By Tony Sweet

Hi and welcome to fall, one of our favorite times of year. There is fall color all over the country, so wherever you choose to photograph, here are a few tips that may help wherever you may roam this fall.

The right tools

Along with your gear, including tripod, you’ll need a polarizing filter to control glare and
optionally a neutral density filter to control the speed of the water flow.

The right clothing

Research the area, but we carry clothes for 20F to 80F, incl. rain gear
Dress in layers and consider NEOS overshoes for wet and muddy areas

The right conditions

Best quality color – overcast, diffused light, light rain
Best reflection color – Water in the shade, trees in bright sun (no clouds)
Early morning for misty ponds and low lying fog

Get out early

We are always at our location at civil dawn (when you barely see enough to walk around)
waiting for light to break. On clear cool mornings, thin ground fog is likely.
And should the dawn sky light up, you’ll be ready.

Image info: We got here when it was dark and waited for the light to brighten up enough
to find the row of grasses that were the least blocked up, where we could see the color through them.

Getting out and scouting locations to find the right locations for sunrise/ sunset is a good practice.
Having a headlamp is recommended. It’s better to be set up and wait at sunrise than rushing to it in the dark. On this fall morning, the warm, low-angle light blast, lasted only a few seconds.

The fully polarized maple leaves removed all glare. Sometimes glare can be our friend. It’s a good
practice to photograph scenes like this, with wet leaves, at various levels of polarization.

Everyone’s first inclination is to drink up as much color as possible in every image. Since this is a very wet scene, I used my polarizer to remove the glare, which darkened the rock face. Actually, you don’t need to mount the polarizer to see the effect. You can just hold the filter up and turn it as you look through it to see if it does what you want.

Fully polarized image deepened the foreground color after removing the glare.

This image is cropped so that the color completely fills the upper 2/3 of the frame with the cool green foreground for a desirable warm/ cool relationship, and exemplifies peak and robust color of fall in northern Ohio.

My personal favorite time to shoot is at the edge of the seasons. Here, we have the final act of fall. The bright mist, separation, and balance gives me the feeling of the calm before the impending winter.

Fall reflections

One of the most fun things to photograph is fall reflections in waterways. It’s not a good idea to fully polarize the scene, as glare (reflection) is the subject, and you don’t want to polarize out your subject, but partially polarizing can work to remove or tone down the glare on rocks.

Shutter speed can greatly affect the feel of an image. Faster exposures separate colors, freezing the action. It’s a good practice to photograph moving water, especially with colorful reflections, at various shutter speeds as every image will be unique.

Make sure to move around your subject area, getting higher and lower to see how the reflections are affected. For example, the green and red colors were much more pronounced by getting lower (about 3 feet off the ground). The exposure is mid-range between the fast exposure of the previous image and the long exposure of the next image. That is why you see some softness and some detail.

As mentioned in the previous image, this is a 4 minute expoure, which seamlessly blends all of the colors
completely. No separation of colors. Very smooth. Liquid gold-like.

MACRO

Fall is a perfect time for frost and heavy dewdrops on colorful leaves.

Don’t be shy about making your own images. The single dewy leaf was very carefully moved to this colorful forest floor.

Pack your macro lens. Areas in deep shade will hold frost for a very long time, however, know that your body heat and breathing can melt frost quickly when working in close proximity.

If you’re close to running streams, go there early in the morning after a chilly clear night. Frost may have formed on the bare trees.

Camera movement with fall color is a fun and creative thing to do. The color combinations are endless and it frees up your creativity. A good starting point is moving the camera during a 1 second exposure in the orientation of the subject (vertical for trees). However, the movement here is a slight diagonal. If the light is too bright even after stopping down and choosing the lowest ISO, you’ll need to add a neutral density filter.

Moving the camera upwards from the bottom of the bright white birch trees during the one second exposure renders this more painterly fall image

Final Tips

Was the leaf there? No. I placed the reddest leaf I could find in the most golden patch of reflection.

Was the leaf there? Yes. The compositional goal was to get the grids perfect and balanced throughout the frame while bottom weighting the leaf.

Don’t forget to look straight up.

Don’t forget to look down. At the bottom of streams and runoffs, if you watch closely, and if there is sufficient water, you will see leaves come to the bottom of the runoff and enter into a small eddy. It may be hard to notice, but it you watch and discover the slow circular movement, try a one minute exposure to capture the movement of this type of colorful fall image. Long exposures will necessitate a neutral densitiy filter.

FILTERS

To slow down the exposure in bright light, I use Singh Ray MorSlo filters: http://singhray.com and
use discount code sweet10. For the examples herein, I used a Variable ND to increase the exposure
time, and a 10 stop fixed neutral density filter for the much longer 4-minute exposure.

To control glare, I use the Singh Ray neutral polarizing filter. If without an ND filter, using a polarizer can hold back 1.5 to 2 stops of light.

We hope that you find this info helpful.

The post FALL Photo tips appeared first on SlickPic Digital Photography School.

The main difference between a DSLR and a mirrorless camera is the lack of a mirror, needed to divert light to the viewfinder and show the scene. This makes mirrorless cameras smaller and lighter, giving them faster on-sensor focus and making necessary an EVF – electronic viewfinder, which shows real-time changes to the scene as you change camera settings.

But with so many brands and hundreds of models, it is very difficult to choose the best mirrorless camera that offers the most value. To make your life simpler, here are the 3 best mirrorless cameras for different budgets, which will provide you the best value.

Olympus E-M10 Mark II and Panasonic GX850 – For A Low Budget

The Olympus OMD E-M10 Mark II is a very capable camera at a very budget-friendly price of around $500. The first thing you will notice is that this camera looks like a vintage SLR, without the bulk. At the heart of it lies a 16 MP Micro 4/3rds sensor, with an 81-point contrast detect AF.

One standout feature of the E-M10 Mark II is its 3 inch touch-enabled LCD, which can move up or down for selfies but not fully turn around. The camera also has a Simulated OVF, which mimics optical viewfinders and increases dynamic range of the EVF, giving a more accurate picture of the scene.

I have seen the AF system of this mirrorless work excellently in daylight, especially in Face detect mode, although it falls short when subject tracking. On the video side, the camera can shoot up to 1080/60p and offers zebra warnings and focus peaking, features you will not find easily.

With extra features like 5-axis image stabilization, better EVF, touchscreen, Wi-fi, 3 control dials and the excellent 16 MP sensor, the camera is a very good package for anyone looking for a capable and portable camera for general photography.

My second choice in this category is the amazingly compact Panasonic Lumix GX850. Marketed as the “most affordable 4K Compact camera”, the Panasonic Lumix DC-GX850 features a 16 MP Micro 4/3rds sensor, a flip-up 1040k-LCD screen, Wi-Fi  and 4K video. It is available for around $550 with the 12-32 mm kit lens, and comes in 4 different color schemes.

Although the DFD autofocus is great point to point, it does not do very well with moving subjects, especially if the movements are erratic. The little noise that does creep into photos is not a big deal, and nothing that is not found on other mirrorless cameras as well.

Video is of good quality, especially with features like the flippy touchscreen and 4K. But for people looking for more controls and advanced settings, this is not the camera.

The camera’s lack of a dedicated viewfinder, low battery life and lack of manual controls will make you want to upgrade after a few months. But if you are a beginner or a person looking for an easy to use family camera, this will not disappoint.

Sony Alpha a7 II – For A Medium Budget

With a price of around $1500, the full-frame Sony a7 II is a serious camera for a serious photographer. Being a company that is always technologically ahead, the Sony a7 II has many impressive features like in-body 5-axis image stabilization, Wi-fi, S-log2 for video and high-bit-rate XAVC S format with 60p, 30p, and 24p recording options, all at 50 Mbps.

The 24 MP full-frame sensor provides excellent dynamic range and sharp details. The sensor is complemented by an on-sensor phase detect autofocus with 117 phase detect points, along with the usual contrast detect. The only downside is that the coverage is not very good, and you will have to keep your subject in the central portion of the frame.

The one downside of this camera is its bulk. Although it is a mirrorless, the bigger sensor, a better grip and EVF have taken their toll, making the a7 II almost the weight of a flagship DSLR.

Nikon Z7 – For A High Budget

The Nikon Z7 is the most-recent flagship of Nikon, and it can be clearly seen that Nikon went all out on this camera. A relatively compact and portable camera, the Z7 comes with a massive 45.7 MP full-frame CMOS sensor and a very reliable 493-point on-sensor hybrid AF, with a price tag of about $4000 to match.

Apart from the amazing sensor which provides class-leading dynamic range utilizing Nikon’s new Z-mount, the Z7 also comes with in-body 5-stop image stabilization, 4K video, 10-bit HDMI output, a lower ISO of 64 – which can be reduced to ISO 32 – and a high-resolution OLED electronic viewfinder with a touchscreen LCD for easy focus.

There is very little about this camera to find a problem with. The main problem is only the comparatively lower speed of 5.5 fps with Live View updates while shooting. If you aren’t trying to follow action and don’t need live view, the Z7’s ‘High+’ mode can faster. This mode allows full autofocus but locks the exposure settings after taking the first image, shooting at 8 fps in 14-bit Raw or 9fps if you drop down to 12-bit mode.

You can also check out the Canon EOS R full-frame mirrorless camera, and the Sony Alpha a7 III. Apart from these possible alternatives, and maybe the Nikon D850 if you don’t mind a bulkier DSLR with even better AF reliability and speed, the Z7 is probably the one camera for every photographer.

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Any average camera body today will give you the results you want. A megapixel count of more than 12, a decent autofocus system and additional features like Wi-Fi, touch screen LCD and shooting speeds of 6 to 8 fps – these are all common now. And if you really know how to use your camera, these basics are all you will need anyway.

But if you are in the market and don’t know where to start and what the options are, this list is for you. Here I’ll be discussing the top 3 cameras in 2019, for all types of budgets.

Nikon D3500 – For A Low Budget

Released only a few months back, the Nikon D3500 is perfect for people who simply want a good camera without breaking the bank. The basic kit with the excellent AF-P 18-55 mm lens comes just under $400.

Although this DSLR is not a huge step-up from the previous D3400, it does have a few important changes. The grip on this one has more space and depth for your fingers, similar to the Nikon D5600. Even the rear controls have been modified, with the ISO button now gone and the setting put in the menu. Another big change is the battery life, which is now rated for an astonishing 1550 shots on one full charge.

At the heart of the Nikon D3500 lies a new 24 megapixel sensor, which is officially 24.78 MP. Further, Nikon has continued the trend of not putting in an optical low-pass filter, which promises to make your images as sharp as possible and bring out the full potential of the sensor.

Other specs include a 11-point AF system, 3 inch fixed LCD display, 1080p standard video, 5 fps shooting speed, Pentamirror viewfinder and Bluetooth connection but no Wi-Fi.

In a nutshell, the Nikon D3500 is perfect for your first step. It gives great image quality using its 24 MP sensor, which has probably the highest dynamic range of all beginner cameras at a similar budget. If you want an easy-to-use and affordable DSLR, this camera won’t disappoint.

Nikon D7500 and Canon 80D – For A Medium Budget

For this section I have 2 cameras because they are both excellent, but one is especially good if you want to focus on videography along with photography. The Nikon D7500 has a price tag of about $1100, while the Canon 80D can be bought for $1000.

I’ll talk about the Nikon D7500 first. It borrows a lot of nifty features from the D500 while maintaining the efficient design and controls of D7200 in a lighter body. Surprisingly, the megapixel count of the Nikon D7500 has gone down from the usual 24 to 20.9 MP.

This is because 20.9 is still enough to give you huge prints, while also making low light performance of the camera and the buffer capacity much better. The new Expeed 5 image processor too contributes to the stellar sharpness and detail, along with the 8 fps shooting speed.

Although the image sensor has been improved, the autofocusing has not. The D7500 has the same 51-point Multi-CAM 3500 II DX system as its predecessor. On the video side is one of the biggest deal-makers of the camera.

Whereas the D7200 topped out at Full HD video, the D7500 can now capture 4K UHD video (3,840 x 2,160) at up to 30p. You also get headphone and mic ports, for better control over audio.

Coming to the Canon EOS 80D, it also makes it to this list because it is one of the best all-rounder cameras in the market. The excellent Dual Pixel AF technology, a big 24 MP APSC sensor and its overall capabilities in both stills and video category make the 80D amazing for both stills and videos.

The phase detect Dual Pixel AF along with the articulating touchscreen makes the camera very good for video. Focus pulls and subject tracking are as smooth as butter. Besides, you also get a long battery life and 100% coverage optical viewfinder. The only downside is the slightly lower dynamic range and lack of 4K.

Nikon D850 and Pentax K1 II – For A High Budget

It gets tougher to decide which camera to go with when your budget is high. So, here are 2 excellent choices for top-of-the-line full-frame DSLRs. The Nikon D850 comes in a little steep at almost $3000, and the very recent Pentax K1 II at a relatively cheaper $1800.

Personally, I think the Nikon D850 is probably the best full-frame DSLR currently on the market. From rough landscape and fast-paced sports photography to portrait and wedding shoots – the D850 can handle it all.

The Nikon D850 balances size and quality with its 45.7 MP sensor and 25,600 max ISO. This sensor provides a phenomenal dynamic range of 14.8 EV at base ISO and is supported by an almost-flawless 153-point AF system. With additional features like AF joystick, a touch rotating LCD display and 4K video capabilities, there is not much this camera misses.

I’ve always thought that Pentax cameras are the most value for money. Built like tanks with features like 100% viewfinders, image stabilization and weather-sealing in even the lower budget bodies, Pentax cameras really deserve more appreciation.

K1 II is a full-frame 36.4 MP camera with a reliable 33 point AF system, which features one of the best well thought-out designs and button layouts in camera history. Like all other Pentax cameras, this one is built like a tank, and can take a dive in a swimming pool without a hiccup.

The K1 II features in-body 5-axis image stabilization, which helps you take sharper photos at slower shutter speeds. It also features the novel Pixel Shift technology, which allows you to slightly shift the image sensor itself and combine multiple photos into one image with perfect detailing.

If fast frame rates – the Pentax goes only up to 4.4 fps – and the lack of video features do not bother you, the Pentax K1 II is a serious professional camera that will survive all your landscape expeditions.

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But that is, in fact, the redeeming quality of this camera. A combination of the Rebel simplicity and price with advanced features like Dual Pixel AF and a Digic 7 processor, the Canon 77D really is an all-round camera for almost any type of shooter. This 24 MP camera will be especially tempting for ones who are interested in both photos and videos, and are on a tight budget.

What you need to know about the Canon 77D.

Before I can explain why the 77D shines as a video journal camera, let me take you around the camera and highlight its key features.

Lying at the electronic heart of the 77D is a 24.2 megapixel sensor, the same one used in the 80D, underpinned by a Digic 7 processor. Everyone was very impressed with the output from 80D, and what 77D promises in this neat little package is the same performance at lower price. With a dynamic range of 13.3 Evs and 971 low-light score on DxO, the camera has capabilities to almost equal the Nikon D5600 and D7200.

The hard plastic-like body of this mid-range DSLR is where you may find a few minor faults, but even those are for keeping the price low and not making it a direct competition of the semi-professional 80D.

Even the viewfinder of the Canon 77D is a consumer-level one. Given that it is only a pentamirror, the OVF is dim and offers a coverage of about 95% only.

Overall handling is a pleasure, with a comfortable grip and most of the controls – including dual dials and an AF-On button – on the right and usable with one hand. Although one major drawback is the lack of AF micro-adjustment and customizable buttons, I think the touchscreen LCD makes up for it.

Although the Canon 77D has more visible changes on its body, like the rotating touch LCD for Live View, a top LCD panel and in-built Wi-Fi, by far the greatest strength of the camera lies in its autofocus system.

In most cameras, autofocus through the viewfinder uses an independent AF sensor for phase detection. On the other hand, Live View has to rely on the slower contrast detect method, because the mirror blocks the AF sensor to keep the LCD display working.

The 77D, however, borrows the excellent 45-point Dual Pixel CMOS autofocus from Canon 80D. This Dual Pixel system uses pixels of the image sensor itself, dividing each pixel into 2 halves for analyzing focus; and combining them when taking images. Simply put, this removes the need for slow contrast detection, because even in Live View the unblocked image sensor handles the focusing via the faster phase detect method.

What makes the Canon 77D a vlogger’s camera?

Now that you know the key specs of this DSLR, you may already have figured out why this camera is considered an all-rounder. A great sensor in a professional body, with nifty features like touchscreen LCD and Dual Pixel, makes this a great DSLR even for more advanced photographers.

However, I believe this to be an especially great camera if you want to make videos with excellent quality at a low budget. The rotating touchscreen is great for vlogging, as the left-sided hinge allows you to tilt it up and down and even flip it back for “selfie” mode where you can see yourself. This also makes changing settings very quick, without any need for fiddling with controls.

The video-making features are further boosted by the presence of Dual Pixel AF, which I have seen to be often more reliable than the viewfinder AF when tracking subjects. Combined with Canon’s face detection, the Dual Pixel tracks moving subjects in almost any condition better than the iTR tracking of the viewfinder.

You know Canon 77D is more than a beginner’s camera because of not just the advanced AF system, but also the addition of a microphone port and digital stabilization, which works better than those of other brands. The DSLR offers video recording in the standard 1080p resolution, with options that go up to 60 fps. The compression rate for the mp4 files is standard H.264.

Nonetheless, it’s not all good. The lack of 4K mode is a serious drawback for most people, especially where the competition offers it in cameras not much higher in price. Moreover, the video mode gives you either fully automatic shooting option, or fully manual, which means that you don’t get aperture priority or shutter priority. Fortunately, auto ISO is still included.

Final Verdict

I don’t think this needs to be spelled out. The Canon 77D may not have anything extraordinary, but it combines all that is good about Canon. The 24 megapixel APSC sensor, supported by the Digic 7 processor and a 45-point Dual Pixel AF, makes this DSLR a well-equipped tool for all – from beginners looking to buy their first camera to advanced photographers looking for a backup. Put these core strengths of the 77D in the same list of features like a touchscreen LCD, dual dials, in-built Wi-Fi and a microphone jack, and you have with yourself an excellent short film machine.

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Nikon D5600 Body

Body design and Controls

The D5600 is a very compact DSLR, although it is still bigger than most mirrorless cameras. It weighs just 670 gm with the 18-55 mm kit lens and battery attached. The carbon fiber monocoque frame ensures strength and durability, however, there’s no weather sealing.

A small but important improvement in the body is the slightly deeper and more textured grip. It makes the smaller body more comfortable to hold, and you won’t have the feeling that the compact body is about to slip.

The identifying feature of the D3000 and D5000 series has been the smaller viewfinder and single dial control. Nothing has changed in the Nikon D5600 too. It has a 95% coverage pentamirror viewfinder with 0.82x magnification, which is quite small, but nothing new. If you have never used a 100% full-frame viewfinder, you will probably not notice any difference.
The eye sensor above the viewfinder is a nifty feature too, and turns off the screen when you bring the camera up to your eye. The problem is that sometimes it is too sensitive and just moving your hand over it may cause the LCD to get switched off.

Nikon D5600 Back

Because the D5600 is a series aimed at the enthusiasts and photographers looking for a casual backup camera, the controls cover only the bare essentials.
At the top is the shooting mode dial with P, S, A, M modes along with other modes, and the command dial to change exposure values. Because there is only one dial, you will have to press another button while rotating the dial to change a value not assigned to the dial.

In Aperture priority mode, rotating the dial will change aperture, while in shutter priority the shutter speed gets changed.

Another important control at the top is the Live View lever. Flicking the Lv switch will start up the 3.2” LCD touchscreen at the back and give you a live view of the scene with the exposure settings.

On the rear of the camera, the button layout is standard and user-friendly. What is less standard is the large 3.2-inch LCD display, which has an impressive 1,036,800 dots (345,600 pixels) and offers tilt swivel articulation.

The touchscreen display can act as a “selfie screen” if you’re into that sort of thing. The large display works very well, and the touchscreen functionality works as advertised; it is particularly useful during live view shooting thanks to its nice touch AF feature. The only downside is that left-eyed shooters won’t be able to make full use of the touchpad AF.

Connectivity, Sensor and AF system

If you have been following Nikon lately, many of their new cameras have included Bluetooth Low Energy (BLE) capabilities. The addition of BLE in the Nikon D5600 is the biggest change in the camera from the D5500.

One advantage of BLE and SnapBridge is that you can set up your camera and smart device to automatically transfer images from the camera to your device. The transfer speeds are quite slow, but it is happening in the background so it is not a problem.

You also have the option of letting the full-size 24 megapixel images be transferred, rather than the small 2 MP ones. But because the connectivity is still unreliable, the success rate of transferring full-sized images is not very high. Hopefully, it will be something Nikon fixes through firmware.

Another connectivity feature is the built-in Wi-Fi, which allows you to control the camera remotely through your phone. As with most camera connectivity apps, the connection is sluggish and does not give you much control, except click the shutter and change focus.

Nikon D5600 Top

Thankfully, the sensor and the AF system of the camera is nothing like the slow and shaky connectivity features. The Nikon D5600 has the amazing 24.2 APSC CMOS sensor without an optical low pass filter, which gives excellent results. The sensor is coupled with the Expeed 4 processor, which is just one model below the processor in the flagship D7500.

The shooting speed is an average 5 fps, with the buffer being small. Even shooting in JPEGs for more than 2-3 seconds will make the speed fall from 5 to about 2. Because this camera is not aimed at dedicated action photographers, normal users won’t care much about the slow speed.

There has been no change in the autofocus system too. The D5600 utilizes a Nikon Multi-CAM 4800 DX phase-detect autofocus system. The system is comprised of 39 total autofocus points, nine of which are cross-type, which is a healthy amount. Although the AF points don’t cover the whole frame, the coverage is sufficient for normal use and quite accurate. Paired with good AF-S lenses, or the new and very sharp AF-P kit lens that comes with the D5600, the camera focuses very quickly through the viewfinder even in dim light, although Live View focusing can be slow at times.

Image quality, Low light performance and Video

It’s not a surprise at all. With sensor and processor and AF module matching those in the D7000 series, the Nikon D5600 delivers great images. 24 MP is a lot to work with, and the lack of an AA filter only makes things better. With the battery being rated for more than 900 shots, you can keep on using the camera.

In low light, you can see that the Expeed 4 processor is doing tis jobs. Straight out of camera JPEGs are very clean up to 3200, and even 6400 is good for web use. In RAW, images with ISO 6400 have a lot of detail and can be easily processed for big printing.

Metering performance was acceptable with the 2,016-pixel 3D Color Matrix Metering II system. White balance metering tended toward the cooler side, but it was generally quite good and both exposure and white balance metering was consistent.

Nikon D5600 Articulating Touchscreen

Like the Nikon D5500, the D5600 doesn’t offer a lot in the way of video features, although it does produce good-quality Full HD video. The D5600’s recording capabilities top out at 1920 x 1080 resolution at 60 frames per second, which is suitable for all general purposes. No 4K though.

Even though the video quality is very good and there’s no moire, the D5600 lacks features like headphone jack and slow motion videos and is just not a videographer’s camera.

Verdict

The D5600 is a very subtle revision of the D5500 but that sole added feature – always-connected smartphone transfer – has the potential to be a massive benefit to its target market. If you want the DSLR experience without breaking the bank and being overwhelmed by weight and dials, get the Nikon D5600 for its great image quality, compact size and easy handling at a price of around $700. If you think you don’t need SnapBridge, even the D5500 delivers the same performance.

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Leica M10 Front

Body Design and Controls

As always, the new Leica M10 is a gorgeous piece of equipment. Classy, minimalist and compact – the M10 is what the tagline of Leica stands for – Das Wesentliche – the essentials.
Slimmer by about 4 mm compared to the Typ 240, the M10 feels compact and dense, thanks to the three dimensional design of the camera, rather than the usual stacking up of electronics behind one another. The only downside is the compulsory use of a smaller battery too, which gives only around 400 shots.
The camera is comfortable to grip, although those with slippery hands may feel nervous because of the smooth body. The sort-of weather sealed body and magnesium alloy frame makes the M10 sturdy and solid.

The main new feature on the top is the ISO dial on the left. You have to pull it up to change it, and push it back down to lock it. Some may not like the extra step of pulling the dial, but it does make sure that your ISO is fixed at the value you want. The other change is that the multi-position On-Off dial of previous models is made only a simple On-Off lever.
There is also a very handy rear dial near the thumb rest, which can be used for exposure compensation or focus magnification. For other options like continuous shooting and self-timer you will have to go into the menu.

Leica M10 top and back

At the back is the simple 3-button system with a 1 million pixel LCD and a 4-way selector. Keeping in the spirit of distilling the interface to the Essentials, six buttons on the rear of the camera has been reduced to just three: Live View, Play and Menu. The buttons, flanking the left side of the LCD panel, are larger and easier to operate.
The LCD is a big improvement over previous models and offers better colors and contrast. The viewing angles are great and the screen can be seen from odd angles even in bright outdoor lighting. The screen is also protected by a layer of Gorilla Glass, which helps in avoiding scratches and cracks.

Viewfinder, Frame lines and the Better Menu

And then there’s the upgraded viewfinder. Compared to the Typ 240, the magnification has been increased to 0.73x and the eye-relief has been increased by 50%, which is great for anyone who wears glasses. The filed of view has also been increased by 30%, which makes this viewfinder one of the best I’ve ever seen in a compact digital camera.
The newly developed shutter – adapted to match the slimmer body – also has less of a kick to it and does not attract much attention.

Leica M10 top dials

Leica has experimented a lot with framelines and tweaked the distance from 0.2 m to 7 m. Thankfully, the popular 2 m distance has been brought back for the Leica M10. The bright framelines, which are LED illuminated like the M240, are projected at a distance of 2m, and offer the classic 28/90, 35/135 and 50/75 frameline pairs. Absent from the M240, the three-position frameline preview lever makes its reappearance on the front of the M10, under the viewfinder window.

The dedicated ISO dial takes care of the need for an ISO button, and the ‘Menu’ button now works overtime. On first press it brings up a slimmed-down ‘Favorites’ menu, which only contains your most often-changed functions, and on a second press it activates the full menu. During playback, the Menu button will give you further options like image rating and deleting.
The customizable Favorites menu is excellent to use, and gives you quick access to almost all the things you’ll need. For more specific options, there is no other way but to go into the Menu. But hey, simplicity and minimalism is what you got a Leica for in the first place!

The entire Menu and Display system has been modified in the M10. It is flat and basic, which is actually refreshing and easy to use. The Info screen has lots of information like the battery life, storage left, file format, metering mode (with Spot and Multi-field being unlocked in Live View), exposure compensation, Wi-Fi, GPS and the other exposure settings. The quick and intuitive Live View system combined with retro dials makes the camera an excellent blend of digital tech and old-fashioned film cameras.

Leica M10 in silver/chrome

Sensor and Image Quality

The Leica M10 has the supposedly new full-frame 24 Megapixel sensor found in the M 240, SL and Q. Also, there is no low pass filter. If it is truly newly developed or not is a matter for lab experts. But in short, the sensor performs like never before.
The usual center-weighted metering of the rangefinder camera has a slight tendency to underexpose, but that is a good thing, because the Leica M10 is simply amazing with shadow detail. You can mess up the exposure and get a pitch black image. But you can also be sure that you will be able to retain at least 3 stops of light from the shadows easily.

If you are careful with your highlights and can keep the ISO at or below 6400, you will be awarded with an image with huge dynamic range and lots of color. There is no hint of banding in the shadows until 3200, and even then if the exposure is not very wrong, you can go up to 6400. Noise is very well controlled and the grain pattern becomes noticeable only after 6400.

With a speed of 5 fps and a 2 GB buffer, the camera can record up to 30-40 DNGs at full burst rate until slowing down to 2fps. Even when the buffer is filled, you only have to wait for 8-9 seconds before the camera is ready to shoot again.
Before I forget like many Leica users, there is no video mode on the M10. Leica listens to its customers, and they told that they did not use the video mode anyway. So, if you want to spend $6000 on this camera, know what you are getting into.

Conclusion: Leica M10

A Leica is always expensive, and at first glance, does not seem to offer much in terms of power and technology. But that is the point of owning a Leica. You buy into the simple and pure experience of using a camera and paying attention to the photos, not the settings. This trend is carried forward greatly by the Leica M10.
With just 3 controls on top and a 3 buttons at the back and a small dial, the 24 MP rangefinder feels minimalist. The dials and the big viewfinder are a joy to use, and so is the basic and efficient Live View mode. With great image quality and amazing dynamic range, the Leica M10 is perfect for anyone with a big enough budget, looking to get a sleek and pure retro camera with the essential modern features, except video.

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But with so many options, which camera to choose for your video needs ? In this article, we’ll go over the top 3 cameras in the market which give you the best possible specifications for YouTubing and vlogging and videography in general.

Panasonic Lumix GH5

The most recent mirrorless camera of this list, the GH5 from Panasonic is clearly an over-developed update of the already excellent GH4. It has updated sensor, updated autofocusing system, upated electronic viewfinder and much more, with a fully articulating touchscreen LCD for selfies and video recording yourself easily.

Inside the GH5 is a 20 MP Micro 4/3rds sensor, without an OLPF, and the latest Venus image processing engine. Focusing on video features, you get the amazing 5-axis image stabilization built in the camera itself. Video specifications have been massively upgraded so that the camera is suitable for professional use, with the camera recording internal  4K video at 60fps, 4K 4:2:2 10 bit at 30fps, and FullHD video up to 180fps.

Panasonic Lumix GH5

Video recording time is unlimited, and the camera uses the full-sensor readout for the best 4K video quality. From release date, the GH5 can record 4K at 150 mbps, which Panasonic plans to increase to 400 with firmware updates.

This compact beast of a camera is the first one in the list because it is an excellent package. Specs like DFD 225 Area Multi AF, 5-axis image stabilization, articulating touchscreen, internal 4K, V-Log format bundled together in a 600 gm weather sealed magnesium alloy body are not easily found.

Get this camera if you need excellent handling, excellent build quality, excellent video capabilities in an easy to use and convenient body design. The latest Panasonic GH5 is easily one of the best video and stills camera out there.

Olympus OMD E-M1 Mark II

Another very well-packed and compact mirrorless camera is the Olympus E-M1 Mark II. The Mark I version was already off-the-charts good. But the Mark II is even better.

The E-M1 Mark II’s stand-out feature is the dual quad-core image processors. This huge processing power allows the Micro 4/3rds camera to shoot 18 fps with continuous autofocusing. Combine this with a sensor shift 5-axis image stabilization and an advanced 121 point hybrid AF module and a fully articulating touchscreen and internal 4K, and you have all you will ever need for your vlogs and Youtube tutorials, casual family vacations and even professional documentaries and short films.

Olympus OMD E-M1 Mark II

Sensor-shift image stabilization in 4K is very good, resulting in almost tripod-steady footage despite some corner distortion. If you enable the industry first sensor shift with digital stabilization while shooting 4K, the footage gets even smoother, with fewer corner artifacts, but at the expense of a slight crop and slight loss of detail. For audio, you get on-screen audio level monitoring and both microphone and headphone monitoring jacks.

The Olympus E-M1 Mark II is very close to the GH5, especially in manual control in video mode. Even the E-M1 is weather sealed and very very sturdy. Where it loses out by a small bit is the overall video quality and a weird menu system, which may seem confusing. Other than that, with a compact body and a surprisingly good battery life, the E-M1 Mark II is another camera to consider if video is your main concern.

Canon EOS 80D

Mirrorless cameras are good. But they still don’t offer the same experience of both photography and videography as a good old DSLR.

As far as video goes, the Canon EOS 80D makes into this list because of its ease of use, excellent Dual Pixel AF technology, a big 24 MP APSC sensor and its overall capabilities in both stills and video category, more so because of the long battery life and the 100% coverage optical viewfinder.

The biggest letdown is the lack of 4K. If that is not a big requirement for you, and you are also looking to make your video camera your photography backup, the 80D is the perfect choice. It can shoot up to 1080/60p when using MP4 with Standard IPB compression. For higher quality video, the EOS 80D can also record MOV files at either 1080/30p or 1080/24p using All-I compression.

Canon EOS 80D

The Canon 80D also has an in-built stereo microphone which works okay, along with a microphone and headphone port for audio monitoring. Unlike the more pro-level 7D Mark II and 1D X Mark II, program exposure modes such as Aperture or Shutter Priority are not offered. Instead, you have either fully Auto, or fully Manual exposure modes.

The redeeming feature of the 80D is its autofocus in Live View, which you will be using for making videos of yourself while holding the camera or even when setting up the camera on a tripod and recording. The phase detect Dual Pixel AF along with the articulating touchscreen makes the camera very good for video. Focus pulls and subject tracking are as smooth as butter.

Overall, the Canon 80D may not be the advanced videographer’s choice, but it does what it does very well. If you do not need 4k, very complex adjustments and have a smaller budget, and just need a camera that focuses accurately and gives decent video, you don’t need anything else. The Canon 80D will easily do the basic vlogging tasks along with taking great stills. The video quality is good, the focusing is very good, and the skin tones rendered are fantastic. If you want a proper DSLR experience for video and a bit of stills, keep it simple with the 80D.

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In this article, I will introduce you to the 4 Nikon lenses you will need to cover any type of photography situation – from wide angle landscapes to small and compact street photography.

Nikon 10-24 mm f/3.5-4.5G ED

At around $900, this Nikkor is probably the most expensive DX lens in this list. But if you can buy this one, you should. Perfect for all your wide angle needs, this lens covers the whole ultra-wide to wide focal lengths. This lens will also give you better close-focusing capabilities and offer a bigger view for interior and architectural photography.

Nikon 10-24 mm f/3.5-4.5G ED

This 10-24mm lens features two extra-low dispersion (ED) lenses and three aspherical lens elements to reduce chromatic and spherical aberrations. Nikon coats their glass with their own Super Integrated Coating that makes light transmission more efficient, reducing ghosting and flare.

Autofocus is also not a problem for this lens. With the silent wave motor in-built, this lens will work even with lower end DX models like the D3200 and D5200. You also get the M/A focus switch for manual focus override. Moreover, with auto-correction in almost all cameras and tools like Photoshop, the slight distortion will also be easily corrected.

Nikon 16-85 mm f/3.5-5.6G ED VR

If you can carry just one lens with you on a trip, carry this one. From 16 mm wide to 85 mm normal, this lens will do well in any kind of situation. The Silent Wave motor and the Vibration reduction are big bonuses, and give great sharpness with quick and quiet focusing.

Nikon 16-85 mm f/3.5-5.6G ED VR

One of the sharpest travel zoom lenses you can buy, this will be a huge upgrade from your kit lens. The only downside of this lens is that it is a bit pricey, with a tag of about $700. But I am sure that once you make an investment on this, its versatility and performance will compensate for it.

If your budget is a bit more and you need excellent low light performance, you can even check out the Nikkor 16-80 mm f/2.8-4 VR Lens, which has about the same range but a bigger aperture value.

Nikon 50mm f/1.8 (D or G)

A nifty fifty is an essential in every camera kit. Beautiful bokeh, low price and a very small size – a 50 mm focal length will give you the best length for portraits and discreet street photography.

The 50 mm f/1.8D is an older model, and actually designed for FX bodies. For a price of less than $200, you get amazing optical performance. The only con is that it won’t autofocus on lower-end Nikon bodies, as the lens does not have an internal AF motor. You’ll need a Nikon D7000 or above for autofocusing on this great prime lens.

Nikon 50mm f/1.8 (D or G)

The 50 mm f/1.8G is the newer model of the 1.8D, and has a better build quality and an internal focusing motor. Even this lens is one of the cheapest you’ll ever find, but the disadvantage is that it has a little more distortion.

Both the lenses are great, and you should choose one according to your camera. If you need autofocusing and have an enthusiast Nikon body, you should go for the G. If manual focus is your thing or if you have a focusing motor in your camera itself, go for the D, which will give you the same performance with lesser distortion.

Nikon 55-200 mm f/4-5.6G ED VR II

With this telephoto lens, your kit will be fully complete. If you are okay with the lens being of average plastic build, there is probably no better telephoto at this price point, that too with Vibration Reduction. The range is very good, and so is the sharpness when compared to usual zoom lenses. Another great thing is that this lens is collapsible, which means it’ll shrink and become a lot smaller when closed, which makes it a handy travel zoom.

So long as you’re careful not to break the plastic lens mount, this is an extraordinary lens. The 55-200mm VR II zooms easily and precisely. The zoom range is well spaced and there is a lot of room to turn. It focuses reasonably quickly, but not as fast as more expensive lenses. This lens should be more than good enough for chasing kids playing sports.

Nikon Lens 55-200 mm f/4-5.6G ED VR II

If your budget is more and you need extra range, you can also consider the 55-300 mm f/4.5-5.6G ED VR. It may not be good in low light because of the smaller maximum aperture of just 4.5, and the slow autofocusing. But it offers a longer range and a better build.

If you don’t really need 300mm, the 55-200 mm VR II is the same as this 55-300mm lens, except for the plastic mount and 200mm maximum length, for about half the price.

So, with these 4 lenses, the list of best Nikon lenses for DX cameras ends. There are many more lenses, but looking at the major factors like optical quality, price and sharpness, you will find that these 4 will match your needs perfectly.

Choose the lens you want keeping in mind your needs and style of photography. It is not always necessary that the most expensive equipment will make the best kit.

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To make your life simpler, here are the 4 best mirrorless cameras with different prices and sensor types, which offer excellent image quality, body design, video features and much more.

Fujifilm X-T2 – Mirrorless camera

Fujifilm X-T2

This is arguably the one crop sensor mirrorless camera which has it all right – specs and design-wise. Metal dedicated dials for shutter speed, ISO and exposure compensation with a 3” tilting screen and an OLED Viewfinder. This camera feels and handles perfectly, especially because of it’s weather-sealed body.

At the heart of the X-T2 lies a 24.3 megapixel APSC X-Trans CMOS III sesnor, with no OLPF, and the X-processor Pro engine, which ensures excellent details and dynamic range even in low light.

ISOs upto 6400 look flawless, and if need be, you can easily use ISO 12,800 too. The powerful engine allows a shooting speed of 8 fps with full tracking of the subject. With 325 autofocus points and on-sensor phase detection, autofocus is accurate and quick. The Fuji X-T2 nails focus everytime, and it is even better for focusing right on the eyes when face-detection is On.

Fujifilm X-T2 – Back view

For video, users get a range of Fujifilm video simulations and effects. Better than that, the camera offers internal UHD 4K video as well as an 8-bit 4:2:2 HDMI output, along with other usual video settings. There is also an F-log Gamma setting for capturing a flat profile for better grading.

All in all, the X-T2 is perfect for both stills and video. It is a beautifully designed camera with an excellent sensor, accurate autofocusing and 4K in a weather-sealed compact body. No wonder it gets the top place.

Sony Alpha A7 II

Sony Alpha a7 Series (a7 II, a7R, a7S)

With a price of around $1500, the Sony a7 II is similar to the Fuji X-T2. They are both high end Mirrorless cameras. The main difference though, is the 24 megapixel CMOS full-frame sensor. Being a company that is almost always technologically ahead, the Sony a7 II has many impressive features like the 5-axis image stabilization built in the body itself, Wi-fi, S-log2 for video and the high-bit-rate XAVC S format with 60p, 30p, and 24p recording options, all at 50 Mbps.

The trade-off is that the camera as a whole is a relatively big mirrorless camera and not very portable like the a6300. But because of a bigger body, you are at least getting a bigger grip and a better screen and EVF, plus a full-frame sensor and excellent image quality.

The a7 II, unlike Sony a7r and 7s, uses on-sensor phase detect autofocus with 117 phase detect points, along with the usual contrast detect. The only downside is that the coverage is not very good, and you have to keep your subject in the central portion of the frame. Even the shooting speed is a slow 5 fps, which is a suprise when you see that the camera has the BIONZ X processor.

Sony Alpha A7 II – Front view

There are many more features which the a7 II is equipped with, but many of them are hidden away. Apart from the relatively bulky build, a slow shooting speed and a complicated menu system, there is nothing which the Sony a7 II has got wrong.

But, if at all you are looking for something more, there is the more recent Alpha a7R, which has a mammoth 36 MP sensor without an optical low pass filter. There is also the a7S, which may not have a huge megapixel count, but it has a top-of-the-line sensor with ultra high ISO sensitivity of 409600. Low light won’t be a problem now, will it ?

Olympus OMD E-M10 Mark II

Olympus OMD E-M10 Mark II and Sony a6500

This small but stylish Micro four-thirds camera is the least expensive mirrorless in this list, with a shockingly low price of $500. This Micro four-thirds mirrorless camera offers a time-tested 16 MP sensor, a stylish body with highly customizable controls, a host of features for all levels of photography, and a very nice electronic viewfinder. It is certainly excellent value for money.

The E-M10 was already a great camera. The E-M10 Mark II builds up on that, with the 5-axis image stabilization, touch autofocus, a higher resolution EVF and an electronic shutter now included. Moreover, 3 well-placed dials on top and features like Wi-fi make this mirrorless a joy to use.

But because of the limitations of its smaller sensor, continuous focusing and low light performance are the few weak points of this compact package. Its 81 AF points are quick in single shot and even better in face detection mode, but not great when you are trying to keep up with the action. Similarly, the video is not that great, and you should expect this to do only casual vacation videos.

Don’t get me wrong, the smaller sensor may not be the best in low light, but its image quality and color rendition are amazing. If you are looking for a comfortable and easy to use camera without breaking the bank, this is the camera to buy.

In case your budget is bigger, you can consider the very recent Sony a6500 too. With a weather resistant metal body and a 24 MP sensor and a 275 point phase detect hybrid autofocus, this one is a strong contender too. The a6500 is a fast and steady shooter at 11fps with 5 axis stabilization, and has a front-end image processor, which is Sony’s best. Being a successor of the already excellent a6300, the a6500 is a top-notch camer, only with a bigger price tag.

So, I hope you found a mirrorless camera that you can buy for yourself. There are many more mirrorless cameras in the market, and if you look at smaller brothers and sister models of these cameras, you may find something even better suited to your budget. Just keep in mind what you will be buying the camera for and how much you want to invest in lenses and accessories, and you will find the perfect camera for yourself.

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When using a telephoto lens for full body portrait photos, make sure you’re far away from your subject for proper framing and composition

Telephoto Lens

For most photographers, having a telephoto lens is the ultimate answer when capturing portrait photos. That’s because this lens gives you definite control over your depth of field to separate your subject and give it a dreamy feel to your photo. But of course, using a telephoto lens can be different to the shooting style you’ve been used to.

Whether you’re using a zoom or a prime, a telephoto lens is at its best when there’s enough distance when you’re shooting your subject. Always remember to take a step back, dial in the correct settings, and compose your photo properly. Once you’ve done this, capturing amazing portrait photos will a piece of cake.

Normal Lens

A normal lens, one in between the 35 and 50mm focal length range, offers a good depth of field and a healthy working distance for your shooting technique. Of course, when it comes to amazing bokeh, nothing beats a telephoto lens. This right here, is the next best thing folks.

In the event you’re shooting with a normal lens, make sure it has a fast aperture to give your shots that signature look you’re aiming for. In that case, a fast prime is your best bet. And since it’s has a normal field of view, composing your shots won’t be hard at all. Just make sure to place your subjects in a good light and background and the rest is as good as done.

Wide Angle Lens

This is where it gets tricky folks. Using a lens that’s wider than 35mm can really challenge you as you take portrait photos because of its distortion and deep depth of field. That means this lens can make your subjects look wider and you won’t be able to blur the background the way you would want it to be.

Now, don’t you worry because you can still be creative with this lens. All you have to do is find a really good location and include it in your composition. That way, you can go wide and incorporate a creative angle when it comes to your image using different elements in your background. It could be a really detailed building, stunning landscapes, or huge artworks that can give your portrait that edge it sorely needs.

Plus, having a deep depth of field can also be useful when taking photos of 3 or more people. With a wide angle lens, you need not worry about blurring out those in front or at the back of your group portrait anymore. This benefit will surely come in handy for your family portrait photography skills.

In the event you’re shooting group portraits, stop down your aperture and place your subjects in a single line to ensure everyone is focused.

Super Telephoto Lens

There are not many photographers out there who utilize a super telephoto lens when shooting portraits. With its huge size, heavy weight, and enormous price tag, only a chosen few get to take photos with this kind of lens. Nevertheless, the same wisdom using telephoto lenses apply. Just make sure you’re far away from your subject, illuminate them well, and snap away. What you’ll end with is a photo with a shallower depth of field and a flatter image that will flatter your subject more.

Macro lens

Using a macro lens to capture portrait photos is an unconventional choice. But, if used properly, can unleash a different world in a creative sense. With a macro on your camera, you can go closer and take intimate headshot using an angle you can’t achieve with other lenses. You can also crop your subject’s face and take photos of their eyes and smile to give your image a sense of intrigue and mystery. Whatever you do, you’re sure to find new ways of shooting portraits you haven’t done before.

Having a fast normal lens will come in handy for your portrait photos when the sun goes down and good lighting can be a challenge.

Of course, there are other ways to make your portrait photos stand out. These include a set of lights, props, a unique location, and so much more. If you think, there’s much more you can do when taking portraits with your camera, do let us know in the comments below.

The post Tips on how to capture portrait photos using different lenses appeared first on SlickPic Digital Photography School.

So what makes the nifty fifty lens great? Why do we recommend it to most hobbyists starting out? Here are a few reasons why you should have it in your lens lineup.

It’s a matter of perspective

The perspective of the 50mm lens on a full frame camera is almost the same as what your eyes see. So when you see something that you like, you can just lift the camera to eye level and click. Basically, you can frame with your eyes and not spend most of your time looking through the viewfinder. Having the normal perspective, a photographer will spend more time looking for creative shots to take because you have minimal shift from what you see with just your eyes or through the viewfinder.

Many street photographers like the nifty fifty lens for its normal perspective. It represents almost accurately what the shooter sees. In the world of street photography, having the ability to just frame with your eyes and capture it exactly as you see it is very important.

It is really easy to frame shots with the 50mm…

The lens makes you think

The 50mm, being a fixed focal length lens, is a lens that makes you think. As with any prime lens, you don’t have the zoom ring so you have to move your feet when shooting. With the 50mm prime, you will be moving a lot. Using your feet will make you think of how to get good angles. You will walk, crouch or tiptoe just so you get to capture the scene you want.

If you compare shooting a 50mm to something like a 24-70mm, with the nifty fifty you will really work for your angles. With the zoom, you will be tempted to just stand where you are and fiddle with the zoom ring. I shoot with both primes and zoom lenses, and what I notice is that I really walk around a lot when I have a prime lens on.

The Aperture

The nifty fifty normally comes with wide apertures of f1.4 to f2; some even go to f0.95 which is absolutely insane. Having the capability to shoot wide open affords you some very creative shots. The depth of field of a 50mm lens is shallow enough to separate a person from the background but not too shallow that when you focus on the eyes, the nose is out of focus. This is particularly useful when shooting portraits.

If you are fan of “bokeh” or the out of focus bits, a 50mm prime will get you a lot of it. What I like about the bokeh on the 50mm is that it isn’t too blurred out like on longer telephoto prime lenses. It is also a good low light lens too because of the wide aperture.

The depth of field of my 50mm Nikkor lens is something is often take advantage of.

It’s light weight…

The 50mm is a light weight lens with the Nikon and Canon versions being significantly lighter that lets say a 35mm or 85mm. With the 50mm, you won’t be complaining about the weight of the camera and lens. I can shoot longer with the 50mm since I won’t tire easily when carrying it around. You might not understand this if you haven’t done something like a wedding coverage or events that can last for hours.

One other thing is that the 50mm is a very compact lens. It does not look intimidation or catch the attention of people like the big zoom lenses or primes. You can be very inconspicuous with the fifty which is very handy when shooting in the streets.

The Fifty is so versatile that I use it a lot for portraits and events…

It is very versatile

The nifty fifty lens can be a lens that you would use for portraits, landscape, events, group photos and many more. Heck, it can even be a macro lens if you mount it to a reverse ring. I personally use the 50mm for events, street photography and portraits. The main thing to its versatility is the normal perspective that I already mentioned. Once you get used to shooting the 50mm, you would have it on your camera for most shoots.

I started out with the nifty fifty lens and two decades after, I still prefer it over my other lenses. Something about the lens just feels right when shooting. If you still don’t own a fifty then I suggest you try out one. It is the best lens for the price which is also one of its best characteristics and something that I need to expound further.

It is affordable, versatile and easy to use, what more would you look for in a lens?

It is a sharp lens too!

The post Nifty Fifty Lens: Why Get the 50mm Prime appeared first on SlickPic Digital Photography School.

You don’t have to drop your hard-earned cash right away. In this post I will share some methods to experiment with macro photography before you decide to acquire that macro lens.

Found this little jumping spider and immediately decided to take some close up pictures. I sat down in the sun for optimal light and placed the little spider on my leg.

The reversal ring

One of the cheapest ways (less than $15) to start with macro photography right away is to purchase a reversal ring. This is what I did, but trust me, it takes a lot of practise and even more patience to get right.

A reversal ring allows you to mount your lens backwards on a camera. You will get life-size magnification, but because your lens elements are no longer talking to the camera, you will have to make your own decisions.  

You lose both your aperture control and autofocus and will have to adjust aperture manually (unless you have a lens where you can control this manually) to allow light into the lens. Another aspect to get used to is focus, which you will do by moving your camera closer and further away from your subject. A mere millimetre movement makes a difference, so hold your breath when you press the shutter. If you are in a hurry, you can forget about sharp macro photos.

It appeared like a bunch of black spots, but they were moving so I reversed my lens. The results were a close up photo of a bunch of insects on this flower.

This technique works best with prime lenses, so you will get good results with a 50mm lens. Standard kit lenses also work well with the technique.  I use my Nikon 18-55mm. They say macro photography is best practiced with a tripod, but I found that I can shoot handheld with this technique, as long as I am not too shaky.

Note that the above is my own personal experiences with the reverse macro technique. With a lot of practise you might even find it much easier, or improve the techniques than I have described.

Depth of field will also be extremely shallow and lighting may be a problem if it is not very bright. Most lenses have an aperture lever, so jam the lever to keep it open all the way.

Word of caution: Your lens elements are on the outside with this technique so be careful not to damage them. Dust can become a problem.  Try this technique in bright conditions or use a flash or light to enhance the photo.

Other techniques for close up pictures

There is always more than one way to achieve your desired results when it comes to macro photography. Close up lenses or filters that you screw at the end of your lens allow you to get closer to your subject while extension tubes are another method. More than one of these tubes can be stacked together to achieve even greater magnification. You also get bellows which is like extension tubes, but this collapsible design fits between a camera and lens, allowing the lens to be moved even further from the camera. If you feel adventurous, you can stack lenses together.  Generally, a lens with a longer focal length is attached followed by a shorter prime lens. They say that a 300mm lens with a 50mm lens will produce 6:1 notification, though it is not something that I have tried just yet.

This miniature flower was the size of my thumb nail. I just love how the sun rays reflect from the petals.

I always see what others miss. This small hairy worm was hidden next to the flower. I once again captured it with the available light and without the use of a macro lens.

Macro photography allows you to see the smaller details. I just love this one’s little face! I sat down on the ground next to the road when I spotted this fluffy-looking creature and snapped away.

Yes, macro photography will showcase the beauty in death, the fascinating opportunities in the mundane, without a macro lens.

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Camera lenses explained

A camera lens’ specific details and capabilities have a particular use with a particular genre. In order to obtain a great picture, one of the best photography tips out there is to use the appropriate camera lenses to use for the type of image that you want to capture. Here in this article, we will be tackling the most appropriate camera accessories to be used on a particular photography genre as well as its recommended settings:

Lenses for macro / close-up

Macro or close-up photography requires intricacy and detail. This means that you have to be as close as possible to your subject in order to capture the littlest details of the subject. The lens used for this genre usually have fixed lens focal length (usually 50 mm fixed focal lengths) and are capable of putting an f/stop setting of f/2.8 or even higher. There are some camera lens that have variable focal ranges of up to 200 mm that can also be used for macro photography. You can choose whichever you want from these two types of lenses but make sure to equip yourself with appropriate camera accessories such as a lens hood to minimize or control light in order for you to capture the subject’s detail to your liking.

Lens

Lenses for portrait

Capturing portraits is fun as it captures drama and even emotion on each image. Portraits require the “soul effect” which is usually seen on the model’s eyes, thus it is best to use telephoto lenses when trying to capture portraits. You can choose between a telephoto lens with a 70-135 mm or one with 80-105 mm range. Going lower than 70 mm will risk having distortion on the facial features, which is a big no-no for portraiture. On the other hand, going over 135 mm focal length will make the subject appear flat and your image will turn out bland. There are certain ones that have fixed focal lengths that can still be used for portraiture, but make sure to choose fixed focal length lenses that are within the 70-135 mm focal length range.

Lenses for landscape

Landscape photography is actually a mere record of what you see all around when you go to a place where there is nature all around. With this, an appropriate camera lens should have a wide angle feature. Though it is nice to have a body with a full frame sensor as well as the camera lens with the same feature, it is not actually a requirement. There are a lot of landscape images that have used cameras and lenses without this capability but still produced stunning results. The one with a focal length of 18 mm or lower would do the trick and will produce equally stunning landscape photographs.

Photography is a fun and at the same time challenging hobby or even a profession, but you can lessen the challenge by choosing an appropriate camera lens. You can choose from the range offered by the brand of your camera body, or you can choose from cheaper options such as the Tamron camera lenses.   

The post Which lens is best for you to use? appeared first on SlickPic Digital Photography School.

ND filters

ND stands for “Neutral Density” and its main use is to control the light coming on the camera. The ND filter actually reduces the amount of light thus allowing you to increase your exposure time without making your image look exposed. This is one of the essential photo filters in landscape photography where a “milky” white running water would add creative effect on the image, and an ND filter allows you to do that.

Graduated filters

This filter actually has two types – one is neutral and the other one is colored. Graduated Neutral Density filters are used mainly on landscapes, wherein you would want to control the light of the background against the foreground. As an example, in capturing a sunset image, it is almost always a difficult scene to capture as the background (usually the setting sun and the sky) has more light against its foreground. An ND grad will help you minimize that light gap, thus producing equal exposure. On the other hand, a colored grad filter has the same function a an ND grad filter  which is to control light gaps. The main difference is that a colored grad filter camera is mainly used for controlling the white balance and even the black and white settings in order to capture the best results.

With filter, without filter

Polarizing filters

Like any other camera filters, a polarizing filter has a light controlling effect on an image. It is usually used in capturing landscapes and it adds vividness and higher contrast to it. It is best to use during the afternoon, where the sunlight is at its peak, and there are not much light gap between the foreground and the background. A polarize filter will add drama to your images as it can make the sky bluer and more natural in the images. A UV filter can also be used in the afternoon, but you would still want to use a polarizing filter for a better look on your photograph.

Creative filters

Creative camera filters’s use is actually a feature that you can do on your image post editing using a software. But certain photographers would still want an in-camera filtering for doing creative images with the use of the play with colors. Creative filters can help you play around with colors. On the other hand, a star creative filter is mainly used at night in order to help create a “star effect” on fixed light sources such as light bulbs.

Camera filters are important camera accessories to maximize the potential of your image quality and content. Use the camera filters as you please but be sure to use them appropriately.

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