Telephoto lenses are wonderful tools for almost any genre of photography, but they aren’t necessarily easy to use. In particular, telephoto lenses will magnify any camera shake and provide a much thinner depth of field compared to wide angles. Don’t let that stop you, though. Telephotos have a unique way of showcasing the world — one which may be ideal for your photos. In this article, I’ll go in detail about how to use telephoto lenses, discuss some of their benefits and tips for dealing with their unique challenges. Although I personally tend to take landscape photos, the techniques in this article apply no matter what subjects you like to capture.
Light, shapes, lines, forms — the foundations of photography. No matter what subjects you shoot, you’ll end up working with these features for every photo that you take. Architectural photography, though, takes it to another level, with its perfect geometrical lines and shapes that are hard to find anywhere else in the world. In this article, I will cover everything from indoor architectural photography to outdoor “urban landscapes” and cityscapes, including some tips and tricks that I use all the time in my own photos.
A quick note: Apologies that we have not posted an article this past week. Nasim and I have been in New Zealand since the beginning of December, and it has not been possible to publish anything without a reliable Internet connection. Our articles may still be sporadic until we get home at the end of December, so we appreciate your patience. For now, we have published our backlogged articles from recent days. Hopefully, the photos we bring back from this trip will be worth it!
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.
Exposing to the right, or ETTR, is an approach to photography that is as helpful as it is controversial. On one hand, exposing to the right is yet another technique to remember while shooting, and it can potentially ruin your exposure if utilized incorrectly. On the other hand, at least in theory, ETTR is the epitome of digital exposure. With proper ETTR, your images have as much detail in the shadows as they possibly can, without any of the highlights losing information along the way.
I have been shooting the night sky since my grandfather gave me my first 35mm SLR in junior high. Today’s digital SLRs allow us to shoot amazing things that I could only dream of a couple decades ago! Below are some tips and suggestions that I teach at night photography workshops for shooting the Milky Way.
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.
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.
There are most likely as many ways to achieve a beautiful B&W look as there are photographers. Maybe I am exaggerating it a little, but then I am in love with B&W. It is not as if I don’t like colour, oh no. It’s just that I like the “classic” look that much. So today, instead of doing some general article on B&W conversion and trying to cover several different looks, I am going to pick out a photograph and just work on it until it is exactly how I pre-visualized it a second before pressing that shutter. First of all, though, we need a photograph. I think I have just the right one.
I get asked very, very often how I process my photographs. And it is no secret – most of the time, I simply use VSCO. It suits me so well, coincides with the way I see and pre-vizualise my work, my style and my taste so accurately, only rarely do I need to dive deep into the post-processing closet to pick something else on my own. And yet despite me saying it, I get asked this one question really rather often – how do I achieve that look? It took me a while to figure out what do most people mean by that look, but I have. It’s not the colour or the light or the composition that a lot of you are so interested in when you ask me that question, it turns out. I also figured out why it’s so hard to describe properly – there really is no term for it (a reader has told me it is called “matte” and while personally I’ve not come across it before, we will see if the term will stick for good). It’s a sort of… vintage-retro-dreamy-low-contrast-film look. Sounds vague? It is. That is why any help on the matter is so difficult to find. And yet I am pretty sure you understand – or at least imagine – what I mean. Basically, a lot of you are wondering how to make the photograph on the left look like the photograph on the right.
You will be glad to know it really is rather simple.
As I was working on the “Composition in Photography: Assignment Discussion” article and upcoming Lightroom Crop Tool article last night, I came across a feature in Lightroom that I had not previously used. I love it when that happens. Realizing that the software tool I enjoy using and find to be very versatile is actually even more functional than I thought, is pure joy. In this article, I will teach you how to quickly check your composition in Lightroom against known rules and guidelines, such as the Golden Ratio or the Rule of Thirds (and, yes, these are indeed two separate things), by overlaying the image with them.