Zusammen schaffen wir die #sozail_ökologische_Wende
Ohnmacht überwinden, Mut finden, Gemeinschaft sammeln: #MichaelSladek, Pionier und Mitbegründer der #EWS, über Anläufe, Hürden und Siege.
https://www.ews-schoenau.de/energiewende-magazin/zum-glueck/mut-kann-man-spueren
Wir trauern um #MichaelSladek !
* 1. Oktober 1946 ✝︎︎ 24. September 2024
Das Bild von Michael Sladek hat sich uns allen eingebrannt: die wilde Frisur und der lange Bart, die kräftige Statur, die mitreißende Stimme, sein ansteckendes Lachen und vor allem der wache und kampfeslustige Blick, in dem alles aufblitzte, was ihn ausmachte. Er wollte etwas bewegen. Aus der Ohnmacht ins Handeln zu kommen und zwar für die Menschen – das war seine Maxime und sein Lebenselixier.
A Review of the Fujifilm XF 90mm f/2.0 R LM WR Lens
I think lens decisions are even more of a personal choice than the camera system. In the 30 days I had to use the Fujinon XF 90mm f/2.0 R LM OIS, I learned a lot about the capabilities of this lens and was also reminded about my personal preferences in creating photos.
Full disclosure: Fujifilm USA loaned me the Fujinon XF 90mm f/2.0 R LM OIS lens, with no expectations of producing a review or opportunity to review this content before publication.
Physical Characteristics
The Fujinon XF 90mm f/2.0 R LM WR, with its full-from focal length equivalence of 135mm, is a relatively large lens (540 grams and 105mm long). This is especially true when compared to the other Fujinon f/2 primes. However, it is quite a bit smaller and lighter than the Fujinon XF 80mm f/2.8 R LM OIS WR macro lens.
Its metal construction feels extremely solid and well made. The focusing ring works smoothly, and the aperture ring has just the right amount of resistance to the clicks as it turns. The lens is weather-resistant, but lacks optical image stabilization.
Performance
The Fujinon XF 90mm f/2.0 R LM WR uses a linear focusing motor and has extremely quick focusing capabilities. I found, that as with most of the Fujinon lenses with focal longer focal lengths, this lens had a hard time focusing on relatively close, small subjects, such as flowers, when there was high contrast in the background. This can be overcome with a bit of practice and is likely more a function of the Fujifilm autofocus than the lens itself.
Image Quality
The Fujinon XF 90mm f/2.0 R LM WR has a reputation as being one of Fujifilm’s lenses with the best image quality. In my use, I found the image quality of this lens to live up to that reputation. The sharpness, even wide open, and level of detail in the image is amazing. I did not have the opportunity to create any people portraits, but the “plant & pet portraits” I created with this lens showed exceptional detail and lovely background rendering while creating clear subject separation. I noticed no fringing, flaring, or even vignetting in my use of this lens.
The ability to separate the subject from the background, with a combination of relatively long focal length and fast aperture is one of the strengths of this lens. The background blur is quite pleasing - smooth, with gentle fall off to out of focus. The bokeh balls appear very smooth and round, even at f/5.6, in the center and tend towards more oval and cat’s eye appearance at the edges of the frame.
Conclusion and Recommendation
Some lenses lean towards general-purpose capabilities, and some lenses seem designed to perform a much more narrow task. The Fujinon XF 90mm f/2.0 R LM WR is one such lens designed primarily for one task. This lens has a well-deserved reputation for amazing image quality, especially as a portrait lens.
This lens is a perfect partner for portrait photographers, especially those primarily creating headshots or working with small groups of two or three people. This lens would also work well for studio product photography to capture details with excellent sharpness and image quality.
This may sound strange, but I think this lens is too good for me. Here’s what I mean: this lens rewards patience, precision, and a controlled environment with room to get the desired composition. I prefer to create photos quickly in whatever environment I find myself, and am not generally chasing that last five to 10% of sharpness in the images. Once I experienced the amazing level of sharpness and details this lens can produce, I was frustrated when I had a difficult time consistently repeating those sharpness and detail levels in many photos due to subjects being blown in the breeze, relatively low light situations with longer shutters speeds resulting in camera movement not offset by lens image stabilization.
In other words, it’s not you Fujinon XF 90mm f/2.0 R LM WR, it’s me.
More sample images can be found here taken with this lens can be found on my Flickr
About the author: Michael Sladek teaches digital photography at Highline College near Seattle, Washington. He enjoys dad jokes, doughnuts, and helping others discover the fun of creating photos they love. Stay connected with Michael on his website, YouTube channel, and Instagram..
#equipment #reviews #90mm #apsc #fujifilmxf #fujifilmxf90mmf2rlmwr #fujifilmxserieslens #fujinon #michaelsladek #review #xflens
A Review of the Fujifilm XF 80mm f/2.8 R LM OIS WR Macro Lens
One of my favorite ways to create more interesting photos is to get closer to the subject and fill the frame, eliminating or reducing background distractions. Often, I am unable to get as close as I would like to the subject due to the minimum focusing distance limit of the lens. This is where macro lenses, such as the Fujinon XF 80mm f/2.8 R LM OIS WR with their ability to focus when close to the subject, enter the picture (pardon the pun.)
Full disclosure: Fujifilm USA loaned me the XF 80mm f/2.8 R LM OIS WR lens, with no expectations of producing a review or opportunity to review this content before publication.
Physical Characteristics
The Fujinon XF 80mm f/2.8 R LM OIS WR ($1199USD) is a relatively large and heavy lens due to its high-quality construction. It is both larger (130mm long versus 106mm) and heavier (750 grams versus 655 grams) than the Fujinon XF 16-55mm f/2.8 R LM WR zoom lens. The focus ring is very smooth and allows for precise focus adjustments when needed. The aperture ring is fairly loose and easy to bump to a different setting through normal handling and placement in and out of a camera bag.
The XF 80mm f/2.8 R LM OIS WR has a minimum focusing distance (the closest distance from subject to sensor a lens can focus) of 9.84-inches (25 cm). Combined with a lens length of a little over five inches (13 cm), this means that this lens can be placed extremely close to the subject and still achieve focus while creating 1:1 image magnification.
The XF 80mm f/2.8 R LM OIS WR has two switches on the lens barrel: one is to turn optical image stabilization off or on. The other is to limit focusing distance to “Full,” “0. 5 meters to infinity” and from “0.25 to 0.5 meters.”
Performance
The autofocus on the XF 80mm f/2.8 R LM OIS WR is extremely quick, accurate, and very quiet. Even when the focus limiter is set to “Full,” the lens is able to achieve close focus relatively quickly. The optical image stabilization works as expected to provide a little extra sharpness at normal subject distances and shutter speeds as slow as 1/30 second, in my experience.
Image Quality
As with my experience with other Fujinon lenses, the XF 80mm f/2.8 R LM OIS WR has wonderful image quality. This lens also functions extremely well as a short telephoto lens with its full-frame focal length equivalent of 120mm field of view. I experienced minimal fringing or vignetting in my use. While the XF 80mm f/2.8 R LM OIS WR does have some softness in the corners at f/2.8, it’s the kind of softness that is only noticed on test images of brick walls and graph paper. I found the focus fall off to be quite pleasing in appearance and can add a dramatic element to images. If you’re a fan of sun stars, the XF 80mm f/2.8 R LM OIS WR produces sun stars with lots of personalities -- they appear to be split at the source, and then join at the tip, along with a bit of flaring. See sample photo below.
The bokeh appearance is… interesting. In most situations, the out-of-focus areas have a pleasing soft appearance, with smooth edges and no edge colors. However, the bokeh performance changes when the focus is on a close subject, and the background elements are relatively far away. In this situation, the out-of-focus elements will appear more oval-shaped at f/2.8, especially when these elements are closer to the frame edge. As the aperture is stopped down, all the out-of-focus elements in this situation begin to become more round. See sample below:
Conclusion and Recommendation
As the self-appointed president of the zoom lens fan club, it always takes me a few photos to get used to having a prime lens on my camera. I tend to also like the longer focal lengths, so the XF 80mm f/2.8 R LM OIS WR fits nicely in my style with its telephoto characteristics. Since I’m used to the larger size and weight of zoom lenses, the size and weight of the XF 80mm f/2.8 R LM OIS WR were similar to what I’m used to. But, if you’re used to smaller prime lenses, this lens will feel very different.
I really like that this lens allows me to get extremely close to photo subjects to create the minimalist type of photos I prefer. I found it quite a pleasant surprise that I was able to get as close as I wanted to the subjects, and most of the time still had room to get even closer.
The XF 80mm f/2.8 R LM OIS WR would be a great lens for a primarily prime lens photographer to round out their longer focal lengths while adding a macro lens at the same time. Additionally, for zoom lens photographers, this lens fills an interesting role of fast telephoto prime, with the added capability of a macro lens.
Fujinon lenses are known for their image quality, and the XF 80mm f/2.8 R LM OIS WR lives up to those image quality expectations. Fujinon lenses are also known for their inconsistent aperture ring tightness. Some are too tight, some are just right and some are too loose. To me, the aperture ring on the XF 80mm f/2.8 R LM OIS WR is way too loose. I think it’s the loosest of all the Fujinon lenses I’ve experienced.
Aside from the loose aperture ring, there is very little for me not to like about the Fujinon XF 80mm f/2.8 R LM OIS WR. The excellence of its image quality, the performance of its autofocus, and its ability to get just about as close as you want to your subject make this an easy lens to recommend.
I’ve uploaded XF 80mm f/2.8 R LM OIS WR sample images into a Flickr gallery.
About the author: Michael Sladek teaches digital photography at Highline College near Seattle, Washington. He enjoys dad jokes, doughnuts, and helping others discover the fun of creating photos they love. Stay connected with Michael on his website, YouTube channel, and Instagram.
#equipment #reviews #80mm #fuijfilmlens #fujifilm #fujifilmxf80mmf28rlmoiswrmacro #fujinon #macrolens #macrolensreview #michaelsladek #prime #primelens
Book Review: The Meaning in the Making by Sean Tucker
A Google search for “Creativity” will return over 2,600,000,000 results. Many of these results are books about creativity, which offer specific advice and actions to take in order to be creative now. The Meaning in the Making: The Why and How Behind Our Human Need to Create by Sean Tucker is different -- very different.
Sean Tucker is a photographer, filmmaker, and YouTube creator based in the United Kingdom. His YouTube videos are less about photography tips and much more about the “why’s” of photography. I consider his videos to be “photography church” in that they encourage me to explore meanings and motivations in my work beyond the “hey, nice photo.” His book, The Meaning in the Making is much the same.
I mostly read this book in the mornings, as a meditative way to start the day. I would usually read (and highlight; lots of highlights!) one chapter a day to allow the words and thoughts to sink in more deeply and have time to tumble around inside my mind throughout the day.
Even though Sean Tucker is a photographer, The Meaning in the Making is not about photography. In fact, it only contains one photo and it’s on the cover. Instead, it offers a way to approach and consider why we individually and collectively create any form of art. Near the end of the first chapter, he sums up the "why" of creativity as this:
As human beings, we’re trying to describe what we collectively know, to create a sense of ‘safety in numbers’ as we stare into the void together. When we reach the end of our traditional descriptive powers, its time to weave collective meaning from poetry, painting, writing, dancing, photographing, filmmaking, storytelling, building, singing, animating, designing, baking, performing, painting, carving, sewing, sculpting, and a million other ways we daily create life out of Chaos and share it with each other for comfort.
A glimpse at the chapter titles sets the stage for a different take on creativity. Titles include: Order, Logos, Breath, Voice, Ego, Control, Attention, Envy, Critique, Feel, Shadows, Meaning, Time, and Benediction.
These titles reflect Sean’s past experience as a pastor and allow him to lean and leverage into his study and interest in psychology, philosophy, and spirituality.
Throughout the book, Sean shares stories from his personal and work life as examples of how he has experienced these topics and the lessons learned. The sharing of these stories, along with the poetic and contemplative prose, encourages the reader to explore their own experiences, motivations, and meanings on a deeper level.
The Meaning in the Making is mostly absent of specific tips or advice, with the exception of the chapter entitled, “Breath.” Here Sean offers some advice regarding inspiration -- in-breathing.
If we take a couple of hours to go and sit by ourselves but are aware that the only reason we are doing so is that we need to find inspiration, that hyper-awareness of the problem we are trying to solve will keep us from empty, generative space.
And…
…human beings worked out a long time ago that a good walk and some alone time can shake new things loose.
I am deeply grateful for this book. There is much to wrestle with that will take time to personally unpack. My biggest takeaway from this book (so far!) is looking at why I’m creating from a perspective of “fulfillment” rather than “success.” I am already planning on re-reading this once a year (with a different color highlighter each year) around my birthday, as a way to reflect, remind and renew.
The opinions expressed in this article are solely those of the author.
About the author: Michael Sladek teaches digital photography at Highline College near Seattle, Washington. He enjoys dad jokes, doughnuts, and helping others discover the fun of creating photos they love. Stay connected with Michael on his website, YouTube channel, and Instagram.
#inspiration #products #reviews #book #bookreview #creativity #michaelsladek
Review: The Viltrox AF 23mm f/1.4 for Fujifilm X is a Superb Value
Until recently, if you were a Fujifilm X-Series camera owner, your options for fast prime lenses (f/1.4 or wider) were limited to (relatively) expensive options from Fujinon, or less expensive third-party manual focus lenses.
Fujifilm has recently opened their autofocus protocols, and we can expect more third party autofocus fast prime lenses soon. Until then, Viltrox has filled the gap of autofocus fast primes with their reverse engineered 23mm, 56mm, and 85mm f/1.4 lenses.
Let’s take a look at the Viltrox AF 23mm f/1.4 lens to see what you get for lots less money.
A brief reminder that I approach lens reviews from a fairly non-technical aspect and evaluate the lens based on its subjective technical and optical performance in the type of photographs I typically create. I (mostly) don’t pixel peep and don’t stress too much about micro-contrast, bokeh shapes, and (a little) vignetting. Therefore, your mileage (and opinion) may vary…
The Viltrox AF 23mm f/1.4 is a direct specification competitor to the Fujinon XF 23mm f1/1.4 R. The Fujinon lens retails for $899, while the Viltrox retails for $329. I am far from a lens design expert, but I think I can figure out a few ways that Viltrox was able to save money in constructing this lens, while still delivering quality images. One way that costs are reduced is by sharing one outer housing across all three of the f/1.4 primes.
The Viltrox AF 23mm f/1.4 features all-metal construction and has a pleasing feeling of density and heft that is reassuring in a lens priced at 1/3 of its Fujinon equivalent. It feels like a very nice size and weight compromise for a lens this fast. The focusing ring is smooth and the clickless aperture ring has decent resistance. However, it’s still fairly easy to nudge the aperture ring to a different value in general handling and placing in and out of a camera bag.
In my experience, the Viltrox AF 23mm f/1.4 focuses quickly, accurately, and quietly. The focusing also works quite well in low light. I briefly used this lens as my lens for recording YouTube videos, and I found its video focusing to also be quite speedy and accurate. I really liked this lens for video in my office studio setup, and the only reason I stopped using it for video was that in my small space, 23mm is just a little too tight for my preferred framing.
The Viltrox AF 23mm f/1.4 pairs nicely with my Fujifilm X-T3, with its slightly larger size offering an easy-to-hold surface and its relatively lightweight allowing for easy handling. I recently used this lens as my primary lens for a wedding, and as a self-avowed lover of zooms (I typically use the XF 50-140mm f/2.8 and XF 16-55mm f/2.8 for weddings), I have to confess to now seeing what all the fuss is about with fast prime lenses. The lighter weight, faster aperture (hello blurry background in the messy groom’s getting ready room!), and the smaller size make for a really great picture-taking experience.
I am generally quite pleased with the images from the Viltrox AF 23mm f/1.4 at this wedding but did notice two areas for improvement.
First, there is considerable fringing in high-contrast areas, especially white (groom’s shirts and bride’s dress) against the overcast sky. This fringing was noticeable even on the camera rear screen preview but was quickly fixable in Lightroom.
Second, there is a fair bit of vignetting noticeable in mid-tone corner areas. Again, this was noticeable in the rear screen preview. I generally add a bit of vignetting to most photos, so this was not too much of an issue in my experience, and in the situations where it was, I framed a little wide, so I could crop out the vignette-affected area in Lightroom.
Aside from the above technical issues, I really like the images from this lens. In my experience, they tend to have a quiet and somewhat moody feel. This might be due to the majority of images I’ve created so far with this lens having been shot on overcast Northwest days, but still, there is a very pleasing quality to the images from this lens. The background blur is smooth and quiet to my eye, with round bokeh balls that tend towards oval shapes near the frame edges.
Sample Photos
Here's a link to a full gallery of sample photos taken with the Viltrox AF 23mm f/1.4 for Fujifilm X-Series.
Pros and Cons
Pros
Cons
Summary and Recommendation
It’s great to have options! The Viltrox AF 23mm f/1.4 is a superb value that performs extremely well mechanically and in creating wonderful images.
As mentioned, there are some noticeable issues with fringing and vignetting in certain situations, but those can be addressed quickly in software. There’s something compelling about being able to create images at f/1.4, with faster shutter speeds, lower ISO settings, and background separation.
I’m really impressed with this lens. I am so impressed that I’m considering the Viltrox AF 56mm f/1.4 at $329 as my next lens purchase. I could never pull the trigger on the Fujinon XF 56mm f/1.2 R lens at $999, but my experience with the Viltrox AF 23mm f/1.4 has convinced me they are on to a winning formula in the lower-priced prime lens market for Fujifilm X cameras.
About the author: Michael Sladek teaches digital photography at Highline College near Seattle, Washington. He enjoys dad jokes, doughnuts, and helping others discover the fun of creating photos they love. Stay connected with Michael on his website, YouTube channel, and Instagram.
#equipment #reviews #fujifilmx #fujix #lens #lensreview #michaelsladek #review #viltroxaf23mmf14xf
Use ‘The Two-Minute Rule’ To Create More Interesting Photos
Click. Press the playback button. Look at photo. "Mehhhh." We’ve all had it happen -- the photo on the back of our camera does not match the vision or intent we had when we clicked the shutter button. To help myself in these situations, I follow "the two-minute rule" to create more interesting photos.
I’ll get to how I use those two minutes… in a minute. But first, what are interesting photos?
“Interesting photos” is a framework I use to evaluate and critique my photos that revolves around the goal of creating photos that hold the attention by being unique, rare, or different. The building blocks of interesting photos are subject, light, composition, and processing. Each of these building blocks can be evaluated individually and collectively to assess the level of uniqueness, rarity, or difference in the overall photo. It is common to have one element carry the weight of interest in the photo, such as with an amazing sunset where the light does all the work of creating interest and almost any composition or subject will look interesting in that light.
My usual reaction to not liking the photo on the back of the camera was to move on to a different photo. I’ve learned from experience that is usually a mistake. Here’s why: when we take the time to create a photo, it is usually because something has drawn our attention. We’ve noticed, consciously or unconsciously, something interesting. The challenge now is to create a photo that reflects that interest that originally got our attention.
Rather than being overwhelmed with options for how to potentially create an interesting photo, I give myself two minutes to see what I can discover with my camera and this scene. Working in two-minute increments is enough time to explore possibilities, and feels like an easy investment of time that is not overwhelming. If you’re with other people, it’s also lots easier to ask for two more minutes than for a half hour. Just don’t tell them you might be asking for two more minutes ten times.
Here’s the mental checklist I run through when using the two-minute rule:
Technical Stuff
Composition Stuff
Processing Stuff
Creative Options
Running through this mental checklist (feel free to print one out and add your own items!) goes quickly with a little practice. When all the questions are answered and options have been tried -- and the two minuter timer has concluded -- it’s time to look at the images that have been created. I suggest doing a sharpness check by zooming in to 100% to check focus on the camera screen before moving on to a new composition. Remember, we can fix and adjust color and exposure, but we can’t fix sharpness with software. Yet…
What happens when the two minutes are up and you still haven’t created the image you want? I think there are three basic options. First, try another two minutes. In the image sequence below, I created 73 photos in 17 minutes, as I went through my two-minute checklist several times.
Second, realize that this photo just may not be happening right now. Maybe you need more interesting light, or a different lens, or something else is missing right now and a return visit might be needed to create the photo you imagine. And third, sometimes a scene is interesting to look at, but may not create an interesting photo in the conversion from real-world to the two-dimensional world of the photograph. If that’s the case, enjoy the moment(s) and what was learned about the creative photographic process.
The next time you look at the back of the camera to review a photo and think, “Mehhhhh,” remember that something drew you to the scene in the first place, and you may just need two minutes to discover it.
About the author: Michael Sladek teaches digital photography at Highline College near Seattle, Washington. He enjoys dad jokes, doughnuts, and helping others discover the fun of creating photos they love. Stay connected with Michael on his website, YouTube channel, and Instagram.
#editorial #educational #tips #michaelsladek #phototips #practice #procedure #process #workflow
Mirrorless or DSLR: Which is Best for Your Next Camera?
Mirrorless or DSLR? That is the question. It’s a great time to be a photographer considering a new camera purchase. Whether it’s your first camera or twenty-first, there have never been more options available for features, price, and capabilities. Plus, if buying a new (not used) camera, there are really no bad cameras out there. The first decision you will need to make about your new camera is what imaging system you prefer: mirrorless or DSLR?
Before we go too much farther, I feel it’s important to disclose that I am happily on team mirrorless. I’ve been using a Fujifilm mirrorless camera since 2014 after switching from Nikon DSLRs, which I had used since 2004.
Another item, before we go too much further: the discussion of Micro Four Thirds vs APS-C vs full-frame sensor will be reserved for another time.
First, a brief history lesson: DSLR (Digital Single Lens Reflex) cameras were a direct outgrowth of 35mm film cameras, which had been popular since the 1960s. The first commercial digital cameras in the early 1990s were conversions of Nikon F3 cameras with Kodak sensors. Nikon released its first professional digital camera in 1999, and Canon followed in 2001. The first commercially marketed mirrorless camera was released by Panasonic in 2008.
So, what’s the difference between mirrorless and DSLR? The names will pretty much give you the answer. A DSLR uses a mirror system to direct light from the lens to the mirror, then through a prism, which directs the image to the optical viewfinder. When you’re looking through the viewfinder on a DSLR, you are seeing what the lens is seeing. When the shutter is pressed, the mirror flips up and out of the way, and the shutter opens, exposing the sensor to the light from the image.
In a mirrorless camera, as the name suggests, there is no mirror. This camera system instead relies on electronic viewfinders (EVFs) and/or rear screens to show the image before the shutter is pressed. So, while you are seeing what the lens sees, you are viewing on a high-resolution electronic screen rather than a purely passive optical system. When the shutter button is pressed, the mechanical shutter opens and exposes the sensor to the light from the image.
When choosing between mirrorless and DSLR, the choice will ultimately be determined by your personal preferences and photography priorities, as both systems offer excellent image quality, performance, and variety within their systems. Each system has its advantages and disadvantages, and understanding those will hopefully help inform your decision between these systems.
DSLR Advantages
Optical viewfinder
Seeing EXACTLY what the lens sees is a major practical advantage of DSLR cameras, as optical viewfinders perform well in all lighting conditions, especially in bright light, where EVFs can struggle to be bright enough.
Longer history of development and maturity
These systems have been continually updated with improvements to sensors, focusing systems, and lens choices. There are camera body choices at just about every price point in this system.
Large used market for cameras and lenses
Just as with the used car market, great values on camera bodies and lenses can be found in one- or two-generation older model camera bodies. Additionally, there is a very large variety of used lenses available for just about every manufacturer.
DSLR Disadvantages
Technically mature
While this can be an advantage, it also means that most of the major and easy-to-find improvements in camera performance have already been discovered. Recent releases have concentrated on higher resolution sensors with little other performance improvements.
More mechanically complex
The mirror mechanism and optical systems to direct light from the lens to the viewfinder involve more mechanical components that require careful and expensive engineering to allow for high performance and durability. These mechanical systems add to the size, weight, and cost of these systems.
Video capabilities not as well rounded and advanced
Due to the presence of the mirror mechanism, a DSLR must operate in a mirror up mode when recording video, and this requires a different focusing system and other compromises to the performance of the system as a video camera.
Unlikely to see any new systems in near future (ever?)
Sony no longer manufactures DSLRs, and Canon and Nikon have no announced or rumored plans for new or revised DSLR cameras. The only manufacturer that I am aware of that is still committed to future DSLRs is Pentax.
Mirrorless Advantages
Tend to be smaller/lighter
This was one of the initial selling points when the mirrorless systems first debuted, and while still somewhat true, the minute you add a fast telephoto zoom lens to these systems, any weight or size advantage is mostly gone. However, for those who do not need those large lenses ever, or at all, they have the opportunity for a compact and lightweight system with prime lenses.
Quieter
The lack of a mirror mechanism results in far less mechanical noise when taking photos. My wife and I were photographing a church wedding a couple of weeks ago with our mirrorless cameras, and afterward the venue wedding coordinator said we were the quietest and least distracting photographers she had experienced.
Electronic viewfinder with exposure and white balance preview
The ability to see exactly what the exposure looks like means I no longer am surprised by the exposure because I left exposure compensation turned on, or when following activity from a light to dark space and forgetting to adjust exposure. This exposure preview is wonderful to learn or make the leap to manual exposure with confidence. This is the feature that I appreciate the most in mirrorless cameras.
Better video capabilities
The lack of mirror and use of electronic viewfinders and rear screens means that mirrorless cameras are uniquely suited to creating video content without compromises in focusing or preview systems. Most mirrorless cameras are able to capture 4K video and the newest generation of cameras is beginning to offer 8K video recording capabilities.
Many new systems being developed
Sony seems to release a new mirrorless camera every other week, and they have a variety of systems geared to unique use cases. Nikon and Canon are catching up quickly, and each has several higher ends models, with each anticipated to launch a flagship mirrorless model in the next year. Fujifilm and Panasonic continue to expand their lens and camera body systems, providing alternate options to the “big 3.”
“Medium format” sensor option
I know I said the sensor conversation size was for another time, but I did want to mention that if are interested in larger than full-frame sensor options, there are at least two “medium format” mirrorless systems available. One is from Fujifilm and the other is from Hasselblad. Both use a 44 x 33 mm sensor that is about 30% larger than the 35 x 23mm sensor in full frame cameras. Just sayin', it’s out there…
Adapters available for legacy and vintage lenses
There are a wide variety of first- and third-party lens adapters viable to convert either same-system legacy lenses or different system lenses, including vintage 35mm film lenses. With first-part adapters for legacy DSLR lenses, you will maintain autofocus and metering functions. Some, more expensive third-party and cross-brand adapters also offer the ability to maintain autofocus and metering capabilities, while the less expensive converter options lack these automatic features.
Mirrorless Disadvantages
EVF and LCD screen not as visible in bright light
These electronic systems are often not bright enough to overcome a sunny day and some kind of hood or method to block the light may be required to compose the photo.
Shorter battery life
Mirrorless cameras are more electronically complex and are providing power to the sensor and at least one screen at all times. When this is combined with relatively smaller bodies, there is less room for a high-capacity battery, resulting in shorter battery life relative to a DSLR.
Smaller used market in cameras and lenses
Due to the relative newness of mirrorless cameras with DSLR camera feature parity, the used market for one- or two-generation old camera bodies is currently as large as the DSLR used market.
Mirrorless or DSLR?
I began this debate with myself in January of 2012 when Trey Ratcliffe published a blog post titled "DSLRs Are A Dying Breed - 3rd Generation Cameras Are The Future.” At the time, I was using a Nikon D600 and thought there was no way that I would be moving to a different technology that had so many disadvantages (at the time!) that do not offset its advantages in my use case. Fast forward two years and my decision changed when I bought a FujiFilm X-T1 in 2014, and now I can not imagine changing back to DSLR technology.
Of course, the debate between mirrorless and DSLR will continue for a while, and the choice of system is highly personal. I do think that all cameras will eventually be mirrorless, as it just makes business sense to the manufacturers to have new systems to sell, and there is still lots of room to improve mirrorless systems to provide a clearer generational upgrade incentive than is available in the mature DSLR systems. I think Trey’s blog post from 2012 was correct, and we’ll just have to wait and see how long it takes for it to ultimately be true.
About the author: Michael Sladek teaches digital photography at Highline College near Seattle, Washington. He enjoys dad jokes, doughnuts, and helping others discover the fun of creating photos they love. Stay connected with Michael on his website, YouTube channel, and Instagram.
#educational #equipment #dslr #dslrvsmirrorless #learn #michaelsladek #mirrorless #mirrorlessvsdslr
Review of the Fujifilm XF 16-80mm f/4 R OIS WR Lens
I’m a big fan of zoom lenses. For my photography and budget, they provide great value and versatility, and modern zoom lenses sacrifice little, if any, image quality compared to prime lenses. I’m an especially big fan of zoom lenses that cover enough of a focal length range to potentially be the one lens to rule them all.
I have an interesting relationship with the Fujinon XF 16-80mm f/4.0. We got this lens about two years ago, and it was primarily used by my wife for her photography business for portraits and weddings. That lens had a gravitational encounter with a hard surface, and no longer produces sharp images on the right side of the frame.
Fast forward to early July 2021, and Fujifilm was hosting its annual summer sale where the XF 16-80mm f/4.0 was $200 off, and I decided to pick up another copy to use myself on my Fujifilm X-T3 (no in-body image stabilization), while having my wife use the Fujinon XF 16-55mm f/2.8 (no lens stabilization) with her Fujifilm X-T4 (with in-body image stabilization) at events we photograph together.
In the month or so that I’ve used the XF-16-80mm as my main general-purpose lens, here’s what I’ve discovered:
As with all Fujinon lenses I’ve used, it’s extremely well built and solid feeling. Focus, zoom, and aperture rings move smoothly and with precision. Autofocus is fast and accurate, and the minimum focusing distance of just a little more than 1 foot (35 centimeters) is a feature I use quite often. One feature to note on this lens is that there is no switch on the lens for image stabilization -- instead, that is controlled automatically by the lens or through the camera menu system. Regarding image stabilization, I have good results down to 1/60 and 1/30 second. Image quality has been wonderful in my use, and I’ve had the confidence to use this lens as my primary lens at a wedding with indoor and outdoor photo opportunities.
A question I’m often asked in these lens reviews is how a given lens compares to a similar lens in the Fujifilm X system. I have not used the Fujinon XF 18-55mm f/2.8-4.0, so I can’t compare at all with that lens. I do, however, own the Fujinon XF 16-55mm f/2.8 as well as the Fujinon XF 18-135mm f/3.5-5.6 and can offer some thoughts as to how they compare. Compared to the XF 16-55mm, the XF 16-80mm is a series of tradeoffs. With the XF 16-80mm, you get a bit of extra reach at the long end, optical image stabilization, a slightly lighter and smaller lens, and a lower price. However, you give up one stop of light and maybe a bit of image quality. As a non-pixel peeper, the main difference I notice in image quality comes as the result of using a higher ISO setting in low-light situations to account for one less stop of available light on the XF 16-80mm.
Physically, the XF 16-80mm and XF 18-135mm are remarkably similar in size and weight. Focusing performance feels similar on both lenses, with both focusing quickly and quietly, with a slight edge in both going to the XF 16-80mm. Image quality in both lenses looks very similar to my eye, and they both have the image quality I have come to expect from Fujinon lenses. I do like the extra bit of room on the wide end, and the extra stop of light at the telephoto end is another benefit in my photography.
The big question is whether the Fujinon XF- 16-80mm can replace my beloved Fujinon XF 18-35mm f/3.5-5.6 for daily one lens use. My current plan is to still use the XF 18-135mm when I’m just using one lens, as I do tend to take advantage of that extra reach on the telephoto end. When I have the opportunity to take two lenses, my plan is to use the XF 16-80mm along with the XF 70-300mm f/4-5.6 for those scenes requiring even more reach. For three lens traveling, I’ll add the XF 10-24mm f/4.0 to the kit for the wide view.
Overall, I really like the Fujinon XF 16-80mm f/4.0 R OIS WR lens. It’s relatively small and light, solidly built, with fast focusing speed, and great image quality. It is also a really good value at $799. As of the time of this writing (week of July 19, 2021), this lens is an even better value with Fujfilm’s summer savings reducing the price from $799 to $599.
About the author: Michael Sladek teaches digital photography at Highline College near Seattle, Washington. He enjoys dad jokes, doughnuts, and helping others discover the fun of creating photos they love. Stay connected with Michael on his website, YouTube channel, and Instagram.
#equipment #reviews #fujifilm #fujifilmxf #fujifilmxf1680mmf4roiswr #fujifilmxmount #fujinon #fujinonxf1680f4roiswr #lens #lensreview #michaelsladek #portrait #wedding #xmount
11 Tips to Achieve Better Street Photos
Street photography is one of my favorite ways to create photos because it affords so much variety and opportunities for different types of photos.
Before we get to the 11 tips for street photography, I’d like to share a bit of an overview of street photography, including a loose definition, some inspirational photographers, and a bit about the law and ethics.
There are many definitions of street photography, and just as in landscape, portrait, fine art, and many other genres, there is no one definition to rule them all. To me, street photography is observational and intentional in exploring a specific location to create stories about that moment in time. The photos may include people, or may not. The photos may be abstract, or may not be. The photos may be black and white or in color. I like the word “cityscape” to suggest a connection to how the city is connected to its location.
For me, there are three photographers that have inspirited my street photography. First, is Sean Tucker. Sean lives in York, England and I love how he observes light and shadow and their interaction with objects and people. He is not afraid of high-contrast bright, sunny days. Next, is Joshua Jackson. Josh lives in London, England, and has a great eye for dramatic moments with amazing attention to light and gesture. I also find it interesting that many of Josh’s photos are taken at night, and have a completely different feeling than daytime photos. The third is Craig Whitehead. Craig also lives in the U.K. and finds incredibly unique ways to integrate people as subjects into their surroundings.
Regarding the legal aspects of street photography: I am not an attorney, so any advice and views here are based on my opinion and understanding of applicable laws in the United States. Please do your own research and contact an attorney, if you have any doubts or concerns. My understanding of the applicable law is that a person visible in public no longer has a “reasonable expectation of privacy” and can be observed and recorded (photographed), for non-commercial purposes, without their permission.
Having said that, I strongly believe that the ethical effects also need to be considered, in tandem, with legal considerations. In other words, just because you can, doesn’t mean you should. Especially when considering photographing someone else’s children in public without express permission -- just don’t. There’s too much potential for misunderstanding and anger.
Now, on to my tips:
I hope you find these tips helpful and have the opportunity to explore you local cityscapes! You can also see more photos from a recent overcast day walk in downtown Bellevue, Washington on my Flickr.
About the author: Michael Sladek teaches digital photography at Highline College near Seattle, Washington. He enjoys dad jokes, doughnuts, and helping others discover the fun of creating photos they love. Stay connected with Michael on his website, YouTube channel, and Instagram.
#educational #tips #travel #ethics #inspiration #law #laws #michaelsladek #streetphotography #streetphotographytips
Fujinon XF 100-400mm Versus XF 70-300mm Telephoto Lens Comparison
When I created my first impression video of the Fujinon XF 70-300mm f/4.0-5.6 R LM OIS WR lens, I received lots of questions regarding how it compared to the XF 100-400mm f/4.5-5.6 R LM OIS WR.
At the time, I was unable to answer those questions as I did not have access to the 100-400. But I can now.
The fine folks at Fujifilm USA loaned me an XF 100-400mm f/4.5-5.6 R LM OIS lens to use for about thirty days. This is not a sponsored review, and Fujifilm has not had any input or seen this review until publication. Additionally, the XF 70-300mm was purchased by myself.
The first thing you notice about the XF 100-400mm is the size: It’s large. Very large. And heavy. Very heavy. To all those folks on the various Fujifilm Facebook Groups complaining about the size and weight of the XF 18-55mm f/2.8-4.0, spend about two minutes with this lens and enjoy anew the compact size and light weight of the XF 18-55mm.
While the XF 100-400mm is “only” three inches longer (8.3 versus 5.2) and 1.7 pounds (3.0 versus 1.3) than the XF 70-300mm, those dimensional differences have several practical implications for using the lens.
First, transporting this lens requires a large camera bag. It won’t fit in most smaller bags, such as slings or messenger style bags unless the XF 100-400mm is the only item you put in it. Second, using a tripod with the XF 100-400mm requires a tripod capable of dealing with the weight and distribution of that weight across a relatively large lens. In my experience, I noticed quite a bit of drift on the ball head after locking it down when the lens was pointed at any angle but level. This same tripod -- a Benro TSL08AN00 -- had no drift when supporting the XF 70-300mm at all angles. Finally, handholding this lens is quite a workout. On the relatively small Fujifilm X-Series bodies, this lens is very front-heavy and is best used with an L-plate or battery grip that provides more gripping area for stability and control.
An important factor to consider with both the XF 100-400mm and XF 70-300mm at their longest telephoto reach is the camera-holding technique. At 300mm and 400mm, every detail is magnified, and any camera movement will be as well. While both lenses have excellent optical image stabilization systems and I was able create sharp photos at 1/125 second while handheld with both lenses, I also realized I need more practice at creating photos at those focal lengths.
Both lenses have excellent autofocus speed and image quality. It feels like the XF 70-300mm is slightly faster to focus than the XF 100-400mm, which makes sense as it does not have as much weight in lens elements to move. At their highest focal lengths, both lenses can struggle a bit with relatively small subjects that are seven to 10 feet away.
Image quality for both lenses was excellent to my eye and for my use cases. Both lenses have slight blue fringing around high contrast areas on light backgrounds, which is easily corrected with software. Both lenses have background blur with a bit of “personality” -- in other words, the bokeh is not super smooth and can have a slight appearance of motion to it.
One quirk I noticed with my loaner copy of the XF 100-400mm was that the EXIF data displayed in Lightroom Classic for focal length showed 386mm when set to the 400mm marking on the lens.
I also used both lenses with the Fujinon XF 2X TC WR Teleconverter. When using focal lengths approaching 600 and 800mm, there is little room for technical error of focus, camera movement and subject framing. I was overwhelmed with my results, but I think that’s a result more my lack of experience with the techniques of creating photos at those extreme focal lengths than an issue with the quality of the 2X TC. I’ve included some sample photos below showing how each lens performs with the 2X TC. These sample photos were all taken using a tripod, with OIS turned off on the XF 100-400mm.
Which lens wins? Lens choice is always highly personal and depends so much on each photographer’s preferences. I don’t photograph much wildlife or sports. I do photograph some landscapes, but the majority of my photography is of subjects that are relatively close, or at least don’t often call for extreme telephoto reach.
So, for me, the winner is the Fujinon XF 70-300mm f/4-5.6 R LM OIS WR. It covers the majority of the telephoto range of the XF 100-400mm with amazing image quality and autofocus performance without the weight and size. Also, at less than half the price, the XF 70-300mm is a wonderful value. Add in the relatively close minimum focusing distance with high image magnification and my love of minimal closeup photos, and it’s a combination that’s hard to beat for me. In the three months that I have had this lens, it has quickly become a part of my go-to gear choice in most photography situations.
I’ve uploaded some more sample images from both lenses here.
About the author: Michael Sladek teaches digital photography at Highline College near Seattle, Washington. He enjoys dad jokes, doughnuts, and helping others discover the fun of creating photos they love. Stay connected with Michael on his website, YouTube channel, and Instagram.
#comparisons #equipment #comparison #fujifilm #fujifilmlens #fujifilmxmount #fujinon #fujinonxf100400f4556rlmoiswr #fujinonxf70300f456rlmoiswr #lenses #michaelsladek #telephotolenses #xmount
Travel Photography: Why if You Might Need it, You Should Bring It
It is amazing how portable most photography, videography, and computer gear have become. It is now possible to carry in one or two bags of gear that provides almost all of the functionality of a static environment when we hit the road for adventures.
Obviously, each of us will have different needs and preferences for what we hope to accomplish while on the road, as well as varied preferences in how best to accomplish those goals. A trend we all share though is the ability to pack along a wider variety of gear in less space as more electronic items are battery or bus-powered and charge via USB-C, thereby eliminating the need for separate power bricks for each device. I was really amazed at how much space alone this saved.
This is my road trip photography and video hear packing philosophy: if you think you might use it, and have the room, bring it.
I’d rather have a few extra pounds of gear and end up not using it, then saving that weight and missing an opportunity due to lack of a piece of gear.
For video, I know that I need to participate in at least two Zoom meetings as well as create content for my YouTube channel. I’ll include the complete equipment list below, but here’s an overview to get started: for Zoom meetings I need a laptop, and to stay on visual brand, I use my camera and 23mm f/1.4 for that live meeting look you can’t get with a webcam. For YouTube videos, I’m going to use a phone gimbal for b-roll, as well as the camera I use for Zoom video. For photography, I’ll be using a second camera with a variety of zoom lenses from wide-angle to telephoto. I also brought a couple of prime lenses for low light and indoor use.
It will be interesting to see how much I overpacked, as well as to discover if I left anything behind that I’m going to miss. I’m sure I’ll pack differently for future trips, based on the lessons learned, gear used and unused, on this trip.
Here’s to safe travels and amazing photos! Below is my list of video and photo gear. I am curious how it contrasts with what many other photographers choose to take with them:
Video Gear
Photography Gear
About the author: Michael Sladek teaches digital photography at Highline College near Seattle, Washington. He enjoys dad jokes, doughnuts, and helping others discover the fun of creating photos they love. Stay connected with Michael on his website, YouTube channel, and Instagram.
#tips #travel #equipment #fujifilm #michaelsladek #photoproduction #remote #remoteproduction #remotework #travelphotography #videoproduction
What Defines an ‘Interesting’ Photo and How Do You Create One?
Why do we create photos? Well, for a variety of reasons, but the one reason that connects them all is we feel we have made something that we want to share and we feel is worth time and attention. So, how can we create photos that are worthy of another’s time and attention?
When we share photos, the viewer will have a reaction to the photo, and a large portion of that reaction is personal and emotional. This is usually based on their unique life experiences. This emotional response to photos is difficult to quantify and evaluate -- it just is. Usually, when there is a discussion about evaluating or critiquing photos, the discussion revolves around the more technical components that can be objectively observed, such as focus and sharpness, proper exposure for available light, and composition that emphasizes the subject and minimizes distractions.
I’d like to share a framework for photo creation and critique that I believe allows for a discussion of both the technical (objective) and emotional (subjective) components of a photo.
The framework revolves around the phrase “interesting photos.” In a time when hundreds of millions of photos are created and shared every day, how do we get attention to the photos we create? The answer is to create "interesting photos," that is to say images that “hold attention.” To hold the attention requires showcasing something unique, rare, or different.
The photographic elements we use to hold attention are subject, light, composition, and processing. One way to create interest and hold attention is by sharing a photo with the viewer where those elements in total are unique, rare, or different.
Using a math metaphor to represent this, looks something like this:
What about the relatively common situation where one or more elements is not very interesting? Then, the remaining elements will have to have extra interest to offset the lack of interest in the other element(s) in order to create a photo that is, overall, interesting.
Thinking of creating photos while evaluating the levels of interest carried in each of these four elements has helped me understand more about why some photos “work” and some don’t.
We can’t always be in front of amazingly interesting subjects with inspiring light, but we can always work with composition, where have the most control. Where we place the camera and how we arrange the elements in the photo frame allows us to seek out potential ways to create interesting photos of what is in front of our cameras in the given light, without the need to lean too heavily on software magic to create interest.
Understanding that you don’t have to travel to exotic locations, wait for sunrise or sunset when the light is perfect, or have the perfect toning solutions in software opens up the possibility to create photos wherever you are at any time using interesting compositions.
Leaning on using interesting and unique compositions will allow for the potential to create interesting photos with ordinary subjects in ordinary light.
Get closer. Then, even a little closer. Explore the details and textures of your subjects or look for abstract patterns in light and shadow. Put the camera in a unique position relative to your subject. Get lower. Get above. Use the rule of thirds to align elements in your frame in a way that somehow scratches an itch in our brains.
As you practice using this framework while composing photos, it will become second nature to evaluate the amount of “interesting” that each building block element contains, and then make your composition decisions based on that evaluation. I hope you find this framework helpful as you create and critique your photos. Best wishes on the journey to more interesting photos!
About the author: Michael Sladek teaches digital photography at Highline College near Seattle, Washington. He enjoys dad jokes, doughnuts, and helping others discover the fun of creating photos they love. Stay connected with Michael on his website, YouTube channel, and Instagram.
#educational #opinion #tips #angles #attention #composition #interesting #interestingphotos #michaelsladek #perspective #processing #rare #special #unique
Photography Composition Tip: Try Black and White
In a world of color, why would you want to create black and white photos? There are many reasons to do so, from the timeless nature of the image to the way it enhances the mood and tones in the photo. It is also a way to see differently and grow your composition skills.
This is part five in a series of videos about composition tips based on assignments I use with Introduction to Photography students at Highline College near Seattle, Washington. Read parts one, two, three, and four here.
By removing the distraction of colors, we are left with lines, tones, and textures. The image is simplified and this can help improve your composition skills because it reduces many of the “easy” ways we usually create photos. Without color, we are forced to more carefully examine the tonal ranges of the light, how it interacts with the environment, and seek subjects that are most dramatically transformed by their interaction with the light.
Here are some things to look for in creating black and white photos:
First, I look for contrast. The image will be strongest in black and white when it has the deepest blacks and brightest whites. It is called “black and white,” not “dark gray and light gray.” Seek out shadows and highlights. More on contrast in a bit.
Second, look for texture. Subjects with texture will often have interesting interactions with light that creates shadows and increases the potential for story and mood in the image. Look for contrast in textures, too -- rough and smooth, old and new, organic and human-made.
Third, pay attention to colors. If the composition is mostly one color, that can often work well in black and white, as the image is already monochrome. Also, watch for contrasting colors, as that will give you more options when adjusting the color mixes when processing the images. More on that shortly.
It can be hard to visualize what the composition will look like when rendered in black and white, but with practice, that skill tends to develop over time. If you have a mirrorless camera, you can get a head start on visualizing your images in black and white by changing your film simulation or similar to “black and white” and your viewfinder and screen preview will be in monochrome. If your image is saved as a RAW file, when viewed in software on your computer you will still see a color image, as the film simulation information is an “overlay” of information added to the original image.
Speaking of software, processing your image will be a large part of creating your final black and white image. There is a lot more to processing a black and white image than just clicking on the “black and white” button and calling it good. Once you have converted a photo into black and white, the next step is to work on contrast and there are many ways to do this with most software. I use Lightroom Classic, but most software will have similar, or analogous control options.
Generally, I’ll start by increasing the contrast control directly -- usually, quite a bit and more than I would for a color image. Next, I will adjust the bright tones (highlights and whites in Lightroom) and the dark tones (shadows and blacks in Lightroom) to work with the original tones in the image.
There are two more ways to adjust contrast with software. In Lightroom, they are the effects controls and the color mix controls. Effects controls include Texture, Clarity, and Dehaze. Each of these will add varying amounts of detail and texture to your image, and the way they do this is by adjusting contrast. I tend to add a fair bit of Texture, a bit less Clarity, and then just a tiny amount of Dehaze. Your mileage will vary depending on your specific photos. The Color mix controls are similar to color filters used in film cameras to adjust the exposure of varying colors in film photos. For example, by adjusting the Color Mix of “Blue” in a photo with lots of sky, you can adjust the exposure (brightness) of the sky in your photo.
I hope you’ll give black and white photography a try, again or for the first time. It’s such a powerful way to view your compositions in a different way, and I hope you will find it helps you grow in your photography skills.
About the author: Michael Sladek teaches digital photography at Highline College near Seattle, Washington. He enjoys dad jokes, doughnuts, and helping others discover the fun of creating photos they love. Stay connected with Michael on his website, YouTube channel, and Instagram.
#educational #tips #blackandwhite #composition #compositiontechniques #compositiontips #michaelsladek #photographypractice #photographytip #practice #skills
Photography Composition Tip and Assignment: The Rule of Thirds
If you ever had an art history, drawing, graphic design or photography class, then you’ve probably learned about the “rule” of thirds as a composition technique to use in creating more interesting photos. Or, as I prefer to call it, the “suggestion” of thirds. More about that later.
This is part four in a series of videos about composition tips based on assignments I use with Introduction to Photography students at Highline College near Seattle, Washington. Read parts one, two, and three here.
What is the rule of thirds, and why is it such a big deal?
First, the rule of thirds is a way of organizing subjects in a photo and is a method of arranging content that divides the frame into a three-by-three grid of nine equal-sized boxes that create guidelines for the content. Using these guides, the content is arranged to align with a vertical or horizontal grid line on one of the thirds. For maximum impact, the main focal point of the image is aligned at one of the 4 intersecting points of the grid lines.
Second, the rule of thirds is a big deal because… it works.
Mostly.
The rule of thirds works because it scratches an itch in our brains that seems to instinctively enjoy content that has been arranged in thirds. It can help suggest hierarchy, it can help create structure, and it can help suggest motion or activity. But it is a composition technique that is not enough by itself and that needs a lot of help from an interesting subject and light. Often, I will combine the rule of thirds alignment with an interesting perspective or get closer to the subject to create a more interesting composition.
Examples of using the rule of thirds include:
Using the rule of thirds is a great compositional technique to use to start better arranging the content in your photo. It is easy to use (turn on the grid lines in your camera viewfinder as a nifty aid) and it allows for many different layout options within a given scene. If you’re not sure whether to use left third, right third, top third, or bottom third, try them all and see which works best for the story you’re creating with the photo.
But, as with all art and all rules, sometimes rules should be ignored or at least viewed as merely suggestions and guidelines. I tend to lean more to the idea of "rule of thirds-ish" in my compositions and lately, I’ve been trending towards preferring more center-aligned and symmetrical compositions. It’s likely that your compositional preferences will change over time. Additionally, using a “rule” or any layout technique that does not work well with your intended story should be avoided.
Assignments like this give a framework and a general direction to your photo session. They hopefully create just enough structure in which you can feel like you have a starting point for creating photos. Think of it like being given a topic for a short story, rather than “write about whatever you want…”
Here is the assignment:
Think of these assignments as visual exercises and ways to develop your skills. Just as an athlete trains for their sport, it will help us to exercise our eyes and minds around the process of creating photos. This means that some photo sessions will be more “productive” from a keeper photo perspective, but all of the photo sessions will have the benefit of time spent creating images and practicing this craft.
About the author: Michael Sladek teaches digital photography at Highline College near Seattle, Washington. He enjoys dad jokes, doughnuts, and helping others discover the fun of creating photos they love. Stay connected with Michael on his website, YouTube channel, and Instagram.
#educational #tips #assignment #composition #homework #michaelsladek #photographypractice #photographytip #practice #ruleofthirds #skills
Photography Composition Tip and Assignment: Get Closer
The goal of most photography compositions is to create an image with a clear and distinct subject that creates interest for the viewer. There are many ways to create interest in a photo, but one of my favorites, and one of the easiest to accomplish, is to get closer to the subject and fill most or all of the frame.
This is part three in a series of videos about composition tips based on assignments I use with Introduction to Photography students at Highline College near Seattle, Washington. Read parts one and two.
There are several powerful things that happen in your image when you get closer to your subject. First, when you fill the frame with the subject, there’s less room for distracting background elements. Second, when you get closer, the subject can become more abstract and an interesting collection of textures and details, rather than a specific object. Third, when you get closer to your subject, you’re increasing the relative distance to the background, which will make any background elements less in focus. Fourth, getting closer has the potential to create a sense of intimacy and connection with your subject.
A technique I’ll use often is to get closer to a detailed portion of a subject, when a photo of the whole subject would be less interesting due to elements around it. An example of this is at car shows: there are lots of amazing and interesting subjects, but there’s no way to photograph an entire car without including other cars, people, reflections, and distracting background elements.
How close is close enough?
My suggestion and preference is to get as close as physically possible and still have my lens be able to focus on the subject. How close is that? It depends; in this type of photography you’ll be dealing with the minimum focusing distance for your lens. For most camera lenses, that distance is anywhere from six inches to two feet. This means, if you are closer to your subject than the lens’s minimum focusing distance, your subject will be out of focus.
If you find you really enjoy close-up photography, you might consider a macro lens, which has the ability to focus very close and produce images at one-to-one size or more. These specialized lenses can be expensive ($400 - thousands of dollars), but there is another option! My less expensive choice is to use extension tubes, attached to the back of any of my lenses, to achieve the ability to focus more closely. Extension tubes are usually less than $100 for a set. The more tubes you add between the lens and the camera, the closer you will be able to focus. It will take some experimenting to see which lens of yours works best.
Once your subject fills the frame, and the details are magnified, everything in the frame will be magnified. This includes motion in your subject (flowers in the breeze) or motion while holding the camera. Here’s some tips to help with that:
Assignments like this give a framework and a general direction to your photo session. They hopefully create just enough structure in which you can feel like you have a starting point for creating photos. Think of it like being given a topic for a short story, rather than “write about whatever you want.”
Here’s the assignment:
Think of these assignments as visual exercises and ways to develop your skills. Just as an athlete trains for their sport, it will help us to exercise our eyes and minds around the process of creating photos. This means that some photo sessions will be more “productive” from a keeper photo perspective, but all of the photo sessions will have the benefit of time spent creating images and practicing this craft.
About the author: Michael Sladek teaches digital photography at Highline College near Seattle, Washington. He enjoys dad jokes, doughnuts, and helping others discover the fun of creating photos they love. Stay connected with Michael on his website, YouTube channel, and Instagram.
#tips #tutorials #assignment #composition #homework #michaelsladek #perspective #photographypractice #photographytip #practice #skills
