The Human Side of Photography – 4 Tips for Natural Looking Portraits

By: Natalie Norton

Over the years my camera has become an extension of my arm, relate? Of course you do. Those lucky souls like you and I who discover they have a passion for photography quickly find it to be magically intoxicating in every way. We just can’t get enough.
Well passion and creative vision out the wazoo (pardon my French), even when coupled with perfect light, perfect equipment, and all the experience in the world will amount to very little if you’ve got a subject who just will not cooperate.
When I first started as a professional photographer it was mind baffling to me the way some people responded when I’d point my camera at them. “FOR PETE’S SAKE!” I’d lament to my husband after a shoot. “They were paying me to photograph them, they hired me, it wasn’t as if I ripped them from their houses, tied them to a tree and forced them to say ‘Cheese.’ What am I missing here?!?” Grrr. I would leave shoots like those EXHAUSTED… absolutely ready for a cup of tea and a bubble bath, and TOTALLY dreading uploading the photos… knowing that all I’d ended up with were a bunch of awkward smiles on tight, strained faces.
Then there came a time in my career when I was in desperate need of a head shot… I hate being in front of the camera… I know. I know. Go figure. Does the irony of all this tickle you as much as it does me? I called a friend and fellow photographer to handle the shoot. “OK Nic, short and sweet. We just need ONE good shot.” She pulled that camera out and it was everything I could do not to run screaming down the beach. She may as well have actually ripped me from my house and tied me to a tree. My heart was pounding, my palms were sweating and I could feel all the blood in my body racing to my face. Needless to say we DID NOT get that “ONE good shot.” Alas, the finished product showed just nervous, awkward bubble headed me … with a face as red as a cherry I might add.
Well over the years I’ve finally cracked the code to dealing with people photographically… Thus, The Human Side of Photography. Here’s 4 tips on how I work toward those beautiful, natural, genuine portraits that make our hearts sing, end up framed on our walls, and/or sell like crazy post production.

1. Handle the Hands:

Give your subject something to hold. If their hands are busy it’s generally enough of a cognitive distraction to curb their camera anxiety.
Take this bride for example. She was really struggling being herself in front of my camera during her bridal shoot. So, I handed her her fiance’s guitar and voilà. Beautifully natural in every way! I love this shot.

2. Pull up a Chair:

I carry a stool with me to every shoot… ALWAYS. It has saved me a million times over. When people sit, they will 9 times out of 10 loose the nervous rigidity they have when they’re standing. The situation automatically steps away from the formal air of photographer/photographee and instantly feels more casual.
This momma-to-be insisted incessantly that she was just “not photogenic” (if only I got a nickel for every time someone spit that at me … or maybe a dime for every time I proved them wrong… hmm). Thank Heaven for my trusty stool. Momma loosened right up once seated, and we got something genuine and sweet.

3. The Attraction of Distraction:

Distract your subject. Get them talking about something you know they’re interested in, ask them questions about their family, pets or favorite super heroes if you get desperate. Do whatever you can to pull their attention away from themselves. I find that shifting their attention to me by making fun of myself to be a trick that’s tried and true.
I’ve also been known to suddenly start barking like a dog to inspire spontaneous laughter… quacking like a duck is also a good bet… trust me, once you get a couple of good laughs out of your subject… it’s all a breeze from there. Laughter releases endorphins and thus a general sense of well-being, at least that’s what “they” say… hey, it works for me!
An example of this was an engagement shoot I did a while back. The groom-to-be was completely relaxed and comfortable, but the bride was just NOT quite getting there. To make a bad thing worse, we started out shooting in a marshy field where we were literally swarmed by mosquitoes… I counted 26 on my legs at one point (like actual bugs biting me simultaneously… not just 26 bites … but I digress). She was bitten TERRIBLY and was SO uncomfortable. I could sense her discouragement, so as we walked to the next site (as far away from said swamp field as possible) I told her fiance to give me a couple of seconds of shooting and then just to start tickling her like crazy.
It was so much fun for everyone! We got a fun shot of the tickle-fest, though that wasn’t the end in mind… the goal was to help her feel relaxed and comfortable for the rest of the shoot- and guess what? It worked like a charm. (This tip is especially good when working with children. Get them talking about something they love and it’s like flipping on a light switch to those sweet genuine expressions that only children can give).

4. A Tip from Aretha… R.E.S.P.E.C.T:

Remember that your subjects deserve your respect… whether it’s your own kiddos or you’re on hire. If you’ve got a subject or two or more who are just plain uncomfortable, seek out privacy for the shoot as much as possible. If you’ve got something in your head that you’re working towards and your subject just isn’t diggin’ it… drop it and move on to something else.
Ultimately you want nice pictures AND a nice memory of the shoot as a whole. If your subject feels understood and respected, that’s your first step in breaking them out of that awkward little box and truly capturing their essence. I learned this the hard way… my oldest son (4yrs old) used to head for the hills when he saw me coming camera in hand.
Once I learned to just respect that, and simply leave him alone at times like these… he actually started coming to ME and asking me to shoot him. And here’s the treasured result:

In this shot he said to me, “ok Mom, now I’m going to pretend like I’m sleeping.” Ah, be still my beating heart!
Happy shooting!
Natalie Lives and shoots on the North Shore of Oahu, HI with her wonderful husband and 3 crazy sons. See more of her work and writing at natalienortonphoto.com

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How to Get Shallow Depth of Field in Your Digital Photos

By: Darren Rowse

I’ve been taking a lot of portrait shots of our kids lately with my husband’s DSLR (Canon EOS 20D) and I’ve noticed that on some shots that I take the backgrounds is all soft and out of focus while in others it is completely clear. I’d like the soft background more but as I’ve been shooting in Auto mode I don’t know how the camera did it before. Can you give any suggestions? – submitted by DPS reader Sandra
Thanks for the question Sandra. You’re right about the soft blurry backgrounds in portraits – in most cases they are a great way to highlight your main subject and get rid of any distractions in the background.
There are a number of things you might like to try. I’ll start with the easy ones:
Note: we’ve since created a more comprehensive guide to controlling depth of field that you may find useful.

Positioning of Subject

One of the easiest things you can do is position the subject you’re wanting to photograph as far away from any objects behind them as possible. If they are standing right in front of a wall you’ll probably end up with it in focus no matter what else you do – but if they’re standing 100 meters in front of that same wall it’s going to be a lot more blurry. Of course this will only get you so far – you’ll need to do some of what’s coming next as well.

Portrait Mode

The Canon EOS 20D has a little wheel on top of it (on the left) with lots of little icons on it. One of those icons is a little head. This icon is the symbol for portrait mode and if you’re not confident with changing apertures (we’ll discuss this below) it’s a good mode to switch to as it will do some of the work for you. Portrait mode chooses a large aperture (a small ‘f’ number) which will make the depth of field (the amount of your shot in focus) smaller.

Aperture Priority Mode

If you’re feeling a little more adventurous switch the wheel to ‘A’ which is Aperture Priority Mode (go on, you can do it). I’ve written on this mode before but to recap – this mode lets you choose the Aperture (the size of the hole in your lens) and tells the camera to choose all the other settings. This semi-auto mode is a great way to control depth of field as it will ensure your images are well exposed. For shallow depth of field and nice blurry backgrounds choose a large Aperture (the smaller the number the larger the aperture). Try taking a few shots at different apertures and see how it affects the background of your shots – this is the best way to learn how to get more creative control in your shots.

Zoom Lenses

I’m not sure what lens you have on your 20D but if you’re like most people these days it will be a zoom lens with different focal lengths. Many zooms will have different maximum apertures at different points along the focal length spectrum. For example if it’s an 18-55mm kit lens it will have a maximum aperture of f3.5 at 18mm and a maximum aperture of f5.6 at 55mm. Many see the bigger aperture at the 18mm end of the range and think that that would be the best focal length for blurry backgrounds. The problem with this is that 18mm is a very wide angle and for portraits it can mean you need to get in really close to your subject and it could distort their facial features (not really desirable).
Instead I find that shooting at the 55mm end of the lens is best. This means you can stand further back (making your subject more at ease and pushing your background even further away from your camera). You’ll probably still get nice blurry backgrounds if you use the fastest aperture available.
The other good thing about zooms is that they enable you to really fill up your frame with your subject which can give it more prominence and your background less.

Get a New Lens

This is an ‘easy’ solution in some ways, but hard if you don’t have the budget. Different lenses have different maximum apertures. Those with larger ones are called ‘faster’ and one of the impacts of having a fast lens is that you can make your depth of field smaller (another is that you can shoot in lower light situations without needing the flash). A good option for Canon DSLRs is the Canon 50mm f/1.8 lens. It’s very fast, it’s a good focal length for portraits and it is one of the most affordable lenses Canon make.

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This Ebook is a bit older–back from the days of film–but it still has a ton of sound and relevant information that will have your photos looking better in no time.  And yes, it is free to You. 
191 pages of photography enjoyment.






















http://ctein.com/PostExposure2ndIllustrated.pdf

You'll find this weeks' Photography Freebie in the post below.
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Photography Freebie

Exposure: Understanding Light By Nigel Hicks   
A Guide to Understanding Light & Exposure









Here's the link:

https://s3.amazonaws.com/understanding_light_exposure/docs/Exposure+Lesson+1+(FREE).pdf

 

How to Avoid a Dirty DSLR Image Sensor

By: Darren Rowse

Photo by davidtrent

If you’ve got a DSLR you’ve probably had the experience of uploading your photos onto your computer after a long day of photography – only to find that there are dark ‘spots’ and ‘blotches’ on your pictures.
These spots and blotches appear on all your shots in exactly the same position. They might be less noticeable on backgrounds with lots of detail (and more noticeable on plain backgrounds (like blue skies – especially when you have a small aperture) – but they’re there in all your shots (the picture to the left is one of the worst examples I’ve seen – and was the result of poor image sensor cleaning technique).
The reason for these marks is that you’ve almost certainly got dust on your camera’s image sensor.
Cameras are being developed that combat this problem (for example the Canon EOS 400D/Revel Xti and others) but until we all go out and upgrade our DSLR we’re all susceptible to it.
Most DSLR owners do eventually get some on your sensor (unless you never change your lens) but here are some tips for decreasing the likelihood of it:

• Avoid changing lenses in risky environments (where there is wind, water, dust etc) – pick a lens and try to stick with it.
• Turn camera off before changing lenses. On some cameras the sensor has an electric charge that will actually attract dust to it like a magnet.
• Hold camera upside down (with the opening facing down) when changing lenses – it’s impossible for dust to fall into your camera if it’s upside down (unless there is wind that blows it up into it).
• Have your lens ready when you’re changing lenses (be prepared and have your new lens ready to attach so that your camera is open for as short a time as possible).
• Check your lenses for dust before attaching them – have a blower that you can get any specs off your lens with.
• Clean your image sensor with care. There’s a lot of debate about whether to do it yourself or whether to get your sensor professionally cleaned (see below for of some of the DIY approaches to cleaning sensors) If you do tackle it yourself do so with extreme care – let the picture above be motivation to get it right!

To test if your image sensor is dirty photograph a white wall with a small aperture (large number) and you should see it in the images that result if you have any.
See some of the techniques for cleaning dirty and dusty image sensors below:

• Understanding Digital SLR Sensor Cleaning
• Cleaning Camera Sensor
• Digital Sensor Cleaning – Part 1
• Digital Camera Cleaning Techniques and Products
• Image Sensor Cleaning
• Cleaning Your Sensor
• Nikon CCD Cleaning Guide

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7 Digital Camera Predators and How to Keep them at Bay

By: Darren Rowse

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

1. Sunscreen and Insect Repellent

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

2. Sand

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

3. Dust

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

4. Moisture/Water

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

5. Salt

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

6. Thieves

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

7. Bumps and Drops

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

Good Gear

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

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How to Hold a Camera

By: Darren Rowse

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

How to Hold a Camera

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

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

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

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

Image: Fujifilm

Ryan LakichMashable Deals1 day ago

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

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Keep snapping all summer long with a Fujifilm Instax Mini value pack for 60 photos for only $30. While Amazon doesn't list this as a sale on their site, this is still the lowest price we've seen yet on this particular value pack. You only pay 50 cents for each photo, so it equals a better deal in the long run versus a 20-pack of sheets for $11.99.
These film sheets are compatible with the entire line of Fujifilm Instax Mini cameras. If you're new to the world of retro instant cameras, you can get your own Fujifilm Instax Mini 9 starter bundle for $50 off at $99.95. It's about the easiest camera you'll ever use. Just point and shoot with a built-in flash and your clear photos with vibrant colors are instantly ready. The Instax Mini works as a great way to help kids find their creativity, or you can relive the glory days of Polaroid cameras. Each photo fits perfectly in your wallet or purse and serves as a unique little memento to share with friends.
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Fujifilm Instant Max instant film value pack of 60 sheets — $30

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

By: Jaymes Dempsey

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

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

1. Shooting under bad lighting

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

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

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

2. Shooting your subject from a standing height

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

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

3. Using a (slightly) messy background

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

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

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

4. Photographing low-quality subjects

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

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

If it’s a landscape, then think about:

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

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

5. Not including a point of focus in your compositions

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

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

6. Shooting low-contrast scenes

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

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

7. Not post-processing your nature photos

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

1. Light
2. Composition
3. Post-Processing

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

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

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

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

Nature photography mistakes: conclusion

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

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

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6 Ways to Make Your Photography Stand Out

A Post By: Karthika Gupta

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

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

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

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

1. Consistency

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

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

2. Authenticity

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

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

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

3. Play well with others in this space

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

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

photos. The image is a triple exposure on film.

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

4. Patience is key

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

5. Success your way

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

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

6. Have a 360 approach to your career

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

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

photographers who have become good friends.

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

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

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Comparing a 50mm Versus 85mm Lens for Photographing People

By: Meredith Clark

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

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

1. Differences in Depth of Field

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

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

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

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

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

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

2. Differences in Framing

This image was taken with 50mm lens.

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

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

lens instead of the 50mm.

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

3. Differences in Shooting Distance

This image was taken with 50mm lens.

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

This image was taken with 85mm lens.

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

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