Whether you are just getting into photography or have been shooting for a while, you have probably heard the term “crop factor”. With so many different cameras and camera systems available today, this particular term comes up very often in product specifications, marketing materials, articles, books and you might even hear it in conversations between photographers. If you do not know what it really means or want to get a better understanding of crop factor, this article will hopefully make it easier for you to understand it better. Please keep in mind that this article was written for beginners, so many of the terms and explanations are over-simplified.
In September of 2014, my wife and I had the great fortune to take the trip of a lifetime to South Africa, Botswana and Zambia. The trip was more than a year in the planning which gave me the chance to think about what camera equipment I wanted to take along. Our itinerary was not one of the ones designed specifically for photographers however I had no doubt we would have plenty of opportunity to take pictures!
Adobe Photoshop is really not about speed. I can’t say it’s ever been – even back when I was using the then-current version 5 (and the more capable 5.5), it was packed full of features and required not only lots of time to even begin to master, but to use for the simple things, too. Not to say it’s slow to work with, exactly, but if you want to accomplish your task quickly without any excuses, Lightroom is perhaps more suitable. It certainly ought to be. Yet if you work slowly and methodically, if you spend not minutes, but hours and even days post-processing a single image or a series, that is what Adobe’s heavyweight is most suitable for. Not for the sort of work where you click a few buttons and move on, but for the patient sort, where every detail matters, where there can be no sloppiness. Simply because of its vast, enormous capability. To own Photoshop just for one or two features is, more often than not, a bit of an overkill.
Just a few years ago, if you wanted more saturated colours in your landscapes or any other sort of photography, there was one basic adjustment to apply – saturation. Especially for beginner photographers, the Saturation slider in Photoshop was one of the most useful tricks to learn and seemed to change everything. You start with a boring, flat looking sundown, and you end up with this magnificent landscape to behold.
Last update: January 1, 2015
I did the first Lightroom Q&A session over a year ago and I think it is about time I do one again. As before, you are welcome to ask any question you like about Lightroom. I very much hope to answer all of them by updating this article. I will run this session for up to a week and update the article regularly with answers. If there are any questions very specific to a certain case, I may answer them in the comments section. Specific, to-the-point questions will be answered in this article, while questions requiring more extensive explanation may be covered in separate articles in the near future. As always, our readers are very much welcome to pitch in and participate actively in this Q&A session by helping with the inquiries (I doubt I will know all the answers!). If you are new to Adobe’s Lightroom and find it difficult learning what’s what, this is the time and place to ask for help!
A while ago, I wrote an article on low-contrast B&W conversions with Lightroom. After reading through some of the response the article received I was pleasantly surprised that so many of our readers actually prefer low-contrast look over the ever-popular high-contrast conversions. That is not to say high-contrast B&W photography is in some way inferior, not at all. It is merely the more popular, the more easily accepted sort of look, which is exactly the reason why I saw fit to go against the wave and start with the opposite. Now, ever since I wrote that piece, I’ve received several requests for a similar article on a high-contrast conversion. This topic is particularly tricky for me since I rarely do high-contrast B&W, but the requests did remind me of one occasion where I was deliberately working towards such a result from the very start. And so, as always, we begin with a photograph.
A lot of wedding photographers think their work is mostly for the bride, and I can see why. Usually, it’s the bride who spends countless hours looking for the right person to capture the best day of her life, sometimes even years before the actual wedding. I’ve had men contact me more than once, of course, but eight times out of ten, it is the bride’s letter that reaches me. Every little detail has to be perfect, and brides-to-be are more than happy to dive into the planning to make sure it is exactly like that. On the wedding day itself, it is the bride that receives the most attention and most admiration. Not to say the groom is secondary – oh no. His admiration and attention are the most important, he is her knight in shining armour, so to speak. And yet, she is the princess. So if she is happy, he is happy, isn’t that how they say it? Strangely enough, I’ve found that it is not the bride that is hardest to impress with your work. After all, if she’s chosen you, she already knows, more or less, what to expect. And the groom? That is a somewhat different story.
We all have our strengths and weaknesses, as well as ways to deal with the latter. And it is only natural for us to sort of… drift towards our strengths. Hold on to them, practice as often as we can and, by doing so, get even better at them. And so, before I inevitably talk about close-up portraits (which I am not very good at), I thought I’d first discuss much more loosely composed photography (which, though far from having mastered, I dare say I am rather better at).
My word. This is such a relief to write about.
Horse Polo is normally played on a field that is nine times the size of an American Football field, making it a very challenging sport to photograph. A smaller version of the game, Arena Polo, is played on a field that is slightly smaller than a Football field. For purposes of this article, I will mostly discuss the large field version of Polo.
As a dedicated sports photographer, I look forward every year to fall. The American school year starts, plus horse polo season is just around the corner. So you can imagine my reaction when my wife announced that we would be taking a month long vacation in September; my heart damn near stopped. I looked sadly at my new D810, with the attached 70-200mm f/2.8G forlornly staring back at me. Football, Golf, Swimming and Volleyball seasons were just starting, and I would not be there. Instead I would be at the beach for the next month, with nary a chance to photograph any sports. So I packed up the D810, the D800E (with an attached 24-120 f/4), threw a 50 f/1.8 in the bag for good measure, grabbed a tripod, some memory cards, etc., and off to the beach we went. A felt like a fish out of water (or, since we would be at the beach, a bear chained to a stake). Just what would I take pictures of?