivation for shooting a concert, having a chance to say, “Hi” to the artist(s) can help make your job during the concert easier.  It can also help open doors of opportunity such as when you have to…

Scout The Concert Venue

Photo by Anirudh Koul

If you get a chance before the concert, scope out the location first to get an idea of how the seating is setup.  If this is a small concert in a bar or small hall, which it will likely be if you’re just starting out, plan a trip the day or hours before the concert to take a look at how the venue will be situated.  Will it be standing room only?  If there’s seating, will you have enough room to maneuver between seats to get the angles you want?  Also as important, is there a place to store your unused gear while shooting?  Check to see if there are multiple locations to shoot from.  A concert shot from just the front row, center, won’t convey the feel as well as one shot from in front, behind and amongst the crowd.

Bring Your Fastest Lens

Once again, depending on the venue, a flash may be of little use.  Even if you’re close enough to use a flash effectively to light the performer(s) it can be distracting if there is not a light show included with the concert.  It is better to trust to a fast lens to help capture the action.  One of the my favorite lenses for concerts is a 70-200mm f/2.8 and while I don’t get my hands on one very often, it far exceeds my normal kick around 28-300mm f/3.5.  While it might not seem like a large difference, the 70-200mm allows for a slightly slower ISO, helping to reduce image noise (explained later on).  It also allows for more close up action and quicker focusing.  Remember, the lighting can be all over the place during a concert and a faster lens will allow for better focusing due to more light coming through the aperture.
If you don’t own a particularly fast lens, there are many places online where one can be rented.  DPS has a post entitled Where To Rent A Lens Online, written by yours truly, to help you along.  Also check your local phonebook as it may be cheaper to acquire a lens in-town.

Switch To Manual Mode

Photo by Anirudh Koul

Switching to Manual Mode can be a daunting task the first couple of times you try it, but it does help.  The problem with an automatic setting is the high contrast varied lighting can produce.  For instance, the image at right is from a larger concert for the Backstreet Boys.  While most of the frame is black, shooting in automatic exposure mode would likely produce blown out lights and artist (little guy on the right side, well exposed) to help compensate.  Setting the camera on Manual Mode will allow for greater control especially when lighting changes quickly.  Which leads us right into the next tip!

Get Spot On

Photo by Kevin Klöcker

If you’re interested in capturing the lead singer and band members during a concert, you’re going to want to choose spot mode for your metering.  Most concerts have a large amount of darkness to them and using evaluative, or full frame, metering will attempt to compensate for all that black, often over exposing the main subject.  Especially when they are lit with a spotlight.  To get around this anomaly, switch to Spot Metering early on and get a good reading off the lead singer.  If you’ve made contact with the band and venue management as described earlier, you should be able to gain access to a sound and lighting check before the concert.  Having this opportunity can save a lot of time during the concert in adjusting your camera.
Once you have the metering set for a spotlight situation, it will be fairly easy to adjust the shutter speed to compensate for slightly darker settings (such as shots of the drummer, who often don’t share the spotlight).  A quick review once in a while will let you know if your settings are working.  Once you have set your shutter speed and aperture, the metering becomes less and less important as you get a feel for the effect of different colored lights on stage as well as intensity.

Watch The ISO

ISO can be your friend in shooting a concert if you are without a flash.  But it will take some testing to see how much noise you are willing to withstand.  As you know, playing around with ISO will have a direct impact on your shutter speed (most concerts are shot with a shallow depth of field to bring in as much light as possible) and it’s important to match your shutter speed to the action.  If it’s a fast moving rock concert, a shutter speed of 1/60th or more will be needed to prevent excessive blur.  If it is a sit down type of affair, you may be able to get by with speeds a full stop slower.

Photo by Peter West Carey

While grain can be an issue if you’re forced to push the ISO much above 400, it can be used to an advantage.  Using filtering or actions found in your favorite photo editing software to change your image to black and white (see this DPS article for more information) can be a solution to high grain.  The shot to the right from a recent concert with singer/songwriter Alyse Black was shot at ISO 3200 as the lighting and zoom contributed to a dark scene.  With too much noise for my liking, taking the image black and white turned the noise into grain I found acceptable given the artist’s style.

Concert photography can be a fun and exiting experience.  The basics of covering a concert for the first time including getting to know the artist, doing a bit of preplanning to know what the environment will look and feel like, picking your fastest lens(es), switching to both Spot Metering and Manual Mode to have the most control of exposure and keeping an eye on ISO so you are aware of noise in your photos.
In my next post I’ll include some more advanced techniques for getting the most creative results at a concert. 
Update You can read this next post at How to Photograph Rock Concerts – Beyond the Basics.

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How To Photograph Rock Concerts – Beyond Basics

By: Peter West Carey 

In my last post I explained some of the basics of photographing a rock concert.  Aspects like watching your ISO, using spot metering for tricky lighting situations and switching to manual exposure mode.  In this post I’d like to explore the more creative side of rock concert photography.  After you’ve read through these examples, please feel free to post your own experiences in the comments section below.

Set The Mood

Photo by marfis75

Setting the mood can take many forms.  As the image at left shows, you don’t even need to see the band to successfully set the mood.  These shots usually do better when there is no main subject in the picture.  Look for unusual lighting and stage effects to present themselves.  If the band is dynamic it’ll be easy to find this element, as they will be putting in effort to set a certain mood with the concert.  Make sure you’ve listened to some of their music before you go to the concert, if this is a band you’ve never heard before.

Go Wide

Alyse Black Benefit Concert - Photo by Peter West Carey

If you have the option to use a few different lenses make sure one of them is a wide angle lens.  It won’t be used that often as most people like to have shots of individual band members close up, but a number of wide angle shots are vital to conveying a whole ensemble on stage.  Wide angle shots can also allow you to capture some of the crowd in the shot as well as the band as well as the ever important huge video screen behind the stage for interesting effects.  It probably won’t be on your camera long, but it will help to have the variety a wide lens can provide.

Don’t Forget The Crowd

Bon Jovi Crowd - Photo by Anirudh Koul

Concert Photographer Anirudh Koul does a wonderful job of catching the massiveness of a Bon Jovi concert by turning his camera away from the stage.  For me, this gives a great feel to just how chaotic, electric and exciting the concert really was.  While a completely dark audience wouldn’t convey the same feel, a hall with the house lights all the way up would not work as well either.
Look for a time when the crowd is partially lit as in this photo at right.  Try to get above the crowd as well, not too hard to do if you’re allowed into the fringe around the stage, but a bit more difficult if you’re amongst the crowd.  The crowd is an integral part of the show because remember, without a crowd, it’s just a rehearsal.

Look For The Unusual

Blimp At Van Halen Concert - Photo by Anirudh Koul

Big name concerts tend to have some wild things going on during the concert, making them more like stage shows than a concert.  From spinning drum risers to mechanical robots to the blimp Van Halen used, you will probably have something unusual going on.  As most bands with theatrics in their concert tend to repeat gimmicks from city to city, get on the band’s website/blog/fan club mailing list to get an idea of what goes on at their concert.  Get hold of others who have been to concerts during the same tour to know what and when to expect it.  Anirudh’s shot of the blimp shows excellent positioning and timing.  it may have been luck or he may have known what to expect from past concerts.

Zoom In/Get Close

Juke Wyatt On A 5-String Bass - Photo by Peter West Carey

It’s time to swap out the wide angle lens for a zoom to get up close and personal.  Get as close to the stage as you can or even better, obtain a press pass for a larger concert.  With a decent zoom (70-210mm is a favorite for most) you will be able to isolate individual band members and their activity.  At this point I’ll also reemphasize a point I made in my last post, don’t forget the drummer!  They’re back there, all alone most of the time, isolated by the mass of equipment and pickups (microphones) around them.  The only way to get good shots without a pass to get on or backstage is with a decent zoom lens.
These are just a few ideas to help get the creativity juices flowing before you shoot a concert.  If you’ve shot a concert before and have other great tidbits and photos to share, please post a comment in the section below to pass along your knowledge in DPS’s spirit of learning!  Thanks!

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A Guide to Newborn Photography – Preparation, Posing and Post-Processing

By: Elizabeth Moore  

Newborn photography is, in my opinion, one of the most rewarding (and difficult) branches that a photographer can get into. I’ve shot numerous hectic weddings where I was physically exhausted afterwards, and had lifestyle sessions where nothing went right, but nothing has even come close to the process involved when taking photos of a precious newborn baby!
Over the years, I’ve learned some insightful tips from interacting with parents, to posing newborns safely, and also my philosophy when it comes to editing. I want to give all of these tips to you, to hopefully fast-forward your newborn photography aspirations and take you to the next level.

Before I dive right in, I want to give you some insight on my background and techniques, so that you can evaluate your style compared to mine, and make adjustments to my tips to suit your photography.

LIGHTING AND SHOOTING PACE

First, I’m a natural light newborn photographer. I will use a continuous lighting system in my studio on the darkest of days, but 99% of the time the only light in my photos is coming from that big fiery ball in the sky. Speaking of studio, I exclusively shoot newborn sessions at my in-home studio space. I’ve converted one of the bedrooms in my home to my shoot-space. You don’t need a huge studio for newborn photography – my small 10×10′ (3×3 meters)room with two windows gives me enough natural light and room to do everything I need to do.

SAFETY

Safety is my absolute number one priority for taking photos of newborns, which I’ll talk more about later in the article. It scares me how many pros and amateurs alike don’t make this step important. While on my soapbox, if you don’t make safety an absolute priority, then you have NO business photographing newborns. Whew – I feel better now.

PREPARATION

Whether you’re a photographer inviting newborns and their parents in, or you’re a parent yourself trying to capture beautiful images of your baby, the steps for preparation are virtually the same.
Here are some great tips to keep in mind when you prepare for the session:

• Warm it up! I close the door to my studio and use a space heater in the corner to warm the room up to about 80-85 degrees F (26-29c). This is usually a great temperature to keep the baby happy, especially if they aren’t swaddled. Be sure to give any clients a heads up about the warmth, and suggest they bring light clothes for themsleves.
• Wash your hands. Take every precaution not to spread germs, especially for a newborn with a weak and developing immune system.
• Do NOT wear jewelry. I always take off my rings, bracelets, earrings, and necklaces. While the likelihood of your jewelry falling off is low, it’s not a zero chance. Keep it simple to keep the baby safe.
• Avoid fragrances. While a newborn’s vision and hearing senses are not too keen, their sense of smell is very sensitive. Don’t wear perfume/cologne, fragrant lotions, or strong hand sanitizers. This can upset the baby quickly.
• Try to create some white noise. Having some white noise can dull any thuds, shuffles, or the sound of the shutter on the camera that may otherwise wake a baby. My space heater serves to not only provide heat, but also gives me plenty of white noise. You may want to consider an app on your phone if the space heater is too far away, or too quiet.
• Get all your props, backdrops, blankets, etc., ready before you take any photos. The less you have to move the baby to set up a new shot, the better.

Another aspect of preparation for photographers working with clients, that isn’t talked about as much, is preparing for newborn parents. As a photographer myself, I have met hundreds of parents who are swelling with pride for bringing life into the world, but who are also completely exhausted. I offer my clients coffee when they arrive to let them know that this is a haven for comfort, and to trust me because I know what they are going through.
You’ll also run into two types of parents while photographing newborns: “hover” parents and “passive” parents. Hover parents may clutch and grab for their baby at the slightest sign of a whimper (which is natural human instinct, by the way), and it can impede your ability to take great photos for them. Passive parents are typically those that are the opposite of hover parents, and I’ve found are usually associated with parents who’ve had multiple children and are pretty laid back about the whole process.
The best solution for interacting with all parents is to make sure they’re properly informed before the session begins. Reassure them that their baby’s safety is your number one priority, go over your process with them, and make sure you openly communicate about their baby during the session. This will help ease any concerns a nervous new parent may have.

POSING

I LOVE natural newborn poses, and I try my best to capture the precious little miracle, and show how they are naturally. I do own a newborn posing beanbag (which I highly recommend purchasing) that has curves, allowing me prop the baby up, or lay them down. There are literally hundreds of guides on the internet about how to pose a newborn, so I won’t go into the different specific poses and setups here. However, I will go over the basics, and get into some more in-depth and technical aspects. If you have no idea how to start posing a baby, start with those guides before you ever (read: ever, ever, ever) actually take photos of a newborn!
Like I’ve stated numerous times already, MAKE SAFETY FIRST! Natural poses are also safe because there’s very little risk involved if the baby twitches or moves spontaneously. While the baby is posed naturally, I’ll also snag some macro feature shots of the baby’s unique features like their cute little noses, tiny feet and toes, and the adorable little lips they have. Posing the baby naked, or swaddled with blankets, is something that you’ll decide, hopefully after a conversation with the baby’s parents to see what they prefer, and what photo theme they want.

You WILL eventually run into a fussy baby at times while posing during the session. It’s pretty rare to have a newborn that gives you no issues at all. That being said, you can prep the baby beforehand to increase your chances of successful posing. I always ask the parents to plan a feeding right before the session begins. Full belly = a happy baby most of the time. However, this isn’t the be-all-end-all solution for some newborns. I’ve been affectionately called the “baby whisperer” by many of my clients because I can typically sense what the baby wants, but I do so by using cues that the baby provides.
A hungry newborn will cry and root, sometimes shaking their heads back and forth and opening their mouths (kind of like a fish) as they look for a food source, i.e. Mommy. Another symptom of being fussy can stem from being cold. Look for tiny goosebumps on their skin to see if they’re too cold. The newborn baby may also be gassy, which can be tough to detect many times, but usually happens in a delay after a feeding. Sometimes it feels impossible to detect what may be causing the baby to be upset. I’ve found that often this is due to the newborn being just slightly uncomfortable or restless. You can calm a a fussy little one by doing some very soft rubs on their forehead or back, or some very light taps on their bottoms. Every baby is different in what they like so it may take some trial and error.

Photo one (left) holding the baby’s head for safety. Photo two (middle) holding the baby’s
head from below for safety. Photo three (right) the two combined to make it appear that the
baby’s head is resting on its hands.

While I prefer to naturally pose the baby, I will also do a few “risky” shots for variety, and that artistic touch. I put risky in quotes because these photos would be completely unsafe normally, but with composite editing in Photoshop, you can merge safe images together to create the artistic illusion you may be going for. Classic examples of this would be the head propped on hands photo (see above picture), hammock photos, or anything where the baby is perched on some object. By the way, you should never do these photos in one take – use the composite route! Just do a quick Google search for “composite newborn images” for step-by-step instructions on how to pull this off.

POST-PROCESSING

As a natural light photographer, I don’t typically manipulate the light in too many of my photos in Photoshop. I’ll make some tweaks here and there, but my biggest adjustments are typically associated with skin smoothing (although I also do some touching-up in post-processing). Slightly overexposing images helps with smoothing the baby’s skin, and shooting in RAW can help you correct any exposure or color issues along the way.

Here’s a tip – you don’t need a massive studio with a huge backdrop to create gorgeous images from far away. Take the example before/after photo above (sans newborn baby) – some minor editing and blending can create fabulous images you’ll be proud of. Just search for some floor/backdrop fading tutorials online for details and step-by-step instructions on how to do it.
Using the clone tool, the blend tool, and creating/manipulating layer masks in Photoshop, you can create exactly what you are after in a “look”. Digital Photography School has some basic Photoshop tips that are fabulous!


In the end, you’ll need to decide what your style is, and what you want your photos to look like. My style includes editing out the skin imperfections on the newborns, but leaving certain features on macro shots (like skin flakes, birth marks, some baby acne, etc.), but there are others in my area that leave the images as they are, with very little touching up. It’s up to you. If someone has hired you, it’s because that person loves your images and the way you edit your photos – stick with it, or try to appeal to a different base.

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