Back to Basics: Understanding the “Sunny 16 Rule” in Photography

By: Adam Welch 

In life, we are sometimes met with certain inalienable truths; water will always flow downhill, there will always be an unhappy baby on your flight, and the milkshake machine at your favorite fast food place will always be broken when you need it the most. There are also some self-evident truths that we must accept when it comes to photography; one being, one day, you will need to set your own exposure manually. If you’ve been shooting exclusively in Auto Mode or Aperture and Shutter Priority Modes, this can be an enormous challenge.
Take heart! I’m about to show you one of the easiest and most long-standing methods for calculating exposures. Using it will help you almost always get a usable baseline exposure when shooting your camera in full manual mode. Yes, really.
It’s called the Sunny 16 Rule, and it’s going to be your best friend.

You may very well have heard of it before but never fully understood how simple it truly is to implement (and modify) this handy little formula to fit the situation in which you find yourself shooting.

Getting to know the Sunny 16 Rule

Understanding the Sunny 16 Rule couldn’t be more simple. It’s all based around the relationships between our three key elements of exposure: ISO, aperture, and shutter speed.
Sunny 16 had its roots in film photography when it was used to help photographers figure out their exposure when a light meter wasn’t available. However, it works perfectly well with digital photography too. In fact, since we have the added convenience of on-the-fly ISO adjustments with our digital cameras, the Sunny 16 Rule becomes even more universally useful.

As you might have guessed, the concept of the Sunny 16 Rule begins with bright sunlight and setting our aperture to…*drum roll*…f/16. Bright sunlight refers to unobstructed sunlight on a cloudless day; think noon with a clear sky, and its brightness is virtually constant.
After we’ve got our aperture set to f/16, we can now dial in our shutter speed based on the ISO we happen to be shooting. To calculate your shutter speed based on Sunny 16, all we have to do is put “1” over our ISO. This will be your shutter speed.
Keep in mind that some cameras measure exposure in full, half or third stops and your shutter speed might not be exactly the same as your ISO. For example, in half-stop increments, if you are shooting ISO 400 then your exposure would be (for slight underexposure) f/16 at 1/500th of a second. At ISO 100 your settings would be f/16 at 1/125th of a second. For ISO 800 it would be 1/1000th of a second and so forth.
As far as ISO settings are concerned, it is a good practice to “set it and forget it.” There’s not much need to adjust the ISO as we can vary our exposure using our aperture settings – unless the scene dictates otherwise…more on this in just a bit.

Why the Sunny 16 Rule is so useful

The reason the Sunny 16 Rule is such a fantastic concept is due to the fact it gives us a usable exposure setting based on what will likely be the brightest light you will encounter – the sun. 
Once you know what your shutter speed will be at a given ISO and f/16 in bright sunlight, you can essentially estimate any exposures for darker environments. The reason for this is that ISO, aperture, and shutter speed are all connected. You can adjust each relative to the another so that you can control your exposures based on the needs of a particular scene. If you’d like to learn a little more about how ISO, aperture and shutter speed relate to one another, have a look at this great article on understanding the exposure triangle.
Perhaps one of the best things about working with the Sunny 16 rule is that it’s a great way to teach yourself to read light and adjust your exposure based around the creative requirements for your photo. Let’s look at some considerations to take into account when you need a little more control over your photographs when basing your exposures around the Sunny 16 concept.

How to modify the Sunny 16 Rule

Years ago, when I first heard of the Sunny 16 Rule, my first thought was “That’s great, but what if I don’t want to shoot at f/16?”
Indeed, a great question.
What happens when you need a more shallow depth of field than f/16 can produce? Alternatively, what if the indicated ISO-based shutter speed just isn’t fast enough or slow enough for your subject? Furthermore, you definitely won’t always photograph in blazingly bright sunlight (ironically not ideal for most photography).
The good news is that the Sunny 16 Rule is incredibly flexible.
Remember, the Sunny 16 Rule does nothing more than eliminate variables in your exposure to produce a baseline camera setting which you can then manipulate given your particular needs.

Virtually identical exposures in direct sunlight based on the Sunny 16 Rule with constant f/16 apertures 

and ISO-dependent shutter speeds.

For example, let’s say you’re shooting a subject that requires a more shallow depth of field, like a portrait or still life that is in bright sunlight. At ISO 100, your resulting Sunny 16 exposure would be f/16 at 1/125. For reference, here’s a sample photo I shot at those settings in direct afternoon sunlight.

Needless to say that if I open up my aperture to f/2.8 (five full stops wider) in order to better blur the background, the resulting image will be completely overexposed, and looks something like this:

Yes…there is a photo there.

So, how to remedy this problem? Since we are working from the Sunny 16 Rule, all we have to do is apply some basic photographic principles (remember the exposure triangle?) to normalize our exposure based on our new, wider aperture.
Seeing as we opened up our aperture by five stops, we simply need to increase our shutter speed by five stops to compensate.
So if my initial shutter speed were 1/125th at f/16, my new adjusted shutter speed setting at f/2.8 would be 1/4000th. Here is the resulting exposure:

Blurred background and a normalized exposure based on the Sunny 16 Rule.

The same is true in the case of fast-moving subjects. If you’re experiencing unwanted subject motion at, say, 1/125th of a second at f/16, and you want to try a faster shutter speed of 1/500th of a second to help arrest the motion, you need to compensate for the faster shutter speed with a corresponding wider aperture setting to allow more light to come into the camera. In this case, 1/500th of a second – two full stops faster than 1/125th – so we would open our aperture by two stops from f/16 to f/8.

Some adjusted Sunny 16 baseline exposures

If you’re wondering about lighting situations other than bright sun, here’s a quick (but by no means definitive) list of baseline aperture adjustments derived from the Sunny 16 Rule. I’ve listed Sunny 16 at the top as a baseline exposure at ISO 100 and 1/125th of a second. To adjust your exposures for varying degrees of brightness, all you need to do is change your aperture.

• Direct bright sunlight with harsh shadows: f/16 at 1/125th of a second and ISO 100
• Indirect bright sun with soft shadows (shade/cloudy): f/11 at 1/125th and ISO 100
• Overcast skies with little to no shadows: f/8 at 1/125th and ISO 100
• Dusk/morning light: f/4 at 1/125 and ISO 100

I also want to point out the elephant in the room which is holding a big neon-yellow sign that reads, “Why not just bump up the ISO?”
In short, you can adjust your ISO settings to compensate for more or less light in the scene. Modern cameras are becoming better and better at reducing high ISO digital noise. The Sunny 16 Rule was based on the fact that most film cameras are limited to the ISO of the film used. In these cases, the ability to read and understand light becomes paramount.
The concept of Sunny 16 gives us digital shooters a way to nail exposures (or come close) every time in-camera without constantly checking our images after each shot.

Final thoughts on the Sunny 16 Rule

Of course, as with most things, the Sunny 16 Rule isn’t a true “rule” in the sense that you must follow it to the letter. Instead, it is a rule in the way that gives something to relate one thing to another; in our case it allows us to relate the luminance of available light to our camera settings to achieve predictable and reproducible results.
Sunny 16 is also a great learning tool to help us understand the nature and measurement of light. Going further, it is a guide that is extremely versatile once you understand just a few basic principles of exposure. I, for one, feel as if I don’t use Sunny 16 enough in my work. I think that is about to change.
Do you practice the Sunny 16 Rule? How has it affected your shooting? Let us know in the comments below!

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Quality of Light – What is Beautiful Light?

By: Andrew S. Gibson

This photo is lit by the soft light found inside on a sunny day. The light suits the subject because it reveals all the detail on the antique scales.

We talk about quality of light a lot in photography. I often use the word beautiful, and tell people that great photos require beautiful light. But what is beautiful light?
To answer that we need to understand that light has many qualities that vary immensely, depending on factors like the light source, time of day, season, and location. Light can be extremely hard (one extreme) or very soft (the other extreme) or anywhere in-between. It takes time to appreciate the nuances and variations of light and learn how to use light that suits both the subject matter, and the style that you are shooting.

What is hard light?

Hard light is strong, directional light that casts deep, hard-edged shadows. It’s the quality of light you get in the middle of a sunny, cloudless day, or from an unmodified flash head.

Hard light, generally speaking, is considered bad lighting for many types of photography. There are two fundamental problems with hard light.
One is contrast – the brightness range (between the area lit by the light source and the shadows it casts) is so great that the camera’s sensor (or film) can’t record detail in both. The other is that hard light is not as aesthetically pleasing as soft light in many situations. It’s another generalization, I know, but it’s the reason that time and time again you will be advised not to take photos in midday sun or with an unmodified flash head.
The key to working with hard light is to recognize its limitations and find suitable subjects to work with. Personally, I find that black and white is better than colour for working in hard light, and that subjects like buildings can work quite well.

Hard light is considered unsuitable for portraits because the hard shadows create too much contrast across the model’s face and are not flattering. However, you may be able to work in hard light with a male model, especially in black and white, as it tends to suit the ruggedness of a man’s face. Regardless of whether your model is male or female, simply facing them into the light so that shadows are as small as possible can work well.
I don’t have any portraits that show these techniques myself, but here are a couple of examples from photographer Betina la Plante. Just click the links to see the photos.
Female portrait taken in hard light. Note how the model faces the light so that the shadows are minimized.
Male portrait taken in hard light. See how the photographer used the deep shadow cast by the hard light to throw one side of the model’s face into shadow and bring out the texture of his skin.

In both cases the black and white treatment suits the hard light.
Another solution is to use portable flash to light the model when shooting in hard light. The idea is that the softer light from the flash (fitted with appropriate modifier) overpowers or fills in the hard light from the sun. That’s what I did with the following image.

What is soft light?

Soft light is that which casts either no shadows, or shadows with soft edges. It is more suitable than hard light for many subjects, including many types of landscape and portraits (but especially portraits).
For example, if you are taking someone’s portrait during the middle of a sunny day, then one of the best things you can do is find some shade, and take a photo of your model there. The softness of the light, and the fill from the brighter, sunlit surroundings, is a very flattering type of light that makes the model’s face glow and creates large catchlights in her eye.

You also get nice light for portraits after the sun has set at the end of a sunny day, when the sky is filled with a soft glow from the last rays of the setting sun. This works best during the longer days (and twilights) of spring and summer.

If you are using flash, then a modifier such as a softbox or umbrella softens the light, making it more flattering for portraits (although it won’t be as soft as the types of natural light just described).

In-between light

I’ve just described several scenarios, starting with midday sun, which is very hard, through to shade or twilight, where the light is very soft. The truth is that most light falls somewhere between these two extremes.
For example, lets say you are taking a landscape photo on a sunny day. The light changes as the sun gets lower, softening and changing in colour. The exact changes depend on the time of year, atmospheric conditions and the weather. Here in New Zealand, the light is very hard, especially during the summer, until the sun slips below the horizon. In other places the prevalent atmospheric conditions may make the light much softer, even on a sunny day.
This photo was taken just after the sun had set. The light was soft and warm, but still hard enough to pick out the side of the island.

The key is to find the point at which the light suits your subject, in the style that you’re trying to shoot. Depending on what you want to achieve, the light is most likely to be suitable sometime during the transition from the hard light of the day to the soft light of twilight. It’s up to you to familiarize yourself with the lighting conditions in the places that you shoot, and to learn to recognize how hard or soft the light is, and when the quality of the light matches the subject you want to shoot.
This photo was taken on an overcast day. The soft, even lighting means the toy car casts a soft shadow. The soft light makes it easy for the camera to record all the important details, avoiding clipped highlights and overly dark shadows.

Size of the light source

So far I’ve just talked about light in terms of its quality. I think the best way to evaluate the quality of light is to learn to look at it and assess the direction it’s coming from, plus the hardness or softness of the light, for yourself by seeing how it falls on the subject.
But it will help if you understand the key factor that differentiates a hard light source from a soft one is the size of the light source relative to the subject.

The key factor that differentiates a hard light source from a soft one is the size of the light source relative to the subject

For example, if you use a flash head without a modifier to take a portrait, the light is hard because the light source is much smaller than your model. To make the light softer, you need to use the largest modifier you can and move the flash as close to your subject as you can.

The light on a sunny day is hard because the sun is small in relation to your subject. If you were able to look at it without damaging your eyes it would appear to be just a dot in the sky.
Yet if it is cloudy, foggy, or raining, the weather conditions diffuse the light, spreading it out so that it seems to be coming from the entire sky, rather than a single point in the sky. The light source is now very large compared to the subject, and the light much softer.
A similar diffusion effect occurs as the sun nears the horizon at sunset.

Your turn

Hopefully this article has helped you understand the key differences between hard and soft light. How important is the quality of light in your work? What types of light do you prefer to shoot in? Please let us know in the comments.

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Shadows in Photography – How Seeing the Shadows Helps You Understand the Light

By: Rick Ohnsman 

There are many great quotes about the relationship and importance of light to photography.  You’ve read how the very word photography is rooted in the Greek terms meaning “writing with light.”  You likely have heard of groups of photographers like Canon’s “Explorers of Light.”  Yet while we focus attention on the component of light, we sometimes fail to recognize the importance of areas without light, the shadows in a photograph.  As there can be no yin without yang, photography also must “embrace the Tao”, the duality of both light and shadows in photography.
Let’s explore the relationship in this article on shadows in photography.

The left side is Yin, the right is Yang. As with photography, the shadow has a spot of light within it, 

the light a spot of shadow. Good photographers understand the “Tao,” the dual nature of light and 

shadow and use both to enhance their work.

Yin and Yang in the rocks as light falls across the land.

More Yin and Yang as light and shadow play across the Bruneau Dunes in Idaho.

You find what you seek

Beginning photography students are taught to see and seek the light.  Sometimes they fail to realize that to better see the effects of light, it can sometimes be easier to look at the shadows.
We use terms like hard and soft to describe the quality of light when what we are really describing is the line between light and shadow.  A sharp delineation between light and shadow, that’s what we call hard light.  A very gradual transition between the two and that’s soft light.  We need to look at both light and shadow to fully understand.
As with many things, you will begin to see…really see…what is there once you start to look for it.  Taking your camera out with the express intention of capturing shadows in photography is a great way to seek and see the light.

Sometimes the photo comes to you. When the morning light came through the Venetian blinds, and 

I saw this, I went for my camera.

Shadow seasons and times

It’s late November as I write this, and at my latitude – about 43-degrees north – we’re getting into winter. The days are growing shorter, and the shadows are growing longer. With the winter solstice approaching on December 21, the sun will be the lowest in the sky for us in the northern hemisphere. For my friends down under in the southern hemisphere, that same day will be the longest and the middle of summer.
Of course, the time of day plays a big part in that too, regardless of the time of year. One reason photographers favor early morning and late afternoon/evening is not just for the golden hour, but for the low light angle and more dramatic shadows.
Yes, you will find shadows at any time of the day, but their size and characteristics will vary with time of day and time of year.

When the days grow short, the shadows grow long.

Then there’s artificial light. You can’t control the sun, but you can control artificial light sources. You can control their intensity, color, and direction, and with the use of modifiers, the quality of shadows.
With regard to shadows, remember that the hardness/softness of shadows is a factor of the size of the light source relative to the size of the subject.
A softbox makes for soft shadows because it increases the size of the light source relative to the size of the subject. You will also get softer shadows when you move the light closer to the subject (which also increases its relative size).
You can learn more about the qualities of light in my previous article, “How to Understand Light and Color to Improve your Photography.”

All photos contain both light and shadow. Seeing it, and learning to best use it, is the key.

Can you study this photo and figure out, by looking at the shadows, how the light was used?

The shadow shows

Looking at a photo, studying the shadows can tell you about:

Direction

Look at a photo and study where the shadows are falling.  The light source will be exactly opposite from the directions the shadows fall or from the darkest side of the subject.

The subtle gradation of light and shadow gives shape and form to these apples.

Shape and form

The way light and shadows fall, give us clues as to the shape of a subject. Photography is a 2D medium we use to capture a 3D world, and light and shadow help add depth, dimension, and form to subjects.
Photograph an egg with the light source directly coming from the same direction the camera is pointing, and you will see a two-dimensional oval with little clue as to the depth of the egg.
Now move the light to a 45-degree angle, and the shadow will begin to give evidence to the true shape of the egg.
Move the light 90-degrees to the camera direction, and your perception changes again.
Whatever the subject, the direction of the light, and the areas in shadow are our clues to interpreting our subject.

Low cross-lighting brings out the texture of these subjects with harsh light and shadow gradation.

Texture

Often we want to control how textured a subject looks in our photo. For some subjects, we may wish to emphasize the texture as much as possible. Hard light raking the subject from the side, behind, above, or below the subject will increase apparent texture by creating both lit and shadow areas.
Sometimes we want minimal texture, perhaps when making portraits. Large light sources like softboxes or nature’s lightbox, the sky on an overcast day, will soften shadows and minimize texture.

Want drama? Find a way to use the light and shadow creatively in your photo.

Mood and drama

What is in light and shadow, what is bright and dark, how and where the shadows fall – all of these work together to communicate the mood of an image.
This is another example of learning to see how both light and shadow work together.

Note how non-traditional side lighting adds drama to these portraits.

We can also use light and shadow as we make portraits.
Standard three-point studio lighting can make for a pleasing portrait. Still, when we want to emphasize shape, form, texture, or create an edgier, moodier portrait, we will want to look at more dramatic light and, in particular, how light and shadow interplay.

Photographers travel the world to photograph the Palouse country in eastern Washington State. 

The play of light and shadow on the rolling hills is the main attraction.

Same shot, one color, one monochrome. Note how the simpler mono image is more about the lines, 

shapes, and tones.

Color vs monochrome

If you have worked much with monochrome photography, you may know that one reason for choosing it over color photography is that without the added distraction of color in the image, a monochrome image can be more about the lines, texture, and tones in the photograph.
When doing shadow photography, you may also be looking for an emphasis on those same things. So, if you are unaccustomed to making monochrome images, you may wish to give it a try when doing shadow photography as the two techniques often complement one another.

The shadows are as much the subject as the other objects in these photos.

The shadow as the subject

All photographs will have areas of light and shadow.
A good photographer will pay attention to how both work together to enhance their image.  Sometimes, however, instead of simply having shadows be a component in your photo, you may want to try making shadows THE subject – the main focus of your image.
I said that you find what you seek, and going out with the specific mission of capturing shadows in photography is a great way to learn to see shadows better and understand light.
Let’s look at some examples of shadows in photography.

In the image on the left, the shadows enhance the subjects. In the photo on the right, the shadows 

ARE the subject.

Go out with the intent of taking shadows in photography and you’ll find some interesting compositions.

Early morning or late afternoon when the light is low is a great time to go “shadow hunting.”

“A Little Fork Music.” Shadows can surprise you. See the hand strumming a guitar?

Seek and see shadows in photography

So now it’s all yours… get out there with your camera and go on a shadow hunt.  You’ve always heard that photographers should seek the light.  “Mr. Kodak,” George Eastman obviously knew a thing or two about photography and he said –

Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.  – George Eastman

I heartily endorse his advice.  However, I would also suggest that while you learn about the “Yang,” the light, you do not overlook the “Yin,” the shadows.  They are immutably entwined, two sides of the same coin, both to be, to use Eastman’s words, embraced, admired, loved, and known.
To practice capturing shadows in photography will help you become a better photographer.  When you see the shadows, you will also see the light.
Do you have any other tips for capturing shadows in photography or shadow photography images you’d like to share with us? If so, share them with us in the comments!

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How to Overcome Photo Envy and Become a Better Photographer

By: Mat Coker

You’ve got a goal to become a better photographer. Along the way, you’re going to have to confront your weaknesses. Photo envy is one of the greatest weaknesses a photographer can face because it is a weakness that hurts other people.
If you regularly feel jealous when you see another photographer’s good photos then you probably suffer from photo envy.
Photo envy will make you bitter and pessimistic. When envy takes root, it leaves you feeling inferior and resentful at other people’s success.
I’ll show you how to overcome photo envy so that you can get on with becoming a great photographer.

The one time I forget all about photo envy at a photo session. That’s because my only concern is 

for my subject.

How do you know for sure that you have photo envy?

Admiring another photographer’s work and aspiring to be as good as them is not envy. It’s natural to be captivated and inspired by other people who are better than you.
You’ll know photo envy by its tell-tale effect on your emotions.
The test is simple: if you take an immediate emotional turn for the worst when you see other people’s good photography, then you suffer from photo envy.
You probably first noticed your photo envy while scrolling through social media. A really good photo posted by a friend or another photographer took you by surprise. You felt a terrible sinking feeling in your gut and chest. You’re jealous.
Perhaps you regularly have beaten up by thoughts of inferiority, or even felt hopeless or like crying? You wonder how they can be so skilled, and why they’re getting all the attention. You think, “when will I finally get noticed.” What does it take?

The stakes

You’ll be tempted to think that simply becoming a better photographer or getting more business is the solution to your photo envy. But it’s not.
Envy is a weakness within yourself and the only way to cure it is to face it directly. And you must overcome photo envy before you become a good photographer.
If you don’t overcome envy before you become a better photographer, you’ll simply become a good photographer with a harmful weakness. You’ll naturally take out your resentment on other photographers, not to mention your friends and family.

Even though I don’t think about photo envy during a session, I know the next time I’m on social 

media, I’ll see a photographer’s amazing photos and feel envious again. So I employ my regular 

tactics to defeat photo envy.

How do you overcome photo envy?

You don’t have to be jealous, inferior and resentful forever. Follow this plan, and you will overcome photo envy.
Envy is something that needs to be overcome in the moment. Remember, you’re good at spotting moments as a photographer!
Here is how to overcome photo envy.
The very second you feel envious of somebody’s photography, stop what you’re doing. Stop scrolling, stop clicking and stop thinking about yourself. Now get ready because you’re about to tell the photographer how much you love their photos.
Whether you’re envious of a friend or a competitor, you need to send them a personal message immediately. Do not put it off for later. Simply send them a message letting them know how much you enjoy their photos. After all, the reason you’re envious is that they’re so good.
If you’re not sure what to say then try something like this:

Hi there, I just wanted to tell you how amazing I think your photography is! Your images never fail to wow me. How long have you been into photography?

Overcoming photo envy is that simple.

I know that becoming a more skilled photographer isn’t enough to deal with my photo envy. 

Becoming a better photographer out of spite isn’t a good game plan.

Be a better person and a better photographer

Why does this method work so well? Because you’re retraining yourself to be a good person. Envy has become automatic when your response should have been admiration and encouragement.
When you tell the person how much you love their photography you will notice the feeling of envy leave your body and good feelings will flow in to replace it. Just wait until they write back and compliment you.
Every time you’re scrolling through Instagram, Facebook, Pinterest, etc and you feel envious, send a personal note right away telling them how much you like their photography. Pretty soon you’ll be an encouraging person rather than an envious one.
But you can take all this a step further.

With my photo envy under control, I’m free to pursue my goal of becoming a better photographer. 

When I go to a session, I have a toolbox of creative elements that I use. I’ve memorized them so I 

don’t have to overthink it. I can focus on my subject and know that I’ll get home with some good 

photos.

Lead the locker room

Telling the person (especially competitors) how much you love their photography is the key to overcome photo envy.
But you can do better than “not be envious.” You can become a generous leader among photographers.

Backlight is one of my favorite creative ingredients.

Let’s think about a locker room for a moment. You likely experienced a locker room or a change room in high school, so you know what a humiliating experience it can be. Inferiority and envy can run wild and then spill out beyond the locker room.
If you follow sports, then you hear about the rivalries in the locker room and how it can bring the whole team down.
But when somebody steps up to lead the locker room in a good direction, everything changes. When somebody is an encourager and a problem solver, then envy and rivalry burn out. If anyone chooses to remain miserable and envious, they quickly lose their place in the locker room, they’re ignored until they’re just gone.

I always look for some interesting gesture in the moment.

Now let’s get back to the world you’re a part of. Would you like to be an important part of your photography community rather than just sitting home and feeling jealous about how everyone else is doing? Then step up and lead the locker room.
Be the encourager in online forums and Facebook groups. Start an in-person group to help new photographers or unite photographers that act like competitors.
I don’t mean that you have to be a traditional leader. You just need to bring order to the chaos. Pump out positive energy and watch it chase envy and rivalry away. A simple compliment from you might be what helps another photographer overcome their photo envy.
By this point, there isn’t a shred of envy left in you. You are happy to see others do well. In fact, you even start making others look good.

Lower angles make everything look more dramatic.

Make another photographer look good

Be a shameless promoter of others. Look for good photographers and share them with the world.
It could be as simple as showcasing them through a guest post on your blog or social media.
But how can you make your competition look good and expect anyone to remember you? You simply have to trust that when you make others look good you will not be forgotten.
Envy can’t touch you when you do this.

Along with backlight and low angles, I love a photograph with texture. This helps your photo to pop.

Up your game every step of the way

We’ve almost forgotten about your real goal, which is to become a great photographer. That’s actually the easy part! You figure out what you wish you could do and learn it!
Find an ebook, course, or mentor who can show you. Learn, practice, refine, celebrate.
I used to be jealous of photographers who had beautiful light in their photos. I had no idea how to achieve that look and didn’t know what to do about it. Eventually, I had an opportunity to learn the skills I was surprised to see that there was no magic involved; all I had to do is learn.

When possible, look for a frame within a frame.

You’re on a journey of becoming a better photographer, but pay attention to who you become along the way. Becoming a better photographer will not make you less envious. You can let photo envy take root and bring you down. Or, you can overcome photo envy by being an encouragement to others. Lead the locker room and make a lot of other photographers look good.
Whenever you feel a twinge of jealousy, get in touch with that photographer and tell them how great their photos are. This is how you overcome photo envy.
Do you have any other tips to overcome photo envy? If so, share them with us in the comments!

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News: The Canon EOS Rs to Have 75 MP Sensor and Dual Card Slots

By: Jaymes Dempsey






Over the past few months, rumors have abounded regarding a “professional” Canon EOS R. But recent news has given us the month of the release, making this new Canon camera more exciting than ever.
As initially reported by Canon Rumors, this Canon mirrorless snapper is about to enter the market, offering a resolution far beyond anything previously offered by Canon.
The Canon EOS Rs (as the folks at Canon Rumors are calling it) will apparently be announced in February of next year, presumably around the same time as the Canon 1D X Mark III and the Nikon D6, though it’ll be aimed at a completely different audience.
So what should we expect from Canon’s pro-level mirrorless model?
The EOS Rs will have plenty of the features you’d expect based on the EOS R, but better:

• The latest and greatest Canon processor, the DIGIC 9.
• A “similar” continuous shooting speed to the EOS R (which clocks in at 8 fps in One-Shot AF).
• An improved EVF.
• Weather sealing.

But the Canon EOS Rs is also rumored to possess a few traits that should pique the interest of quite a few professional photographers:

• Dual card slots and a 75 MP sensor.

The dual card slots are somewhat expected, given the slew of complaints that Canon received regarding the lack of dual slots on the EOS R. But a 75 MP sensor is groundbreaking for a 35mm camera, offering a higher pixel count than either the Canon 5DS and 5DSR duo or the Sony A7R IV. It would be, in fact, the highest-resolution 35mm digital camera currently available.
Now, a camera like the EOS Rs is designed with professional photographers in mind. The huge megapixel count is required by, for instance, commercial photographers, as well as those looking to make giant landscape prints.
But while megapixel monsters are undoubtedly powerful, they come with some downsides.
The first is the price; the Canon 5DS debuted at around $3700 USD, and I don’t expect Canon to knock many dollars off the EOS Rs MSRP.
The second is file size. The RAW files produced by a 75 MP camera will be huge, which makes storage (both in memory cards and on computers) potentially frustrating.
And third, higher megapixel counts result in smaller pixels. This hurts high ISO performance on even the most professional of cameras, which is one of the reasons why megapixel monsters are often outperformed by other full-frame cameras in low-light scenarios, especially when images are compared at native resolutions.
What do you think about the Canon EOS Rs? Is it something you’d be interested in? What would you like to see in it?
Let me know in the comments!