Sometimes it seems like photography is just one big repository for acronyms. We buy a new lens, it is sold with OS or VR. Our cameras have very high ISO settings, even our filters can be NDs. Today, for those who don’t know their CMOS from their EVIL we are giving you a brief guide to some of the most common acronyms you might find on the buttons, dials and menus of your cameras.
So, gazing into my crystal ball for this year, here are my predictions for 2015, based on nothing but what I read and understand from the photographic world and in no way based on any insider knowledge. Let’s start by taking a little look back at my predictions for 2014. At the beginning of the year, I suggested that apart from the D4 upgrade and a new Canon 7D MkII, there would not be much in the way of DSLR innovation. This was pretty much true, apart from the above cameras most of the new DSLRs this year were minor upgrades. The Nikon D750 was an exception to that and was quite a surprise.
You might think that you have a great camera. You might also think that you have the latest and greatest LCD monitor and in both cases, you are probably right. The problem is that when these two devices talk to each other about color, they do not understand each other. Put simply, when you are working with your images on your monitor, unless you have calibrated it, you are probably not seeing the image the way the camera took it. Monitor calibration used to be an expensive and time-consuming procedure, but these days it should be regarded as an important part of any photographer’s workflow. When my Pantone Huey decided to not work anymore, I foolishly laboured on for a long time without color calibration. However, recently I returned to the fold with at the purchase of the basic but very useful ColorMunki Smile and today I would like to share my experience of it.
Your first shots in your photographic journey were probably taken because you had the camera in your hand and the scene in front of you looked great. As your photographic knowledge and experience progressed, you probably found yourself passing a scene and thinking, that looks ripe for a great photo, I must come back with my camera. At this point, you have started your move into previsualization. Today we are going to take a brief look at previsualization, what it is, and how you can achieve it.
One of the more common questions that new photographers ask is, how many pictures can I fit on my memory card? There are two answers to this, the easy one, which is to quote a specific number or the accurate one. The accurate answer is, there is no way of telling. The reason this answer is not often used is because explaining it can be complicated. Its complication stems from the fact that the most popular image file format used by photographers today, is of course, the JPEG, and JPEG files rarely have a fixed file size. Today we are going to attempt to explain the mysteries of the JPEG and why it is important to understand them.
We all love a lens. After all, they are, arguably, the most important part of our photographic equipment. Most people will start off with one, maybe two lenses and usually these will be a standard zoom and a telephoto zoom. However, as you grow as a photographer, you come to realize that there is a whole world of creative possibilities being denied to you using the “usual” lenses. Today we will take a look at five lenses that you should consider adding to your kit.
Those of you, who use Lightroom, will know what a powerful and multi-faceted program it is. It is fair to say that along with its now discontinued rival Aperture, Lightroom revolutionized the way we manage our images once they have left the camera. We can now upload, edit, manipulate and export images so much quicker than a few short years ago. Doubly so for RAW files which were once clunky awkward images to edit but now are treated no different to a JPEG. Being such powerful piece of software, there are always some little features or functions that can speed your workflow up even more. Today we will have a look at some of them.
In our last article, we took a look at the logistics of photographing in this busy, bustling city. Now we are going to take a look at some of the more iconic locations to shoot from and discuss best time of day and position in which to shoot from.
“When a man is tired of London, he is tired of life.” A cliche perhaps and what is not mentioned is how tiring London can be. That said, it is a phenomenally photogenic city, a place where you can photograph Roman ruins alongside some of the most modern architecture on the planet. It is a place of pomp yet poverty, a place where any photographer will find his subjects in abundance. A few weeks ago, I shared my experience of a stock photo shoot in London. In this two part series we are going to give you some ideas on the logistics and locations of shooting in London. Starting with this article, we will take a look at the logistics of shooting in this vast city.
The Golden Ratio is also known as the Divine Proportion. This is because it occurs virtually everywhere in nature. When we are shooting, our eyes are naturally accustomed to seeing this proportion wherever we look. If in our compositions we break this natural ratio, the image will look uncomfortable, jarring our eyes. The rule of thirds is one of the most fundamental composition techniques in photography. It works because it is very close to the Divine Proportion and our eyes accept it as natural. However, if you want to take your compositions to the next level you can apply Fibonacci’s rules to two more advanced techniques, the Golden Rectangle and the Golden Spiral.