Ever since I published my Nikon 50mm f/1.8G review, where I showed that the lens outperforms pretty much any other Nikon 50mm lens, including the more expensive Nikon 50mm f/1.4G, I have been getting a lot of questions from our readers. Some wonder if perhaps I made errors in my assessment of the lens – it seems hard to believe that a cheaper lens would outperform its bigger brother. Others wonder if the 50mm f/1.8G truly is that good, why Lola and I continue to use the 50mm f/1.4G lens for our work (it is also listed in the outdated “Our Gear” page).
Let me start by saying that I’m a digital camera junkie. I love technology. I love everything about working with digital images… the number of images that can fit on a tiny memory card, the sharpness and amount of detail that can be captured with good bodies and lenses, the instant gratification that comes from looking at an LCD screen and the amount of flexibility available while editing. Why, then, would I ever want to shoot film instead of digital?
A friend of mine sent me a video from the WSJ called “Don’t Forget to Pack a Photographer” (link to the video, link to the article). Seems like there is a new trend in higher-end markets, where people are hiring professional photographers to photograph their vacations. It is certainly an interesting concept that could create potentially good business for us photographers (if priced right and done right).
The more time I spend in my photography pursuits, the more I appreciate cameras that capture and photos that exploit their maximum dynamic range potential. Digital cameras have undergone dramatic improvements over the last 12+ years, but they still don’t come close to the human eye’s dynamic range capabilities. By some estimates, the human eye can distinguish up to 24 f-stops of dynamic range. Higher end DSLRs such as the Nikon D800 by comparison, can capture up to a theoretical max of 14.4 f-stops of dynamic range. The usable dynamic range of most DSLRs, however, is closer to 5-9 f-stops, considering the impact of noise, which can render some of the DSLRs’ f-stop range impractical to exploit. Thus your eyes – at least for now – are still far more capable than the best DSLR relative to recognizing various tonal gradations. As I will demonstrate via my new model, “Doris” (shown below) of the Pittsburgh Zoo, even photos taken with high quality DSLRs sometimes need a bit of extra processing to match what your eyes can see. The photo below is the result of a processing technique I often employ to boost dynamic range when it is apparent that my camera’s sensor failed to capture what I remember seeing.
We rarely get to see extraordinary people in our everyday lives. Have you had one of those moments when you saw a stranger that you really wanted to take a picture of? I am sure you have. So what did you do? Did you just photograph the person from afar without them knowing, try to talk that person into being your 30 second model or perhaps you might have tried to sneak up and take a picture? Or even worse, maybe you did not take a picture at all? I guess it has to do with our personality. If you are of shy type with a low confidence level (often a photography rookie), you might be even afraid to ask. That dreaded “No” can be quite discouraging to say the least and many of us don’t even bother to ask for that very reason.
I often get asked if there is a certain way of achieving a particular look in a photo. How to make colors and people “pop”? How to properly color correct? How to make the skin blemish free? While there are lots of different ways to post-process photos using tools like Lightroom and Photoshop, the most powerful tool in any visual artist’s arsenal is typically forgotten – your eyes!
In my previous Lightroom Dodging and Burning Tutorial I chose a photograph that had multiple issues. I addressed most of them in that tutorial but specifically left out one major issue (which was quickly discovered by one of our readers) to be a subject for fixing selective color in Lightroom and Photoshop. If you take another close look at the photograph I chose in that tutorial, the face of the model is visibly brighter than the color of the rest of her body. While in many cases our facial color tends to differ from the rest of our body, it can look rather awkward in photographs. Especially in this particular photograph, it is obvious that the foundation on model’s face did not match to rest of her skin color.
This is a simple tutorial on how you can utilize Lightroom tools to Dodge and Burn selective areas of a photograph to your liking without using Photoshop. During the process I will also go through some simple steps to show how you can enhance an image directly in Lightroom. I chose a sample portrait to show the process, because I often rely on Lightroom to do most of my post-processing work.
I have been super busy working on a couple of big projects lately and this weekend I helped out Lola with her bridal work. While setting up the lights, I decided to try out and shoot with three different cameras – the Nikon D800 (see the recently published review of the Nikon D800), the Canon 5D Mark III (a full review is coming up in a couple of weeks) and the Fuji X-Pro 1 (also coming up for a review soon).
As photographers, we are bombarded with messages urging us to see the world through our own eyes, or find our “unique vision”. Apart from the photo club outings and occasional seminars, photography is primarily an individual pursuit. And as we all know from Diseases That Plague Photographers and other articles on Photography Life, photographers can be a bit consumed (ok – downright obsessive!) with their equipment, and have extremely strong opinions concerning it!