From my experience, it’s true – photographers tend to see the world
in a different way. If not from the beginning, eventually, and maybe
subconsciously, your eye is trained to notice details differently.
Perhaps it’s the way light falls off of, or wraps around an object, or
when pleasing geometrical compositions fall into place. In extreme
cases, you may even start to catch glimpses of your camera’s viewfinder
layout when you blink (you might want to seek help for this).
Some
opportunities to use framing in photographs are less subtle than
others. Of all the images I shot
in this Chinese garden, this one stood
out, as it not only shows the hidden nature of the garden,
but makes a
perfect frame.
Often, an important step in the “Seeing like a Photographer”
evolution is to begin recognizing, and implementing, framing elements
into your images.
Although in photo lingo
we talk about framing often, it is one of the strongest tools you have
at your disposal to create strong compositions. Let’s be clear that when
we talk about framing your photo, we may be referring to the actual
border of the image itself – but in this article we are discussing other
objects used to intentionally create some sort of border around the
subject of the image.
However,
clever framing is just one part of an equation that fits into an
overarching photographic formula. In certain circumstances, the frame
itself may be so ridiculously amazing and awe inspiring that it carries
the image all by itself. In practice, you are likely to use framing in
order to draw attention to, and strengthen, the subject of the photo.
Framing can help highlight your subject, directing the viewer’s gaze where you want it.
Framing can be used to various degrees; while some framing elements
may be subtle in one image, they can be quite obvious in others. This
can be a product of your personal creativity or style, or simply a
result of making do with what you have, as there aren’t always framing
options for every photo you shoot.
Using framing to boost your photo’s appeal is generally a good
tactic, and is a great approach to creating original images of
over-photographed scenes or landmarks.
A keen eye for framing can yield original images of well-photographed landmarks like the Space Needle in Seattle.
As a photographer you will become familiar with the feeling of
walking up to a familiar scene, turning on your camera and raising the
viewfinder to your eye, only to not push the shutter button. You’ve
realized that you’ve seen the picture you were about take a million
times, and you want your own unique shot.
For
example, as I wander around a new city seeing the sights, I am always
looking for environmental elements that I can use to add a sense of
place, or implement as an element of a frame. Once you make a conscious
effort to use framing techniques in your photography, you start to see
all sorts architectural and natural elements that you can use.
After developing an eye for framing your subject, many opportunities will reveal themselves.
What can you use to frame your image? Some of the more common
elements include foliage such as trees, branches, and leaves. Windows
and mirrors in houses and cars are other popular framing options.
Framing elements come in many shapes and sizes – creative perspectives can pay off.
I like to look for interesting architectural features, or even use
people as framing borders. Sometimes you may not necessarily even have a
subject in mind for an image but see a good framing opportunity, so you
then look for a compelling subject or wait for a person to pass through
the scene inside the frame.
You can also use lighting as a powerful framing tool. As we are
always working with various lighting in photography, what is included or
excluded from the lighter areas of the image can help isolate the
subject.
Although
it’s best practice to develop an eye for framing while out shooting,
other options may often present themselves while editing your photos.
Cropping can be very useful for honing in on, or aligning, the framed
area of the photo just right. Other tools such as the Graduated Filter or Radial Filter in Lightroom, can be used to lighter or darken specific areas of your image, to boost the intensity of your framing.
Have you made good use of framing techniques? Share your successes and images with everyone in the comments below. Share this article.
Thursday, June 18, 2020
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In the past few years, traditional DSLR cameras have started to cede
significant market share to mirrorless cameras. This newer style of
camera has risen from obscurity to mainstream in the last decade. Recent
trends indicate that this is no mere blip on the radar. Sony, Fuji, and
now Canon and Nikon have all jumped into the mirrorless market with a
growing collection of cameras and lenses that show no sign of slowing
down. However, just because many think mirrorless is the way of the
future doesn’t mean the end of DSLRs. Contrary to what you might think,
DSLRs aren’t dead!
Nikon D750, 85mm, f/2, ISO 2000, 1/350 second
The mirrorless vs. DSLR debate has been going for years, but thinking
of the situation in binary terms is a bit misguided. It doesn’t have to
be an either/or dichotomy. In fact, there is plenty of room in the photography community for both types of cameras.
In the same way that film offers some advantages over digital,
traditional DSLRs have a few tricks up their sleeves that make them
uniquely relevant even in this age of modern mirrorless models.
Before I get too deep into the content of this piece, I want to make
one thing clear: I’m not advocating that one type of camera is better than the other. Both types of cameras have strengths and weaknesses.
Just because you might prefer one or the other does not make you a
good or bad photographer! Cameras are tools to get a job done. All I’m
saying here is that DSLRs aren’t dead and still have plenty of
advantages to offer.
Mirrorless cameras like this Fuji X100F have a lot of advantages. but sometimes a DSLR is the
right tool for the job. Nikon D750, 85mm, f/2, ISO 640, 1/200 second.
Optical viewfinder
Mirrorless cameras have electronic viewfinders,
which give them the ability to do things you simply can’t get with an
optical viewfinder. That doesn’t mean that optical viewfinders, which
are found on all DSLRs, have nothing to offer by comparison. Far from
it! Optical viewfinders might not show you the exposure of your image in
realtime, but they do give you a perfectly clear view of the scene you
are shooting.
Nikon D7100, 85mm, f/2.8, ISO 100, 1/1000 second
Electronic viewfinders are composed of individual dots, or pixels,
just like the images captured by all digital cameras. They are like
looking at a very tiny, very high-resolution TV screen. As a result,
they share some of the same limitations as those screens.
Pixel density, refresh rates, color accuracy, and dynamic range are
still issues in a lot of mirrorless cameras. These are getting better,
but all electronic viewfinders show a digital representation of the real
world which does have some limitations.
Optical viewfinders have none of these issues. They show the real
world without translating it to pixels. The display won’t slow down or
get choppy depending on lighting conditions or how fast you pan the
camera. You don’t need to worry about color accuracy with an optical
viewfinder because what you see is exactly what the world looks like.
Power consumption is always going to be better with optical
viewfinders because they consume no power at all. This means you can
compose your shots without even turning your camera on. While mirrorless
cameras have dramatically improved in this regard, DSLRs aren’t dead
and still have an advantage in this area.
Lens selection
Companies like Sony and Fuji
have a solid lineup of mirrorless cameras and lenses that they have
been building for several years. Canon and Nikon will get there too with
their mirrorless R and Z lenses. But in the meantime, traditional DSLRs
are still the king of this particular hill.
Again, that’s not to say they are better! Just that DSLRs aren’t dead and well worth considering for many photographers today.
Nikon D750, 85mm, f/2.9, ISO 100, 1/1500 second
Canon and Nikon both have decades of lenses
for their DSLR cameras, with Nikon’s reaching all the way back to 1959
when the first F-mount camera was released. Pentax, Canon, and others
have massive lens catalogs as well, which means that if you buy a DSLR
today, you immediately have access to a massive array of
lenses. Older ones might lack autofocus or stabilization, but they are a
lot cheaper and a great way to expand your photographic horizons.
All mirrorless cameras can use older lenses with adapters. It’s not as though a Sony A7IV or Canon Eos R is limited to a paltry selection of just the most recent lenses. But adapters
are one more thing to buy and carry around, and sometimes features like
autofocus are limited when working with adapters. If you want access to
the widest array of native glass possible, DSLRs are still the way to
go.
Size
Mirrorless cameras, by their very definition, are smaller in size
than DSLRs because they don’t need to accommodate a flip-up mirror. That
means they can be a lot slimmer and more compact, which a lot of people
like.
On the flip side, one of the reasons DSLRs aren’t dead yet is because they appeal to people who like a bigger, chunkier camera.
The Nikon D750. EXIF: Canon Rebel Ti, 22mm, f/2.5, ISO 100, 1/250 second
The larger size of DSLRs means they often have bigger buttons, larger
hand grips, and feel more substantial when shooting with them. None of
this affects picture quality, but these traits do matter to many people
who prefer a more robust, tactile approach when they shoot photos. Some
actually prefer the larger size of a traditional DSLR, especially with a
battery grip attached, because they feel more solid and substantial in
the hand.
The size of traditional DSLRs is particularly important if you shoot with larger lenses, like a 70-200 f/2.8.
Or even a walkaround zoom lens like an 18-270mm. The added camera
weight serves to balance out the heavy lens and make the shooting
experience a little easier than a small mirrorless camera.
Legacy
It’s easy to get caught up in the internet chatter about mirrorless cameras.
There’s no doubt they are the way of the future. Also, seemingly, every
photography-based blog and YouTube channel is filled with discussion
about the latest mirrorless camera technology. It’s enough to make you
think that if you prefer a DSLR you must be some kind of out-of-touch
caveman.
The Nikon D750. Exif: Canon Rebel Ti, 21mm, f/5.6, ISO 100, 1/100 second
One of the big selling points of a traditional DSLR is precisely the opposite: they have been around for decades.
This
means that, in addition to lenses, there are all kinds of resources for
people who want to learn more about using this style of camera. A
brand-new Canon or Nikon DSLR shares most of its buttons, menus, and
controls with their counterparts from years or even decades ago.
Canon Rebel Ti, 10mm, f/5.6, ISO 100, 1/500 second
If you are new to photography and want to learn how to use a DSLR,
there’s a good chance someone you know will have a similar model,
perhaps even an older version of the same camera. This is a huge reason
that DSLRs aren’t dead yet and a big help for people who want to make
the most of their more traditional camera gear.
This isn’t to say that mirrorless cameras don’t have legacy support either. Some, like Fuji,
model their dials and controls after cameras that were popular several
decades ago. But just because they share similar controls doesn’t mean
they have the same degree of support.
Nikon D200, 50mm, f/1.8, ISO 400, 1/320 second
You are more likely to know people who can help you learn to use a
DSLR because they also have one. Plus, the sheer number of websites and
online tutorials for DSLRs is greater simply because they have been
around longer. Of course, mirrorless cameras will catch up, but for now,
the message is clear: DSLRs aren’t dead. Moreover, there are still
plenty of reasons to consider buying one.
What about you? Are you a traditional DSLR shooter or have you gone
over to mirrorless? Or are you like me, and use both types of cameras?
I’m curious to hear your thoughts in the comments below. If you have
other reasons that DSLRs aren’t dead please feel free to share them.
Share this article.
News: Demand for DSLRs is Still Strong, According to Canon
If you were hoping for a flagship, pro-sports mirrorless camera from Canon, you may be waiting for longer than expected.
Earlier this month, DPReview
sat down for an interview with two key Canon representatives and came
away with some key information regarding Canon’s transition from DSLR to mirrorless.
The number one takeaway:
The
demand for DSLRs is still strong. They are performing well, so Canon is
continuing to work hard on its DSLR lineup. And a professional-grade
mirrorless camera may not be ready anytime soon.
In other words, Canon won’t be making a full-throttle transition to mirrorless at present.
Of course, a rapid transition to Canon’s mirrorless systems was never
a guarantee. But reports of the declining DSLR market, combined with
Canon’s teasing of a professional-grade mirrorless camera, had led many
to believe that a significant shift to mirrorless was on the way.
Instead, it seems like Canon may continue to strike a balance between
their DSLRs and mirrorless cameras.
What triggered this hesitation regarding mirrorless systems?
As explained by the Canon representatives:
“[A]s of now, we…see a lot of demand from photographers asking for DSLRs, specifically [because of] the benefits of an OVF.”
The reps go on to explain that “there are huge benefits to mirrorless, and we implemented, or combined as much of that [technology] as we could into the [EOS-1D X Mark III].”
For Canon fans still waiting for their dream mirrorless camera, this
may not be an adequate consolation. But even as Canon staves off a true
move to mirrorless, you can expect plenty of mirrorless features to be
integrated into new Canon DSLRs.
It’s certainly interesting to hear that professional Canon photographers have been asking for an optical viewfinder over an EVF.
One thing to keep in mind is that Canon is mostly listening to sports
and action photographers, who prioritize viewfinder tracking over other
features (such as WYSIWYG depth of field). Yet the Canon representatives
note that there’s a generational split here, explaining:
At this point in time the biggest difference [between
DSLRs and mirrorless cameras] is the finder. The fact that you can see
everything in real time, without any layers in the way. That’s really
big for a lot professional sports photographers. On the other hand, we
do see a lot of the younger generation of professionals favoring EVFs,
because what you see is what you get.
What do you think about this generational split in terms of OVFs and EVFs? If you’re a sports photographer, which do you prefer?
And how do you feel about Canon’s choice to maintain a focus on DSLRs (for now)?
Share your thoughts in the comments!
In recent years, mirrorless cameras have come to dominate much of the
photography market. So much so that, if you’re a DSLR shooter, you may
feel like you’re lagging behind. You may feel like you’re using old,
antiquated equipment. You may start saving up for that brand-new
mirrorless kit. But should you still use a DSLR in 2020?
Here’s the thing:
While mirrorless cameras may be all the rage these days, there’s a lot to be said for DSLRs.
And while there are a lot of benefits to going mirrorless, for some
photographers, mirrorless bodies and lenses would be an unnecessary step
sideways.
Or, even worse, a step backward.
That’s what this article is all about. I’m going to give you five reasons why you might want to still use a DSLR in 2020.
And you’ll come away knowing whether a DSLR still makes sense for your shooting needs, even in this increasingly mirrorless age.
1. DSLRs are much easier to work with in low light
If you’ve spent some time reading about DSLRs versus mirrorless cameras, then you’ll be familiar with the optical viewfinder and electronic viewfinder comparisons.
On the one hand, optical viewfinders are much clearer than electronic viewfinders, and they feel more real.
This Nikon DSLR features an optical viewfinder, which gives you a crisp and lifelike view through the lens.
On the other hand, electronic viewfinders give you a live preview of
your image before you even take it, one that allows you to assess
exposure from the moment you put the camera up to your eye. You also get
other cool benefits, such as focus peaking (where you can see in-focus
areas through the viewfinder), as well as the ability to “see” in black and white.
But there’s another key optical viewfinder benefit:
They look way better in low light.
When you’re shooting in darker situations, looking through an optical viewfinder is very similar to looking with your naked eye.
But looking through an electronic viewfinder is like looking through an old, poor-quality display. There’s noise everywhere, and this makes it tough to tell whether you’ve nailed focus and exposure.
Of course, it’s possible to look past these flaws, and you can still
shoot mirrorless in low light. But it’s frustrating to look through a
viewfinder and see a poor-quality image, so if you’re a frequent
low-light shooter, you might want to consider sticking with a DSLR
instead.
Now, EVFs are improving all the time, and there may reach a point in
the future where the quality in low light comes close to that of OVFs.
But right now, OVFs are dominating EVFs in the low-light arena.
2. You can shoot all day with a DSLR on a single battery
Another reason to still use a DSLR in 2020 is that DSLRs have much longer-lasting batteries compared to mirrorless cameras.
And if you’re the type of photographer who likes to shoot all day
without stopping, or someone who goes into areas without access to
electricity for days on end, you’re going to struggle with a mirrorless
body.
Most mirrorless bodies are rated at around 250-400 shots, though you
can get a substantial amount of additional life out of them if you make
an effort to conserve battery.
Even so, mirrorless battery life pales in comparison to DSLRs, which
frequently feature capabilities from around 800 shots to 1500 shots and
beyond.
This Nikon D850 has a battery life of 1840 high-resolution shots, which is much more than that of mirrorless competitors.
When I got my first mirrorless camera, I thought I was ready to
handle the limited battery life. In a sense, I was: I had three original
batteries, plus two chargers.
But even if you have the batteries to last a day or two, it’s
frustrating to have to remember to charge them after every shoot. It’s
also frustrating to change batteries during shoots, especially when
working in the freezing cold or in bad weather.
So if battery life is a big deal to you, then you may want to stick with your DSLR.
3. DSLRs feel much better in your hand
I’ve used a number of mirrorless cameras, and I’ve also used a number of DSLRs.
And the DSLRs are far, far better when it comes to ergonomics.
You see, mirrorless cameras are much more compact than DSLRs on
average. But in order to achieve the smaller form-factor, manufacturers
have flattened body grips.
Sure, there are some mirrorless cameras that retain a DSLR-like feel,
but many of the mid-level options from Sony and Fujifilm, not to
mention the entry-level, no-viewfinder cameras from most manufacturers,
have very limited grips.
And this makes them very tough to use for street photographers
(who often shoot one-handed), as well as casual walkaround
photographers. Plus, anyone who holds a camera for hours on end wants it
to feel comfortable, not just usable.
In a lot of cases, mirrorless bodies just…aren’t.
Check out this DSLR, which shows the extent to which a deep body grip defines its shape:
While a Nikon D6 has a more obvious battery grip than many DSLRs, it’s still a fair example of the DSLR mold.
So before you grab a new mirrorless body, make sure to head into your
local camera shop and actually try it out. Hold it in your hand.
And ask yourself:
How would I feel after hours in the field?
If the answer is something along the lines of “Not good,” then you may want to still use your DSLR in 2020.
4. DSLRs allow you to comfortably view the scene with both eyes open
I’ve already talked about the difference between electronic viewfinders and optical viewfinders.
But there’s a practical consequence that comes with using an electronic viewfinder that I haven’t mentioned:
It’s tough to shoot with both eyes open.
Now, if you’re a landscape or portrait photographer, you may think this is silly. Why would you ever need to use both eyes while shooting?
But if you’re an action photographer, someone who shoots sports or even street photos,
then you may like to shoot with both eyes open. This allows you to
anticipate movement. It allows you to see what’s going to move into the
frame before it happens.
And it can really take your images to the next level.
Unfortunately, it’s hard to use both eyes when shooting mirrorless.
This is because there’s a feeling of disconnect between the electronic
viewfinder and the optical viewfinder. Plus, even the best EVFs have
some kind of lag; while this may be irrelevant if using one eye to
shoot, it creates a level of disjointedness when working with both eyes.
This is one of the reasons why, by the way, plenty of sports
photographers are still opting for a camera like the Nikon D5/6 or the Canon 1D X Mark II/III over mirrorless options like the Sony a9 II or the Olympus OM-D E-M1X. While the latter two cameras offer incredible specs, it’s just too difficult to use them with both eyes open.
The Canon 1D X Mark III is a sought-after sports camera by professionals.
5. DSLRs offer a better lens selection
Here’s your final reason to still use a DSLR in 2020 over mirrorless:
The lens selection.
Now, there are plenty of great lenses for mirrorless systems. But the
range just isn’t as expansive as the DSLR lens lineup that’s offered by
Canon or Nikon.
Fortunately,
there are adapters that allow you to use DSLR lenses on mirrorless
bodies. But these can cost a substantial amount of money, and for some
lineups, they’re just not ideal.
Some shooters won’t care about the limited lens offerings; if you’re a portrait photographer,
for instance, you’ll probably be just fine with the lens lineup offered
by any of the major mirrorless manufacturers. This is because
portrait-type lenses are often developed first, as part of a “standard”
prime and zoom series.
But if you photograph with more specialized equipment – a set of super-telephoto lenses, for instance, or a long macro lens – you’ll struggle to get the glass you need to really capture your images.
The selection of super-telephoto lenses is limited in mirrorless lineups.
Note, also that switching from a Canon DSLR to a mirrorless system
like Fujifilm, will cost a significant sum of money. You’ll need to buy a
mirrorless camera, yes, but you’ll also need to replace your entire
lens lineup. And while you can sell your DSLR lenses on the used market,
they likely won’t get you close to the cash you need for a well-rounded
Fuji system.
So make sure you keep this in mind before switching to mirrorless.
5 Reasons you should still use a DSLR in 2020:
Now that you’ve finished this article, you know all about the five
key reasons you should still use a DSLR in 2020 over a mirrorless
camera.
And you should have a sense of whether a DSLR makes sense for your needs.
Now I’d like to know: Do you shoot mirrorless or with a DSLR? And why? Share your reasons in the comments below!
Share this article.
Wednesday, June 17, 2020
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7 Tips to Make Travel Photography Interesting Again
It’s difficult to define travel photography these days. I see the
same photos on Instagram all the time. Overly processed landscapes and
sunset shots, the same pictures of a famous landmark over and over again
and thousands of posed selfies on a beach swing. Most of these photos
are considered to be travel photography but for me that’s not what it’s
about.
A camel safari in Jaisalmer, India.
Travel photography is about showing a country and its culture,
people, and natural wonders. For me, travel photography is National
Geographic and Steve McCurry and not the photos intended to lure people
to a destination. These photos are often fake and don’t represent the
real thing.
Good travel photography, I believe, needs a hint of photojournalism
to be honest and real. Here’s my advice and tips to make your travel
photography more interesting and stand out from all the rest.
1. Include tourists
Traveling has never been easier and cheaper so it’s hard to avoid bus loads of tourists, especially around landmarks and famous attractions. So why not include them in your shots?
I know an empty Taj Mahal or beach looks amazing, but let’s face it,
it’s just not reality anymore and including tourists is a creative way
can make your photos more interesting. You can try to create a sense of
place or size by adding a person in a photo of a landmark. It will
change how your audience looks at the picture dramatically because
suddenly they can, for example, feel the real size of a structure
compared to that person in the photo.
Mount
Ijen in Indonesia. The tourists that look like ants on the ridge give
the viewer a sense of how
majestic this place is in person.
Kuang Si Waterfalls. The tourists make the place feel real and touchable.
You can also look for interesting or funny scenes. Tourists can act
strange or do remarkable things so adding them in the frame together
with the subject you want to show creates an extra storyline in your travel photography. Tourists also make interesting subjects by themselves. I always love to observe groups visiting famous landmarks.
Tourists taking a photo at Batu Caves Malaysia.
2. Do portraits of real people and get their story
There are lots of portraits around of locals working in tourist
destinations dressed in traditional clothing but we’ve all seen those
before. Why not try to take a portrait of a real local. Someone who’s working or that you meet on the street.
Do you go to a bar every night and talk to the same guy who serves
you a beer? Why not take his portrait and ask about his life. Most
people love it if you’re interested in their life and including a story
to a photo adds a lot of value.
I
met Lek on a beach in Koh Lanta. He owns a beach bar where I went every
night for a drink. He
told me about his life and his plans for the
future.
Always try to approach people and ask to create their portrait. You
can only make a good portrait when there’s some kind of interaction with
your subject. Don’t shoot a portrait from far away with a big zoom
lens. It shows.
A guide we hired in Jaisalmer, India.
3. Point your camera in the opposite direction
Famous landmarks and natural wonders make great travel photography
but what’s on the other side? People often take the same obvious
pictures or try to find a new angle at best. But it’s also really
interesting to see what’s on the other side of where everyone’s pointing their camera.
Is there a similar view close by or is there a nice contrast you can
shoot? Shooting with a different point of view is great when you want to
try and make a photo story or series about a place. Don’t just get
different angles of the same location or building. Get a sense of the
surroundings too.
The obvious view.
An equally interesting view of the town where I stayed on the other side.
4. Make an effort, don’t fix it in post-processing
This is a real issue with photography, in general, these days when
it’s so easy to digitally enhance your pictures. I’m not saying you
shouldn’t do some post-processing but out there are tons of pictures
where people have replaced skies, taken out objects or added sunlight.
This has nothing to do with travel photography because then you’re
just showing something that’s not real. Remember the “hint of
photojournalism”? Why would you show something that wasn’t there?
I
wanted to show the beautiful colors of the town of Berastagi in
Sumatra. I went to the same spot
three evenings in a row to capture the
perfect light.
Always try to make an effort to get the best shot possible. If you
weren’t able to get the shot you had in mind, try again the next day or
even a few hours later. Weather and light change fast sometimes and that
can work to your advantage.
It’s so much more rewarding when you finally get a great photo of what you actually saw.
5. Go to lesser-known areas or destinations
Especially when you want to shoot portraits, it’s a good idea to get
far away from popular tourist areas. The locals will be much nicer to
interact with and you’ll more likely be able to ask for a portrait
without being asked for money.
Another advantage is that you can discover new and interesting
locations that may have never been photographed before. A small temple
in a back alley where the locals go to pray or the favorite fishing spot
of a local community. Those are the pictures that will stand out and
make an interesting story afterward.
I
accidentally came across Marina Beach in Chennai, India. There were no
other tourists anywhere
and it was the perfect place to approach locals
and shoot portraits.
6. Street photography is travel photography and vice versa
I don’t like keeping these two genres of photography in different
categories because when you’re traveling, you will most likely walk the
streets – a lot! The street is where you can find the essence and soul
of a country. The real locals with their real jobs and daily life going
on around every corner.
I love to explore the streets of cities and towns to find interesting
scenes and good stories. A lot of times when I visit a destination I
don’t go to the popular locations at all and I try to stay in the
quieter neighborhoods where I can see how the locals live.
The best travel photography is shot right on the streets, far away from any tourist destinations. You just have to look for it. Travel photography needs street photography and vice versa.
Grilling fish on the streets of Hat Yai, Thailand.
7. Don’t be afraid of the dark
I’m not talking about shooting a building using a tripod. Cameras are so good these days that you can easily kick up the ISO to 3200 or even 6400 and shoot handheld. Yes, there will be more noise but I think people are too scared of it.
Good photos will still be good with a reasonable amount of noise.
When you go out at night, just leave your tripod behind for once and try to shoot handheld. You’ll get a different and often surprising result. I’ve shot some of my best photos at night, handheld.
Don’t worry if the resulting frame is not tack sharp. This doesn’t make a good photo look bad all of a sudden.
A night scene I encountered while walking around in the streets of Hat Yai, Thailand.
I hope you found these tips helpful. If you apply them and practice,
you can make your travel photography more interesting than the average
images. Please share your comments, questions, and images in the section
below.
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11 Tips for Shooting Travel Stock Photography to Make Money
Stock photography
is a tough industry to master. The competition is fierce and prices
have been falling over the last decade. But if you are willing to put
the effort in and have a long term plan, you can certainly reap the
rewards. As a photographer who has been involved in stock photography
for over a decade, I have certainly seen the highs and lows. So here are
my top tips for shooting travel stock images and how to make money from
it.
1. Include people
Picture buyers are always looking for something new and fresh.
Including a person can often be what makes your images unique to the
thousands of others that already exist. Including a person in the shot
also gives the image some context and shows more of an experience rather
than just documenting a place.
Some scenes are busy enough that you don’t need someone to pose. But
if you do need someone, don’t be afraid to ask a stranger. Rarely have I
found that anyone says no. I always offer to send them a copy of the
image to sweeten the deal. This doesn’t mean you shouldn’t take the more
generic-type shots. It more about maximizing your sales potential by
shooting a variety of different images.
2. Get a model release
So once you have included a person when shooting travel stock
photography, it is a good idea to get a model release. If the person or
people are mainly unrecognizable, or if you intend to sell your shot for
editorial purposes
only, you won’t require one. But be aware that some stock agencies will
require a model release even if it is someone’s hand showing in a
photo. Of course, there are times where it simply isn’t feasible, for
example, if you are photographing a crowd of people. Getty Images have a
great model release form that you download here.
3. Shoot portrait and landscape
When shooting travel stock photography, you should always shoot a landscape and portrait version.
Not all scenes work in both landscape and portrait, so sometimes it
might not be possible. But if you can, it will come in really useful.
But not only portrait and landscape, try to capture some different compositions.
For example, place your point of interest on the left or right. Leave
room above and below. You are already at the location so you might as
well cover as many possibilities as you can. You never know when a buyer
will ask if you have that image in a different crop. Doing this will
mean that for example, your image may get used as a double-page spread
or a front cover.
4. Leave space for copy
It is important to shoot images with dead space to allow for copy or
headlines to be put in. Sometimes this can mean breaking those
all-important rules of composition you have spent years perfecting. But
it’s worth it to make those sales.
As mentioned above, you can always shoot multiple versions of the
same shot. Try to imagine where and how your image will be used in a
publication (or even a website), and compose your shot with that in
mind.
There was plenty of free space at the top of this image for the copy to be placed.
5. Choose the right agency
This might be pretty obvious, but it’s important to submit your
images to the correct stock photography library. If you shoot travel
stock photography, then a specialist travel site is best. If you shoot
still life, then an agency that specializes in this would be more
successful.
Beyond that, spend some time researching the agency that you are
thinking of submitting to. For example, are you happy to see your images
sold for a few cents? Consider what your commission rate will be as
well as they vary greatly from one agency to another.
6. Think carefully before submitting to Microstock
Every single person I have ever spoken to who submitted to microstock
sites regrets doing so down the road. Of course, there are probably
some photographers out there who are very happy with their returns. The
problem is that you will need such a huge collection of images with a
wide coverage to see any returns that will be worth your time. This is
because microstock sites sell images for cents. Ask yourself, would you
prefer to sell one image at $25 or 250 at 10 cents?
7. Find fresh angles
If you really want to make your images stand out and catch the
buyer’s eye, photograph it differently! Every picture buyer has seen the
classic shot of the Eiffel Tower, and it has been on the cover of
hundreds, if not thousands, of publications. So the same is not likely
to catch many prospective client’s attention. It’s not always easy, but
if you can capture something different or unique, you might end up with a
few sales from it. This could be as simple as photographing something
from lower down or higher up.
8. Unique location
As well as finding fresh angles, find new locations. Iconic locations
such as London or New York, are constantly changing, so there are
always potential new places from which to capture photos. This could be
from a new rooftop bar with a unique view of Manhattan or new art
installation on the streets of London. Even if your location isn’t
ever-changing, finding somewhere with a view that not everyone
photographs can be very useful.
9. Quality over quantity
This is often a bit of a contradiction when it comes to stock
photography because stock photography is a numbers game. The more images
you have, the better your chances of making a sale. However, the key is
that they have to be quality shots that people would be willing to pay
for. This is the reason that it will take most stock photographers a few
years to get a wide enough coverage of images to see a decent return.
Try to always shoot the best locations at the best possible time of
day. More often than not, this will be sunrise or sunset, but you will
need to assess each scene individually. Your aim should be to capture
each shot in a way that you can sell it.
10. Stay local
Shooting good travel stock photography doesn’t always mean jetting
off to far-flung locations. You can often produce great travel stock
images a lot closer to home.
If, like me, you are lucky enough to live near an iconic place (for me
it is London), then you already have endless photo opportunities.
Shooting locally has other benefits as well.
You can revisit locations easily if the weather wasn’t great. You
don’t have to worry about the additional travel expenses that eat into
your profits. In fact, you will probably find that your local shoots end
up having a far better ROI (return on investment) than traveling to
other places.
11. Do something different
Another way that you can try to capture different types of images is to use different technology. For example, drones
have now been around a while and can offer a completely new and unique
view of something that may have been photographed a lot. But there’s no
denying it’s getting harder and harder to fly drones in many places. So
if it’s something you are interested in, it’s probably a good idea to
get a license. But drone images do sell pretty well, so it is worth
considering.
For most people stock photography will never be the main source of
income. However, with some preparation and planning, you can certainly
make some extra money from your hobby or profession. The key to being a
successful travel stock photographer is to treat it like a business as
much as possible. Keep your costs as low as you can, and shoot as often
as you can. Do you have any other tips you’d like to share? Do you make money
from shooting travel stock photography? Share with us in the comments!
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Tuesday, June 16, 2020
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An equally interesting view of the town where I stayed on the other side.
