Photographers have a dilemma. If you want your photographs to have the largest possible depth of field – from the foreground to infinity – a small aperture is absolutely necessary. At the same time, though, a small aperture causes your photograph to lose sharpness from diffraction. So, where’s the sweet spot? In this article, I will cover how to choose the sharpest possible aperture for such a photograph, including mathematically accurate charts (free for printing) that are easy to use in the field.
When photographers talk about lens diffraction, they are referring to the fact that a photograph grows progressively less sharp at small aperture values – f/16, f/22, and so on. As you stop down your lens to such small apertures, the finest detail in your photographs will begin to blur. With good reason, this effect can worry beginning photographers. However, if you understand how diffraction impacts your photographs, you can make educated decisions and take the sharpest possible photographs in the field. In this article, we will explore the topic of lens diffraction in detail and talk about different techniques you can utilize to avoid it.
Hyperfocal distance can be a confusing topic, both for beginning and expert photographers. However, if you want to take the sharpest possible images, particularly landscape photographs, it is simply invaluable. In this article, I will explain hyperfocal distance and give several methods to get the sharpest possible photographs with maximum depth of field. This article covers hyperfocal distance charts, as well as other, simpler methods to find your hyperfocal distance.
A couple of weeks ago I wrote the article “Four Simple Tips for Better Composition”. In that article, I discussed in-camera techniques for keeping your horizons level and verticals vertical. However, even if you are careful, this is not always possible. This is especially true when trying to take pictures of tall buildings. I received several great comments mentioning that Photoshop’s powerful “Transform” tool can be used to correct the keystoning issues that arise in such a situation. I thought it would be a good idea to follow that last article up with one on post-processing methods for perspective corrections. I will go over a couple of ways to quickly fix horizons in Lightroom and how to easily improve/correct keystoning in Lightroom. I will also go over some more advanced techniques for perspective correction using Photoshop, for when the Lightroom methods don’t quite make the grade. The combination of good in-camera image creation and post-processing perspective corrections should allow you to create images that reflect how are eyes see and our brains perceive the world around us.
So you want to get your flash off camera? If you want to improve your flash lit portraits you need to get your flash off the camera. A great way to start is to use Nikon’s own CLS (Creative Lighting System). Since a lot of people will own one of the Nikon Speedlights, getting it off camera and triggered remotely is a very straightforward and relatively inexpensive task. In this article, we will explore the basics of Nikon’s Creative Lighting System and set things up to photograph an image like this:
No matter what you photograph, there is one thing you should realize about light. Not all light is created equal. I’m not talking about the quality of light, but rather the color of light. What you might see as white light from different sources can actually have different colors, or what are referred to as color temperatures. Direct sunlight at noon (which I’ll just refer to as sunlight) is considered to be a “normal” color temperature, so all light sources are compared to this as the standard. For example, light from an incandescent light bulb appears to be more orange than sunlight. On the opposite side of the spectrum, shady areas appear to be more blue than sunlight. In photography, we refer to these differences as being “warmer” (or more orange) and “cooler” (or more blue) than our neutral sunlight reference point. In this article, we will go over the basics of white balance and color temperature, topics that can be a bit intimidating for beginners to understand.
Drones – often called unmanned aerial vehicles – have become vastly more common over the past few years. In the United States alone, the Federal Aviation Administration (FAA) predicts that more than one million drones will be sold over this holiday season; many more will be sold in other countries across the world. Whether you love or hate the growing prevalence of drones, their popularity has never been greater. In this tutorial, I will share some tips that I have learned over the past few months of using a drone for taking pictures. My focus is on still images, but many of these tips apply to drone video and cinematography as well – particularly for people in the midst of buying their first drone.
Aperture is a confusing topic for beginners in photography – it controls so many variables in your images, from exposure to depth of field, which can make it quite difficult to grasp initially. To make matters worse, the F-numbers of aperture are backwards from what you may expect! A small aperture is a large F-number, and a large aperture is a small F-number. I certainly was confused by aperture when I first started taking pictures, and it took me quite a while to really understand how it works. Nasim already covered aperture in-depth for beginners, but I wanted to pass along a quick diagram that I made – hopefully something that you will find useful. This chart covers the most important effects of aperture in photography, as well as common terms that photographers use to describe their settings.
Every once in a while, you will hear some photographers claim that lens filters are completely useless. Some will argue that only specific types of filters such as UV and protective filters are evil, while others will also include polarizing and ND filters into the mix, claiming that one could reproduce the effects of all those filters in post-processing software. Arguments for or against filters can spark a lot of heated debates in the photography community, similar to topics such as “Nikon vs Canon”, or “DSLR vs Mirrorless”. There are certainly some passionate individuals out there who are ready to stand their ground no matter what. And there is nothing wrong with that, as that’s what typically happens when there is truth on both side of the coin, depending on what angle you are looking at – there are certainly both pros and cons to using lens filters. Having been teaching photography for a number of years now, I have come across many different photographers of all skill levels in the field and I have come to realize that there is sadly quite a lot of misinformation out there regarding lens filters and their proper use. Many of us simply don’t know enough about not just filters themselves, but also their significant effect on our post-processing workflow. Although we have previously written many articles on lens filters, let’s explore filters once again and hopefully address some of the misconceptions about these important tools.
One of the biggest issues many of us photographers face is the gigantic size of our photo libraries, which creates a lot of issues for backing up and restoring images. While we have written a number of articles on properly backing up images, with a recent article on a backup workflow, we have not spent much time on managing the backup size and reducing it. After-all, if the backup size itself is significantly reduced, the time it takes to back up those images improves drastically as well! Let’s talk about some of the tips, techniques and potential changes to your workflow you can administer today in order to reduce your backup needs in the future.