Remembering Kobe

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6 Tips for a Faster Lightroom Workflow So You Can Get Back to Taking Photos!

By: Simon Ringsmuth

Many photographers rely on Lightroom to organize, edit and share their photos. While this software has a vast array of tools to help people in several key areas, it has not always been known for speed. Recent updates and GPU acceleration have helped, but if you really want to have a faster Lightroom workflow, there are some simple things you can do to supercharge your post-processing. These aren’t hacks or plugins, but simple tweaks to Lightroom that can make your life a lot easier.

1. Apply a preset when importing images

The first thing you can do for a faster Lightroom workflow is to apply a preset when importing images.
Lightroom has a mind-boggling number of options and sliders to adjust when editing images. If you find yourself using the same types of edits on most of your pictures, you can use Presets to shave hours off your editing. Most people already know this, but you might not be aware that you can apply Presets when initially importing your files.
On the right side of the Import screen, there is an option for “Apply During Import.” Use this to select one of the many presets built into Lightroom (or select one of your own that you may have saved) and have it automatically applied to your pictures as you import them.

In the screenshot above, you can also see an option called Nikon RAW import. That’s a custom preset I made that contains specific adjustments I like to apply to my Nikon RAW files, which gets me to a good starting point when editing. That alone has helped me with a faster Lightroom workflow, but applying it to a batch of photos on import is even more of a speed boost.
Don’t worry about messing anything up if you apply presets on import. Like everything else in Lightroom, they are non-destructive, meaning you can always go back and change things later.

2. Sync settings across multiple images

If you have spent any time editing multiple similar images in Lightroom, particularly from an event or photo session with clients, you have no doubt found the Copy/Paste Settings to be useful. Right-click on any image in the Develop module and choose “Develop Settings->Copy Settings…” Then check the boxes next to any (or all!) the settings you want to copy.
Finally, go to another photo, right-click, and choose “Develop Settings->Paste Settings.” Or better yet, use Ctrl+C (cmd+C on mac) and Ctrl+V (cmd+V on mac) like you would on any word processor.

I shot dozens of pictures of this wasp. The Sync Settings option let me instantly edit a single 

image and then apply those edits to all my other images in an instant.

This process works great, but what if you want to paste your settings on to five, ten, or a hundred images? Even the fast method of using Ctrl+V starts to feel like a chore.
Fortunately, there’s a better way.

Image 21 is selected, and Images 17-20 are also highlighted. After clicking the Sync… button, 

all the edits from 21 will be applied to 17-20.

In the Develop module, select a single picture in the filmstrip at the bottom of the screen. Then hold down the [shift] key and select more images. Finally, click the “Sync…” button to synchronize any (or all) of your edits on the original image to the rest that are selected.
When I discovered this trick, I almost fell out of my chair! I didn’t just speed up my Lightroom editing. It supercharged my editing.

3. Straighten your pictures with the Auto button

I’m always a little leery of anything that says Auto when I’m editing pictures. I don’t need my computer to do what it thinks is best – I want my computer to do what I think is best! At best, I use some Auto options, like when setting white balance on RAW files, as a rough draft that I go and refine.
However, there is one Auto setting that I have learned to use over and over again. Learning to embrace Auto for straightening my photos has saved me a lot of time and really led to an overall faster Lightroom workflow.

The Auto button in the Crop & Straighten panel can really help make things go faster when you 

need to straighten your photos.

The reason Auto works so well for straightening images is that it doesn’t try to make a guess which affects the artistic goals of the photographer. It simply looks for straight lines such as light poles, buildings, or horizons, and then adjusts images accordingly. It works far more than I initially thought. Plus, it can really speed things up when editing in Lightroom.

My tripod was askew when I shot this, but Lightroom fixed it with a simple click of the Auto button.

4. Automatically organize with smart collections

Collections in Lightroom are an easy way to organize your images. You can create as many collections as you want, and one photo can exist in multiple collections. What you may not realize is that Lightroom lets you create Smart Collections, which are populated dynamically according to rules you specify.
To create a Smart Collection, choose the + button at the top-left of the Collections panel. Then select “Create Smart Collection…” and specify your parameters for the Smart Collection.

As an example of how this can lead to a faster Lightroom workflow, I create Smart Collections to sort my photos by month for an entire year. I do this each January, and for the rest of the year my photos are automatically sorted month-by-month without me having to do anything.

I create Smart Collections for my personal images at the beginning of each year. My images are 

then sorted automatically.

These Smart Collections also do not include any photos with the keyword “PhotoSession” which I apply to all images that I take for clients. Photos with that keyword go in another set of Smart Collections that I use to keep client images separate from personal photos.
Smart Collections can contain dozens of parameters including Rating, Pick Flag, Color Label, Keyword, even metadata such as camera model or focal length. They are an incredibly powerful but very simple way to make your day-to-day Lightroom editing significantly faster.

5. Multi-Batch Export

Lightroom has long offered customizable export presets. These allow you to export photos with certain parameters specified such as file type, image size, quality setting, and even specifying custom names.

New in the November 2019 update to Lightroom Classic is the option to perform a single export operation that utilizes multiple Presets. This means you no longer have to do an export operation for full-size JPGs at 100% quality, another export for low-resolution proofs at 80% quality, and so on.
Just check any boxes in the Export dialog box for the presets you want, and Lightroom will take care of the rest!

The November 2019 update to Lightroom Classic lets you select multiple presets for a single export operation.

This is a great way to save time when you are ready to export your images. It’s not the kind of workflow addition that will change your life, but it’s another simple but highly effective process you can utilize to shave precious minutes from your editing. And as someone who exports a lot of photos regularly, those minutes add up.

6. Cull on Lightroom Mobile

One of my favorite aspects of the Adobe Creative Cloud Photography plan is the synchronization between Lightroom Classic and Lightroom Mobile. While the mobile version of Lightroom isn’t as full-featured as its desktop-based big brother, it does one thing incredibly well that has made a huge difference for me when editing photos for clients.
Click the checkbox next to any Collection to sync those photos with Lightroom CC. This means you can access low-resolution previews of all those images on the web, your phone, or tablet. (Note that this does not work with Smart Collections, only regular Collections.)

I don’t find Lightroom Mobile particularly useful for detailed editing, but it absolutely runs circles around the desktop version when it comes to culling operations. If you have an iPad, this could honestly change your entire approach to culling your images. It also works pretty well on other mobile devices too.
Load a picture in any collection that you have synced to Lightroom CC and then click the Star icon in the lower-right corner. This switches to a mode where you can quickly assign star ratings or flags to any picture. Tap one of the Flag or Star icons at the bottom of the screen to change the status of the image. A quick swipe of your finger will load the next image.

Tap the star icon in the lower-right corner of Lightroom Mobile to quickly assign Flags and Star 

Ratings with a swipe of your finger.

This is all well and good, but there’s one trick here that will send your culling into overdrive.
Slide a finger up or down on the right side of the photo to change the Flag status. Slide a finger up or down on the left side to assign a Star rating. Then swipe to the next image and repeat.
All your edits on Lightroom Mobile, including Star ratings and Flag statuses, are instantly synced back to Lightroom Classic on your computer.
I’m not kidding about the speed of this operation, either.
I used to dread the culling process, but now it takes a fraction of the time it used to. A few weeks ago, I returned from a photo session with over 1,100 images. In about an hour, I was able to cull them to a fraction of that amount, thanks to Lightroom Mobile.

There were hundreds of images from this session that I had to sort through. Lightroom Desktop 

makes this a burden, but Lightroom Mobile makes it a breeze.

All six of these tips have saved me a huge amount of time over the years. I hope they are useful to you as well.
If you have any other tricks or suggestions for a faster Lightroom workflow, leave them in the comments below!

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How the Switch from DSLR to Mirrorless Changed How I Edit Photos

By: Viktor Elizarov 

When I started in photography more than 10 years ago, the only viable option for editing images was Adobe Photoshop. At that time, 100% of my photo editing was done there.
A few years later, Adobe introduced Lightroom and I embraced it right away for its speed and organizational features. I immediately adopted it into my photo processing workflow and it was the first big transition that drastically changed my processing.
The next big change in my processing happened when I discovered HDR photography. As a photographer with a background in graphic design, I quickly saw the potential in the new processing technology and, again, I incorporated it into my workflow.

Canon 60D, HDR processed

By the end of 2014, after 10 years of shooting with a Canon DSLR, I had established my own photo editing workflow – one that I was comfortable with, that reflected my style of photography, and covered different scenarios of travel and landscape photography. Below is a list of four main processing techniques in my editing workflow, with the percentage of the total use for each.

HDR Processing in Photoshop HDR Pro and Lightroom – 50%

The foundation of my natural looking HDR photography style, this technique is based on merging bracketed photos in Photoshop HDR Pro and later editing the new HDR image in Lightroom. The beauty of this method is that Photoshop HDR Pro does not change the pixels (luminosity, contrast, saturation) of the original images. Instead, it combines data from the bracketed photos into one enormous 32-bit TIFF image.
I outlined this technique in detail in one of my previous articles: Natural Looking HDR in Photoshop and Lightroom in 5 Easy Steps.

Canon 60D, HDR processed with Photoshop HDR Pro

HDR Processing in Photomatix – 30%

Photomatix is the most popular, and matured standalone HDR program. It has a completely different approach compared to Photoshop HDR Pro. Besides standard HDR features like image alignment, de-ghosting and merging for HDR, it has unique image editing tools that allow me to create distinctive looks in my photographs.

Canon 60D, HDR processed with Photomatix

Luminosity Blending in Photoshop – 10%

This technique is based on blending multiple images together in Photoshop using transparency masks. It gives me the most flexibility and control over image processing but, at the same time, it is the most involved and time consuming. I use it in the most complex cases when everything else has failed.

Canon 60D, digital blending with Luminosity Masks

Single RAW processing in Lightroom – 10%

When the light is not very dynamic, I use a single image and process it in Lightroom.

Canon Digital Rebel, single RAW image processed in Lightroom

The Switch

The biggest change in my photography happened at the end of 2014 when, after shooting with a Canon DSLR for 10 years, I switched to Sony mirrorless. It was quite an adjustment. After shooting for so long with one brand, I had become extremely comfortable with it. During the switch, I had to learn how to work with something very different (more details on that topic here: 5 Lessons Learned Switching from DSLR to Mirrorless for Travel Photography).
But, I did not expect that the brand switch would dramatically change my editing. I was wrong.
After I returned from my first photography trip to Hawaii and California, where I put my new equipment through the test of real life scenarios of travel photography, I had 3000 brand new photos shot with the Sony a6000.
When I started to edit the new photos, I could see some differences. In general, the images were much cleaner and sharper with a higher amount of detail. These changes did not surprise me because the a6000 has a new generation sensor with a higher pixel count, and in combination with quality lenses from Sony and Zeiss, it could easily resolve a staggering amount of detail.
What surprised me was how the images behaved when I started to edit them. I could immediately see that the images were more responsive, meaning that I could push them much further, with more aggressive editing, and that I could recover more shadows and highlights from a single RAW image. I realized that I could process some images without using HDR techniques, which was not possible before.
This is when I started to look around trying to find the reason for the different behaviour. I found my answers on the DoX Mark website when I compared camera sensors. The dynamic range of the Sony a6000 sensor is wider by almost 2 stops (11.5EV vs 13.2EV) or 14%.

The difference is probably not a big deal if you are a wedding or street photographer but, for someone like me who specializes in travel and landscape HDR photography, this was a game changer. I saw the opportunity to streamline and optimize my digital techniques once again.
Now, six months later, below is my new modified digital photography workflow.

Single RAW Preset Based Lightroom Processing – 50%

A major shift toward the single RAW Lightroom editing made me realize that it could be the perfect opportunity to optimize my workflow in order to save time on processing. I organized my Lightroom presets into four collections: Landscapes and HDR, Cross Processing, People and B&W. Now, I start the process of editing by applying different presets to the image trying to find the right look. When I find the one I like the best, I tweak it with standard Lightroom and Photoshop editing tools.

Sony A6000, Sony 10-18mm lens, Lightroom Preset Based Processing

HDR Processing in Photoshop HDR Pro and Lightroom – 20%

With Adobe introducing Merge to HDR in Lightroom 6, I find myself using it more and more but I still use Photoshop HDR Pro.

Sony A6000, Zeiss 16-70mm lens, Lightroom 6 HDR Processed

HDR Processing in Photomatix – 20%

Cleaner digital files allow me to push the images even further in Photomatix.

Luminosity Blending in Photoshop – 10%

Nothing has changed here.

The switch from Canon DSLR to Sony mirrorless had unexpected consequences that drastically changed the way I edit my photos. In the end, the change was very positive, it allowed me to save time on processing and editing photos. Also, the extended dynamic range of the new sensor resulted in me taking fewer photos. I do not have to take five or seven bracketed shots anymore; in most cases, three brackets are all that is needed.
Have you made the switch? Have you noticed any changes in your processing workflow? Share with us your thoughts in the comments below.

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Marriage Proposal

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How to Choose a DSLR Camera

By: Darren Rowse 

DSLR Cameras are increasingly becoming a type of camera that is in the reach of the average photographer as prices fall and as manufacturers develop more user friendly models.
I’ve previously discussed some of the advantages and disadvantages of moving from a point and shoot to DSLR but in this post would like to explore how to choose a DSLR.
In doing so I’ll cover:
1. 9 Reasons to Upgrade to a DSLR Camera
2. 8 Factors to Consider when Choosing a DSLR
3. My DSLR Camera Recommendations (also check out this post on the Top DSLR Models As voted by our Readers)
Firstly, a quick recap on some of the reasons why you might want to upgrade to a DSLR.

Reasons to Upgrade to a DSLR Camera

1. Image Quality – Due to the larger size of image sensors in DSLRs which allows for larger pixel sizes – DSLRs are generally able to be used at a faster ISO which will lead to faster shutter speeds and less grain (ie shoot at 1600 ISO on most DSLRs will have less noise than shooting at 1600 on a Point and Shoot). DSLRs also have built in noise-reduction when genearating JPG images which also helps cut down on noise.
2. Adaptability – DSLR’s ability to change lenses opens up a world of possibilities for photographers. While my point and shoot has a nice little 3x Optical Zoom (and many these days have longer ones) my DSLR can be fitted with many high quality lenses ranging from wide angle to super long focal lengths depending upon what I’m photographing (and of course my budget). Add to this a large range of other accessories (flashes, filters etc) and a DSLR can be adapted to many different situations. It should be noted that when it comes to lenses that the diversity in quality of lenses is great. Image quality is impacted greatly by the quality of the lens you use.
3. Speed – DSLR’s are generally pretty fast pieces of machinery when it comes to things like start up, focusing and shutter lag.
4. Optical Viewfinder – due to the reflex mirror DSLR’s are very much a what you see is what you get operation.
5. Large ISO range – this varies between cameras but generally DSLRs offer a wide array of ISO settings which lends itself to their flexibility in shooting in different conditions.
6. Manual Controls – while many point and shoots come with the ability to shoot in manual mode, a DSLR is designed in such a way that it is assumed that the photographer using it will want to control their own settings. While they do come with good auto modes the manual controls are generally built in in such a way that they are at the photographers finger tips as they are shooting.
7. Retaining Value – some argue that a DSLR will hold it’s value longer than a point and shoot. There is probably some truth in this. DSLR models do not get updated quite as often as point and shoot models (which can be updated twice a year at times). The other factor in favor of DSLRs is that the lenses you buy for them are compatible with other camera bodies if you do choose to upgrade later on (as long as you stay with your brand). This means your investment in lenses is not a waste over the years.
8. Depth of Field – one of the things I love about my DSLR is the versatility that it gives me in many areas, especially depth of field. I guess this is really an extension of it’s manual controls and ability to use a variety of lenses but a DSLR can give you depth of field that puts everything from forground to background in focus through to nice blurry backgrounds.
9. Quality Optics – I hesitate to add this point as there is a large degree of difference in quality between DSLR lenses but in general the lenses that you’ll find on a DSLR are superior to a point and shoot camera. DSLR lenses are larger (more glass can add to the quality) and many of them have many hours of time put into their manufacture (especially when you get into higher end lenses). I strongly advice DSLR buyers to buy the best quality lenses that they can afford. It it’s the difference between a high end lens on a medium range camera or a medium range lens on a high end camera I’d go for quality lenses every time as they add so much to photos.

Before I tackle how to buy a DSLR keep in mind that DSLRs are not for everyone. I’ve written more on the down sides of DSLRs in a post previously which you might find helpful in deciding whether you should stick with a point and shoot or upgrade.
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How to Decide Which DSLR Camera is for You?

So how do you decide which DSLR to buy? There are an increasing array of them on the market so you have a real choice ahead of you.
Here are a few factors to consider when looking for a DSLR:

1. Price – a good place to start when thinking about buying a DSLR is obviously price. DSLRs price range in price from some quite affordable deals at the lower end to extremely high prices at the professional end. Set yourself a budget for your purchase early on but make sure that you keep in mind that you’ll need to consider other costs of owning one including:

• Lenses (some deals offer ‘kit lenses’ but you should consider upgrading – see below for more on this)
• Batteries (all models will come with one but if you are travelling you might need a spare)
• Memory Cards (some models come with one but most are inadequate in terms of size. Even if you’re lucky enough to have one included you’ll probably want to upgrade to at least a 1 gigabyte card).
• Camera Bag (some dealers will throw one in – but once again don’t expect a high quality ‘free’ bag. Your DSLR is something worth protecting – invest in a good bag)
• Filters (at the least you’ll want to get a UV filter for each lens you purchase – but you might also want to consider other types down the track also).
• Extended Warrantees (there’s a variety of opinions on whether they’re good or not – but they’re worth considering)

2. What will You use it For? – when you head into a camera store to purchase any type of question the first thing most sales people will ask you what type of photography you want to do. It is well worth asking yourself this question up front as it will help you think through the type of features and accessories you’ll need.
Will this be a general purpose camera for recording ‘life’? Are you wanting to travel with the camera? Is it for sports photography? Macro Photography? Low Light Photography? Make a realistic list of the type of photography you will use it for (note I said ‘realistic’ – it’s easy to dream of all kinds of things you’ll photograph – but in reality most of us only do half what we think we will).
3. Size – DSLRs are all more sizeable than compact point and shoot cameras but there is a fair bit of variation in size between them also. Some photographers don’t mind carrying around weighty gear but if you’re going to use it for on the go photography (travel, bushwalking etc) then small and light models can be very handy.
4. Previous Gear – the attractive thing about DSLRs is that in many cases they are compatible with some of the gear you might already have.

• This is particularly the case for lenses. The chances are that if you have a film SLR that your lenses might well be compatible with a DSLR made by the same manufacturer. Don’t assume that all lenses will be compatible (particularly older gear) but it’s well worth asking the question as it could save you considerable money.
• If you have a point and shoot camera you might also want to look at the type of memory card that it takes as some models of DSLRs could also be compatible with them. This probably won’t be a major consideration as memory cards are considerably cheaper than they used to be but it could be a factor to consider.

5. Resolution – ‘how many megapixels does it have’ is a question that is often one of the first to be asked about a new camera. While I think ‘megapixels’ are sometimes over emphasised (more is not always best) it is a question to consider as DSLRs come with a wide range of megapixel ratings. Megapixels come into play as you consider how you’ll use your images. If you’re looking to print enlargements then more can be good – if you’re just going to print in small sizes or use them for e-mailing friends then it’s not so crucial.
6. Sensor Size – Another related question to consider is how big the image sensor is. The term ‘crop factor’ comes up when you talk about image sensor size – I’ll upack this further in a future article as it’s perhaps a little complicated for the scope of this one. In general a larger sensor has some advantages over a smaller one (although there are costs too). But I’ll unpack this in a future post (stay tuned).
7. Future Upgrades – will you be in a position to upgrade your camera again in the foreseeable future? While entry level DSLRs are attractively priced they tend to date more quickly than higher end models and you run the risk of growing out of them as your expertise grows and you thirst for more professional features. Ask yourself some questions about your current level of expertise in photography and whether you’re the type of person who learns how to master something and then wants to go to a higher model that gives you more control and features. It’s a difficult question but you might find it’s worthwhile to pay a little more in the short term for a model that you can grow into.
8. Other Features
Most DSLRs have a large array of features that will probably overwhelm and confuse you at first as you compare them with one another. All have basic features like the ability to use aperture and shutter priority, auto or manual focus etc but there’s also a lot of variation in what is or isn’t offered. Here are some of the more common features that you might want to consider:

• Burst Mode – the ability to shoot a burst of images quickly by just holding down the shutter release – great for sports and action photography. DSLRs vary both in the number of frames that they can shoot per second as well as how many images they can shoot in a single burst.
• Maximum Shutter Speed – most DSLRs will have a decent range of speeds available to you but some will have some pretty impressive top speeds which will be very useful if you’re into sports or action photography.
• ISO Ratings – Similarly, most DSLRs will offer a good range of ISO settings but some take it to the next level which is useful in low light photography.
• LCD Size – It’s amazing how much difference half an inch can make when viewing images on your cameras LCD. I noticed this recently when testing a camera with a 2.5 inch screen after using my own 1.8 inch one. While it might not change the way you shoot photos (people tend to use viewfinders at this level to frame shots) it certainly can be nice to view your shots on a larger screen.
• Anti Shake – in the past few weeks a range of new DSLRs have been announced by manufacturers in the lead up to the Christmas rush. One of the features that is featuring more and more in them is anti shake technology. While it’s been common to get ‘image stabilisation’ technology in lenses the idea of it being built into camera bodies is something that is attractive.
• Dust Protection – another feature that has started appearing in the latest round of cameras is image sensor dust protection (and in some cases self cleaning for image sensors) – something that will help alleviate a lot of frustration that many DSLR photographers have. To this point this is a feature that is mainly on lower end DSLRs but it’s bound to appear on new professional models also.
• Connectivity – Getting photos out of your DSLR and into a computer or printer generally happens these days via USB but some people like FireWire and/or Wireless.
• Semi-Auto Modes – As with point and shoot cameras – many DSLRs (especially lower end ones) come with an array of shooting modes. These generally include ‘portrait’, ‘sports’, ‘night’ etc. If you rely upon these modes on your point and shoot you may well use them on your DSLR too. Higher end DSLRs often don’t have them.
• Flash – Generally professional grade DSLRs don’t offer built in flash and just have a hotshoe while entry level DSLRs include a built in flash.

Which DSLR camera is right for you?

At the time of writing this post there are a large range of DSLRs currently on the market (with a fresh batch of them set to be announced in the new year).
I’m a Canon user so my recommendations will reflect this below. Here are three that you might like to consider.
Canon EOS 400D (Digital Rebel XTi) – I had the opportunity to play with this camera last week for a day and while I was a little skeptical at first as it’s fairly much an entry level DSLR I came away from testing it quite impressed. It has a 10.1 megapixel sensor, 2.5 inch LCD and all the features you’ll need to switch into manual (and semi manual) modes.
It is a camera with a lighter feel than the 30D (below) which will leave some feeling as though it might be a little light on – however this adds to it’s portability.
This is a good camera if you’re a little nervous about stepping out of point and shoot land and want something that is easy to use. Compare prices on the Canon EOS 400D from around the web.
Canon EOS 30D – if there’s one DSLR that I’ve recommended more than any other it is the 30D. I’ve owned it’s predecessor for a few years now (the 20D) and have loved it but the 30D has a few nice extra features that make it worth the upgrade.
The 30D is has an 8.2 megapixel sensor and nice large 2.5 inch LCD as well as an array of other features that give you plenty of opportunity to explore your photographic ability (as well as a good Auto mode for when you hand it over to a digital camera novice). This is a more serious camera than the 400D (it’s more solid in your hands too) but it is very user friendly also.
It is positioned nicely between the entry level and Professional models going around and produces wonderful images. Compare prices on the Canon EOS 30D from around the web.
Canon EOS 5D – this camera will be out of reach of most of us (although I’m saving up) but I wanted to include it as it’s the best camera I’ve had the privilege of testing so far (in fact I’ve had it for the last 3 weeks and I just don’t want to send it back).
The 5D is not at the very top of the Canon DSLR range but it is not cheap and is aimed at the higher end amateur digital photographer who knows what they are doing. It doesn’t have a built in flash and there are no semi-auto modes on the dial (at this level you wouldn’t need them). It has a 12.8MP full frame sensor, 2.5 inch LCD, weighty magnesium body and a list of features longer than my arm.
This camera has great reviews from around the web and is high on my own personal wish list. Compare prices on the Canon EOS 5D from around the web.
Of course there are more options than just Canon DSLRs.
While I’ve not extensively tested them I have friends with the Nikon D200 and the Nikon D70s who are more than satisfied with their cameras also. Nikon’s DSLRs get highly recommended in reviews around the web and you’ll not go wrong in going with them either.
Feel free to add your own recommendations below in comments. As I say – I’m a Canon guy and am pretty much won over by the quality of camera that they make (their image sensors go beyond what I’ve seen in other cameras) however there are many more great DSLRs out there (particularly from Nikon) and I’d love to include the recommendations of others – simply leave a comment below with your own recommendation and I’ll include some of them in the main post as an update over the next day or two.
Update: A few readers have asked me for recommendations for DSLR lenses via email after reading this post. You might like to start with some introductory posts that I’ve written on the topic at:

• An Introduction to Types of DSLR Lenses
• Prime vs Zoom Lenses

Top 20 DSLR Models among Our Readers
If you found this post helpful you might also like to subscribe to our free weekly Digital Photography Tips Newsletter.

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Canon Explorers of Light – Q&A with Photographer Roberto Valenzuela

By: Caz Nowaczyk

In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.
The Explorers of Light Program, running since 1995, boasts some incredibly talented photographers. These photographers have spent years honing their craft, and influence and educate other photographers of all levels – something, we at dPS, can respect and relate to.
In this Canon Explorers of Light Q&A series, we interview photographer Roberto Valenzuela. He shares his experiences and gives tips to upcoming photographers.

Photographer Roberto Valenzuela

How did you get into photography?

My full-time career as a photographer began in March 2006. I had been married for a little over a year, and I decided to take some time off from teaching high school to attend the annual Wedding and Portrait Photographers International (WPPI) convention held in Las Vegas, Nevada. 
This convention was the yearly gathering of more than 15,000 wedding and portrait photographers from every corner of the world. 
The most exciting part was that some of the world’s top wedding photographers would be there, including the famous Canon Explorer of Light photographers, who are a group of elite photographers carefully chosen by Canon USA as the best photographers in the world in their respective fields. I was in heaven! 
During WPPI, I realized that my passion for photography was just too strong to ignore. I felt an inexplicable calling to photography. 
A very scary thought went through my head for the first time. The thought that I may want to follow my heart and perhaps leave my high school teaching career that I loved and worked so hard to get to dedicate myself to photography full time. Oh boy! I was in trouble. 
How do I tell my wife? The woman I had just married and who relied on my humble income as a teacher to live and provide health insurance. 
The thought of leaving a job I adored, and that provided me with a steady paycheck, scared the heck out of me. 

The trip to WPPI changed my life. It was just an overload of brain stimuli. 
I loved everything about photography – the cameras, lenses, lighting, software, the technical side, the artistic side, and – my favorite – the business side. It had it all!
I knew my wife Kim would be receiving her Master’s degree in Engineering in May, and she had landed a great engineering job upon graduation. Kim having her own income, definitely helped to solidify my decision to leave teaching and pursue a career as a full-time professional photographer. 
That was probably the hardest decision I have ever made. It felt as if I was jumping into a dark hole without knowing how deep the fall would be. 
That following week, I made an appointment with the principal of the school to tell her that I would not be continuing after that school year. I hugged her and thanked her for the amazing opportunity she had given me. But I had to pursue this new profession, or I would regret it for the rest of my life.
Before I left her office, she asked me if I was sure, and with a heavy heart, I said, “Yes, yes, I am.” 
After that school year was over, my full-time photography journey began. 

What was your first camera setup?

The first camera I bought was the Canon 20D, and the 28-300mm f/3.5-5.6 IS in 2006. 
I didn’t have much money, so I put it all on one lens. I had to learn to work with this lens on every portrait and every wedding I shot. 
It was especially difficult working with a floating aperture like this indoors, but that’s the only lens I had, so I figured it out. 
Actually, it was that experience to only work with one lens that taught me a very valuable lesson – mastering the gear you have is something most people don’t really do.
For example, we all know what a 50mm f/1.2 lens is, but we don’t really know the ins and outs of that lens. How does it behave in the middle, or in the corners of the frame? What apertures provide the best sharpness for that lens? How does taking a portrait with a 50mm lens look at close proximity? Also, how does it differ from photographing a portrait with that lens at further distances?
I actually quite enjoyed knowing everything there is to know about one lens. Then I used that same mentality with all of my other lenses, cameras, and flashes I purchased in the future. 

What camera gear do you use now and why?

I enjoy learning about new, evolving technologies. I love my SLR cameras, and I still have them. I have the Canon 5D Mark IV, the Canon 1D X Mark II, and the Canon 5DS.
But as soon as Canon launched their mirrorless line with the introduction of the Canon EOS R, I embraced the technology. 
Although it is different than shooting with a regular dSLR, this camera opens opportunities that are simply impossible with a dSLR. For example, with the face-detection AF, I can take the camera away from my face and engage with clients face-to-face, and while the camera is tracking their face, I’m actually taking photos without the clients knowing. 
Also, the ability to use a 1-stop to 9-stop variable neutral density (ND) filter that sits inside the lens adapter is one of my favorite features. This saves me from having to buy multiple ND filters for all of my lenses. 
The ND variable filter also allows me to achieve a beautiful cinematic look outdoors by keeping my apertures wide open, such as f/2.0. Then I’m able to illuminate my subjects with the full capabilities of my flashes, and I can stay within the camera’s flash sync speed. This is amazing to me!
Regardless of how bright the light outdoors may be, I can drop the light as far as I want in seconds. Then add flash to my subjects with a color gel filter to do in-camera color grading.
How cool is that?
I am also quite excited about the new R EF lenses, especially the 28-70 f/2.0. These lenses are incredibly sharp and offer a great wide aperture. 
However, my favorite feature of these lenses is the ability to program the control ring to whatever you want to fit the kind of shoot you are doing. For example, I programmed my control ring to quickly change my ISO in rapidly changing lighting conditions. 

What area of photography do you specialize in and why did you move into that field?

My photography career began in Tucson, AZ.
In Tucson, there is not much of a fashion or beauty industry, but it is a very popular place to get married because of the beauty of the Sonoran Desert and Tucson’s famous sunsets. 
On top of that, I was getting married myself during that time. 
All of these factors led me to the world of wedding photography. And what a world it is!
I learned quickly that most important is what sets you apart from the hundreds of thousands of wedding photographers out there.
If I had to choose one aspect of my life that sets me apart from other wedding and portrait photographers, it would have to be my background as a classical guitarist. Being a classical guitarist forces you to develop a culture of great dedication to practice. 

In fact, in my 14 years as a photographer now, I have not missed a single month that I haven’t practiced something. Regardless of how busy I am, I always make time to practice 30 to 60 minutes a month.
This practice has come in very handy in the most difficult of times to create something truly special for my clients.
For example, the photo I took in Sarasota, Florida, during a hurricane. This photograph was taken late in the evening as the wedding came to an end at the Ringling Museum of Art in Sarasota, Florida. This photo has to be one of my all-time favorite wedding photographs in my career.
It had been raining all day and all night due to a hurricane passing by the area. To take advantage of the rain, I asked the Rolls Royce driver if he could park the car in front of the tree. I then asked my assistant to stand in front of the grid of the car with two Canon 600EXRT flash units. 
One flash unit was used to backlight the couple, and the second was pointed towards the car’s headlights. 
Illuminating the headlights would give the viewer the perception that this photograph was lit by the car’s lights. However, the car was not even on. When everything was set, I then asked the bride and groom to run out quickly. It took us a couple of tries to get it right, and maybe we got a little wet, but the photograph is magical, and it will last forever!
Without my relentless practice sessions with my flashes, I would have never been able to visualize this beautiful photo in the midst of a hurricane passing through the location of the wedding. 
I have a full production studio in Beverly Hills now. Although I still shoot a few weddings a year, my focus has switched to commercial fashion photography. 

Are you working on any exciting projects you’d like to share?

I am incredibly passionate about the benefits I have received from really taking the time to master all aspects of lighting and posing. The more you know about lighting and posing, the more fun you have as a photographer.
The art of photography just opens up to you in ways you never thought imaginable. The type of work you can produce with more knowledge is just incredible and addictive!
Because of this, I dreamed of creating the ultimate education platform for eager photographers wanting a concentrated level of the highest quality education in pure lighting knowledge. 
So, I’m in the process of designing a conference. More details to come.

If you could share any photography tips with our readers, what would they be?

I would say that photography has opened doors in my life that I have never thought possible. But it has come because of my training. 
My tip would be to never think you know something so well, that you don’t have to learn anymore. Keep your curiosity as big as that of a child. Learn how to pose so that people don’t look posed.
Also, learn how to light, so that the light communicates something to the viewer instead of using light simply to illuminate and create an exposure. 
Embrace education, learning, and the new technologies available to help you expand your capabilities and become an even better visual storyteller. 

See more of Roberto Valenzuela’s work here:
Instagram: https://www.instagram.com/roberto_photo YouTube: https://www.youtube.com/robertophotography Website: http://www.robertovalenzuela.com

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Getting Published in Photography Magazines – An Editor’s View

by Andrew S Gibson.
With the release of Mitchell Kanashkevich’s eBook ‘Getting Published in Photography Magazines’ as part of the ‘Going Pro: How to Make Money From Your Photography‘ kit I thought it worthwhile to look at the process from the point of view of the photography magazine itself. What do photography magazines look for and what goes through the mind of their staff when they’re considering your submission? As Technical Editor of EOS magazine, I’m in a unique position to give you some insight into those questions.

Photo submissions

Your first step when considering a submission is to get hold of several copies of the magazine that you’re interested in and take a good look at the photos it uses. What’s the purpose of the photos in the magazine? Do they illustrate specific photographic techniques? Are they stand-alone images or are they part of an article? Do you recognise any of the names in the photo credits – are they professional photographers or magazine readers? How much post-processing have the images gone through? All of these points help you get a feel for the types of photos used in the magazine.
It helps to be a regular reader – if you’ve read every copy of a magazine published for the last year you’ve probably got a pretty good understanding of their requirements. If it’s the first time you’ve seen this particular magazine, it will take you a bit longer.
Our photo requirements at EOS magazine are quite specific. To start, all the images in the magazine must be taken on a Canon EOS camera. We use photos to illustrate very specific photography techniques. Some of the topics we’ve covered in recent issues are hyperfocal distance, mirror lockup, astrophotography and Picture Styles.
If you read our magazine you’ll notice that we use a lot of comparison photos. As an example, in the Picture Styles article we showed the same photo processed with several Picture Styles so readers could see the differences between them.
What’s the best way to get published in EOS magazine? In the first instance you should read our photo library submission guidelines, available online at www.eos-magazine.com/photolibrary. The information about the types of photos we need, and how to send them to us, all are there.
Once you’ve sent us some photos, we’ll add them to our library and they may get used in the future to illustrate an article. Admittedly, this is bit hit and miss as we have thousands of images on file, and our requirements depend on the articles that we’re writing. But you can increase your chances of publication massively by sending in high quality images that illustrate specific photographic techniques and include comparison photos. If your photos are good enough, they will get noticed.
The second approach is to send some lo-res images by email to our editor (you’ll find her email address in the guidelines). I don’t want to encourage general submissions that way – you should only email images if you have strong set that illustrate a specific technique. So, for example, if you have a set of photos that illustrate the use of Speedlites, then send them in. If the photos are good enough, and we haven’t published anything similar in recent issues (that’s where your market research comes in) we may use them – we may even write an article about the techniques you used if the photos are interesting enough.
We also look for newsworthy photos – such as a set of photos with an interesting story or technique behind them, or a project (such as 365 project). This is the sort of thing that may appear in the news section of our magazine.
Every photography magazine is different and you should study your chosen magazine carefully to see how your photos may be used. Some magazines have a section where they invite readers’ submissions and this can be a good place to get started. I got my first photos published this way. A word of warning – not all photography magazines pay for photos published in these sections. It usually says in the submission guidelines (you did read those didn’t you?) – the magazine may pick an image to receive a prize or you may just get the glory. It’s up to you whether you think this is worthwhile.

What photography magazine staff look for

At EOS magazine I view a number of submissions sent to the magazine. So, what do I look for? There are two important things. First, the quality of the photos has to be excellent. You really need to ask yourself if your photos match up to the quality of the photos already published in the magazine. It’s always difficult to be objective about your own photos, so don’t be afraid to ask for someone else’s opinion. If your photos aren’t up to the required standard then take the time to work on your technique and creative vision until they are.
A little while ago we had a submission from a photographer who had some great images but they were covered with dust spots. That’s not cool. It looks unprofessional and we had to ask him to fix them.
Second, the photos must be relevant to the content of the magazine. They must illustrate a certain technique and do it well.

Photo buying

As well as dealing with images that are submitted to the magazine, I sometimes need to hunt for images that we need. For example, I wrote an article about reverse lens macro photography for the current issue of the magazine. It was surprisingly hard to find good images to illustrate it. Normally I search on Google, or on photo sharing sites like Flickr, 500px or 1x.com.
How can you increase the chances of me or another photo buyer finding your photos? A blog helps immensely. I always search Google to see what I can find when I’m researching articles. If you’ve got some good photos, then write an article about them on your blog. It greatly increases your chances of being found. For example, if you have some great reverse lens macro photos, post them on your blog and explain how you took the photos. The next time that a photography magazine writes an article about this topic, they may find your blog.
You can also post them to the above mentioned photo sharing sites. It’s a good idea to post a detailed description with the images. If I’m looking for photos, I normally have very specific requirements. If your caption mentions the camera, lens, relevant camera settings and explains the technique you used I can see right away whether it fits our needs.
It doesn’t bother me whether you’ve been published before or not. I don’t care whether you’re a professional photographer. All I need to know is whether your photos are good enough for the magazine. Having said that, if you act in a professional manner it makes a good impression and lets me know that you may be a good person to work with in the future too.

How to be professional

If you say you’re going to do something – do it (and do it well). Add a signature to your email account with a link to your website. Don’t have a website? You should – anyone can go to wordpress.com and start their own free website. Don’t think you have to have a professionally designed website, while it would be nice the important thing is to have a professional looking showcase for your images and stories and that’s easy to do at wordpress.com (it’s good enough for Steve McCurry).
Edit your photos. You should only have your best ones on your website. The same goes for photo sharing sites as well, especially Flickr. It makes a much better impression if all the photos you’ve uploaded are high quality – and a poor one if I have to wade through all the rubbish to get to the good stuff.
Play to your strengths. If you’re a Photoshop expert, make sure I get that when I look at your website. If, on the other hand, your specialty is low light photos, make sure that visitors to your site can’t miss that fact (Brent Pearson is good at both).

Long term relationships

Never be afraid to ask about money. It’s OK to ask a magazine what their publication rates are, and it’s always best to double check in case they don’t intend to pay you. It’s rare, I’m sure, but it does happen. I got told once by the editor of a UK photography magazine that they ‘have no budget for photography’.
Photography magazine usually have fixed rates for photos and won’t go beyond that. They may make an exception for a ‘name’ or professional photographer, but generally speaking you’ll have to accept what they tell you. It won’t make you rich, but it could be the start of a long term business relationship.
Photography magazines like EOS magazine have an insatiable need for relevant, high quality imagery. We have a problem to solve each issue – how to fill it with inspirational images that illustrate the techniques we write about. Can you help us solve that problem? If your images will help the magazine fill its pages, you’re on your way to getting published and building a long-term, mutually beneficial relationship.
For example, we have a photographer who supplies us with most of our requirements for photos taken with portable Speedlite flash units. He’s been working for us for years. He’s great at what he does, his photos are creative, the quality is excellent, and if we ask him to do something he always does it on time and delights us with the quality of his photos. If you want to build a long-term relationship with a publisher, that’s the sort of thing you need to do.
One thing leads to another and long-term relationships bring long-term benefits. For example, one of my first published photos appeared in Practical Photography magazine. They asked me to write an article about the story behind the photo, which led to several more photos and articles being published. If I hadn’t ended up working at EOS magazine, that relationship would probably have developed further.

Your photos, our needs

If your photos are good enough, they’ll get published. It may take time – not only do your photos have to be of the highest standard, but they also have to meet the needs of the magazine you’ve sent them to. If you send me some reverse lens macro photos next week, it doesn’t matter how good they are, they won’t get used because we’ve just written an article on that topic and won’t revisit it for another two years at least.
However, if you’d sent them a month or two ago they may have been published. Timing, and luck, are everything. You can increase your chances by asking if the magazine has any current picture requirements. If you have persistence, and the understanding that this is a long-term game, combined with sound photographic technique and a collection of high quality images, sooner or later you’ll get published.
It’s always a pleasure to publish someone’s work for the first time. While I was researching the reverse lens macro article I mentioned earlier, I came across the work of Roni Delmonico and we used some of her images to illustrate the article. She was delighted and wrote about it on her blog. If you act on the advice in this article, next time it could be you.


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