It is no secret that I love using ultra wide-angle lenses for my landscape photography. I was especially excited when I received the new Sigma 12-24mm f/4 DG HSM Art lens just before I departed for my winter Iceland workshop. It has an amazing 122-degree angle of view at 12mm. Many photographers have a difficult time using ultra wide-angle lenses correctly when composing a scene. Why? The simple answer is that they do not get close enough to their subject.
After I had a chance to test and review the JPEGmini Pro software, I realized how powerful this software is not just for exporting images and being part of a Lightroom workflow, but also for many other uses, including optimizing images that are already sitting on our large storage devices. Another use I immediately thought of, was the web server where Photography Life traffic originates from. Given how much traffic PL serves worldwide on a day-to-day basis and the fact that images alone account for roughly 5 Terabytes of traffic per month, the thought of being able to compress JPEG images using the JPEGmini engine was something that I really wanted to implement sooner than later. So I embarked on a new project – to save both traffic and money in the long run for PL, using the JPEGmini server.
Photographers Beware: this is a very technical review of software that is not related to photography. I decided to publish the review at PL, since I feel that other photography-heavy websites could hugely benefit from implementing the JPEGmini server.
Two recurring questions that we often see from photographers are: “I have color management properly set up on my computer; why is it that the color is different between an out-of-camera JPEG and, say, Lightroom (substitute with your favorite 3rd-party converter)?” and “Why is it that the particular color on a photo is different from the actual color?”. In this article, we will go over why color from images is reproduced differently on camera LCD screens and monitors, and the steps you can take to achieve more accurate colors.
I have a confession: I have a love/hate relationship with seascapes. Sometimes I feel like they are easy, monotonous and a little bit of a sham — an easy way to impress others without having to put in the requisite amount of work. On such days I vow never to shoot a seascape again. And then there are moments when I cannot resist the pull of the ocean. When the sky looks like it will go up in flames at sunset casting it’s glow on everything the light touches — the sand, the rocks, the water. When the tide is high and the waves crashing violently into the surf promise dramatic foregrounds. ‘This will be my greatest seascape,’ I tell myself as I pick up my gear and head for the beach, bracing for the challenge ahead.
In the first of a series of follow-up articles to The Quality of Light, I have posted this article to share a series of photographs (along with the thought processes behind them) that I hope will accentuate the interplay of light, directionality, shadows, and mood in landscape photography. As previously discussed, the directionality of light is a powerful factor in defining the quality of shadows, the contrast, textures, and three-dimensionality of a scene, as well as the mood and emotion that the photograph will convey. In particular, unidirectional light qualities (e.g., side lighting and backlighting) serve this purpose well in landscape photography.
As photographers, we heavily rely on memory cards, because they store images captured by our cameras and we use them to transfer images to our computers / main storage. In some cases, photographers even rely on memory cards to be their secondary or tertiary backups when shooting in the field. The role of memory cards in a photography workflow should not be underestimated – a failed card may not only lead to many problems and frustrations, but can also create bigger problems, especially when dealing with commercial clients who could make the photographer liable for loss of their images. In this article, I will share some tips on how to properly use memory cards and how to take care of them based on my many years of experience, both as a photographer and as an IT professional.
Ever since Sigma decided to revamp its line of lenses with its “Art”, “Contemporary” and “Sport” editions, we have seen a number of innovative lenses from the company, some of which claimed the “world’s first” title. Sigma has been working hard on producing fast, high-performance and durable lenses for Nikon, Canon and Sigma mounts at very attractive price points, allowing the company to quickly grow and establish itself as a reputable lens manufacturer. Today, the company revealed yet another amazing set of lenses in the form of Sigma 14mm f/1.8 DG HSM Art, 135mm f/1.8 DG HSM Art, 24-70mm f/2.8 DG OS HSM Art and 100-400mm f/5-6.3 DG OS HSM Contemporary – four lenses designed specifically for full-frame cameras.
Many photographers enjoy exploring the world around them with macro and close-up photography. The basic difference between these similar genres of photography is the amount of magnification achieved, with a 1:1 magnification generally accepted as an example of macro photography. Images at this level of magnification also have more details than are achieved with close-up photography. The camera gear used for macro photography can be quite specialized and costly which can be a barrier for many photographers. This article features a small selection of close-up photography images all of which were shot hand-held in available light using a set-up that cost about $875 CDN including camera body, lens and extension tubes.
Have you ever wondered how to use the graduated filter in Lightroom? Although we have covered it in depth in our Workflow and Post-Processing course, I thought it would be a good idea to share some detail about the specifics of the graduated filter in a video. If you are just starting out in Lightroom, this will be a good introduction on how to use the graduated filter, which keyboard shortcuts to use to access it and how to do basic customizations to make the tool fit your needs.
When taking pictures, one of the biggest frustrations one can experience is camera shake, which often happens as a result of the way the camera is held at lower shutter speeds. Properly hand-holding a camera can drastically reduce human-induced camera shake and result in many more sharp images and keepers. In this article, we will discuss a few different ways to hold a camera, which will hopefully reduce and potentially even eliminate unwanted blurry images when you are shooting in the field.