The post How to Choose a Flash: 5 Things to Consider appeared first on Digital Photography School. It was authored by Kunal Malhotra.

Lighting often makes or breaks a photograph, but thanks to the power and portability of the speedlight, it’s easier than ever to capture well-lit shots indoors, in heavy shade, or even at night.

Unfortunately, for photography beginners – and even for folks who have been shooting for years or decades – choosing the correct external flash can be a huge challenge. There are countless brands on the market today offering a wide variety of flashes, which makes flash shopping confusing and sometimes even frustrating.

But all hope is not lost! As an experienced flash photographer, I’m familiar with the benefits and drawbacks of different flash models; below, I share the five essential items that you absolutely must consider before investing in a flash. That way, you don’t waste your money on a low-quality model that won’t meet your needs.

Ready to pick out the perfect flash? Let’s dive right in.

1. The brand

Back in the day, buying a flash was really simple. If you wanted to purchase a speedlight, then you had to pick one offered by your camera manufacturer (usually Nikon or Canon).

Today, however, the situation is completely different, and the market is flooded with other companies that sell speedlights, including Yongnuo, Godox, and Nissin. You still have the option to buy a flash from your own camera manufacturer, but you can also choose third-party models.

Look up the flashes sold by Nikon and Canon, and you’ll notice that they’re extremely expensive compared to third-party options from Yongnuo and Godox. Despite this sticking point, many photographers believe that these Nikon and Canon models are still a better buy, claiming that they boast a longer life, enhanced durability, and better compatibility.

On the other hand, some third-party speedlights genuinely are very well designed, and they can certainly compete with the big brands on performance, durability, and more. Another plus is that third-party flashes are generally a lot cheaper, which is a key point for those looking to buy their first flash.

If you’re not sure whether you’re comfortable purchasing a third-party flash, it’s a good idea to read a few reviews. While some of these models are outstanding, others can be cheap and breakable, so it pays to be informed before you hit the “Buy” button.

2. Flash longevity

Just like any other lightbulb, speedlights have a limited life; after a certain amount of use, they’ll “burn out” and stop working.

So before purchasing any speedlight – no matter the company or model – do some research. Look for your selected speedlight’s lifespan listed on the company website, and if you can’t find official specifications, you can always look at Amazon reviews, which users sometimes update to indicate when an item has stopped working.

Bear in mind that you’ll occasionally run into a bad flash unit, so if you find a user reporting that their flash stopped working after three shots or was dead on arrival, don’t immediately dismiss that model. However, if a slew of reviewers claim that a flash died soon after purchase, then it’s best to avoid that product (and perhaps even that brand).

One more thing: It’s important that you purchase a flash that doesn’t just work for a long time, but that works well; in other words, the flash should fire properly and at full power. If the flash doesn’t fire properly – even if it produces some light – it’ll generally give you an unusable result.

3. Flexibility

Pop-up flashes – that is, the flashes that come mounted to some cameras – are disliked by most artificial-light photographers for one major reason: They’re completely fixed and offer zero flexibility. They only point in one direction, and they cannot be rotated, pointed upward or downward, or taken off the camera. Thus, the light cannot be controlled or bounced to create a more flattering effect.

Therefore, it’s extremely important to check the flexibility of a flash unit before purchasing. If the head of the flash you buy cannot be moved, tilted, or angled, then you’ll struggle to achieve high-quality results.

I’d also recommend researching whether the flash can be triggered remotely. Many studio portrait and still-life photographers prefer to mount their flashes on stands rather than the camera itself, but if the flash doesn’t offer a remote-trigger option, you may grow frustrated. (You’ll also need to check remote trigger compatibility, which can vary depending on the model.)

4. Automatic (TTL) or manual control

There are two basic types of flashes: automatic (TTL) models and manual models.

An automatic flash interacts and communicates with the camera to determine the optimal amount of light required to illuminate a particular scene. In other words, a TTL flash will change its output in response to the ambient light levels in the scene.

A manual flash, on the other hand, has to be directed by the photographer at all times. If you want to expose for a dark scene, for instance, you’ll need to manually increase the flash power, and if you want to expose for a brighter scene, you’ll need to manually decrease the flash power.

So which type of flash is better? On the one hand, automatic models are extremely convenient. You can mount the flash on a stand or your camera’s hot shoe, press the shutter button, and expect to get relatively solid exposure results.

On the other hand, manual flashes tend to be far cheaper, which makes them a great option for beginners. And because they force you to really understand the ins and outs of flash exposure, they can be a good teaching tool.

At the end of the day, the choice is up to you!

5. Flash recycle time

If you’re planning to capture studio portraits or still life shots, this shouldn’t be an issue – but if you’re a serious action photographer who may need to capture multiple bursts of images over a short period of time, then the flash recycle rate is essential.

You see, the recycle rate (also known as the recycle time) is simply the length of time after the flash fires before it’s ready to fire again. Manufacturers almost always list the recycle rate in terms of seconds, and as you can probably imagine, the lower the recycle rate, the better. A flash that can recycle quickly will allow you to capture a burst of sports images – but a flash that recycles slowly may prevent you from creating the photos that you’re after.

Note that speedlight specs generally mention two different times (e.g., 0.3-5 seconds). The lower number denotes how soon another shot can be taken if the flash is set to its lowest light output, while the higher number indicates how soon another shot can be taken when the flash is set to its highest light output.

The recycle rate at the flash’s maximum output is more important, and if you want to shoot action, you should always aim to get a flash that has a shorter maximum light output time. Remember, however, that you also need to buy a proper battery for your flash if you want to achieve the recycle rate mentioned by the manufacturer.

How to choose a flash: final words

Now that you’ve finished this article, you should be ready to purchase a speedlight of your own.

But remember that there is no single best flash that’ll appeal to everyone. It really all comes down to your budget and needs; beginners will generally be well served by a manual flash, though more experienced shooters – especially those who work in fast-paced environments – may want to consider an automatic model.

Now over to you:

What flash do you plan to buy? How did you choose? Share your thoughts in the comments below!

The post How to Choose a Flash: 5 Things to Consider appeared first on Digital Photography School. It was authored by Kunal Malhotra.

The post 8 Things to Consider Before Buying a Camera Lens appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

Are you thinking of purchasing a new lens for your camera? Read this article first.

Buying a camera lens is hard. You have to sort through an overwhelming number of options, all offering different features and price points. It’s enough to make anyone panic – even professionals!

Fortunately, I’ve bought plenty of lenses over the course of my photographic career. I’ve made mistakes, but I’ve learned from them. And over time, I’ve identified the key points that every lens buyer should keep in mind while shopping.

So without further ado, let’s explore the 8 items you should consider before hitting that “Purchase” button!

1. How much do you have to spend?

Everybody’s budget is different, and the amount of money you’re looking to spend determines which lenses you can (and can’t) consider.

So stop right now, and think about your ideal lens price. Is it $300? $500? $1000? $5000? No matter the figure, hold it in your mind as you read the rest of this article.

My personal approach is to own the smallest possible number of good-quality lenses. I don’t like to overbuy; I’d rather have 3 incredible lenses than 10 mediocre ones. Yes, each of my 3 top-notch lenses will cost more, but I’ll break even in the long run. And inevitably, my current lens purchases will affect my future lens purchases, so I like to get it right from the beginning.

Think about the setup you want to own. Then, while you’re shopping, remember the big picture. Ask yourself: How does my next purchase fit into the plan?

This can lead to a big shift in your desire to buy lenses. If you know your budget from the outset and you know the type of setup you’re looking to achieve, you can stay laser-focused on your goals (instead of getting distracted by flashy features and focal lengths that you don’t actually need).

2. Do you need APS-C or full-frame lenses?

Most manufacturers offer different lenses for APS-C and full-frame cameras, which can make lens buying pretty confusing.

First, bear in mind that all lenses designed for full-frame cameras will also be compatible with APS-C cameras. So if you own an APS-C camera, you can basically purchase any lens from your manufacturer’s lineup and use it successfully.

However, lenses designed specifically for APS-C cameras won’t be compatible with full-frame cameras. So if you own a full-frame camera, you’ll need to avoid these lenses. Also, if you own an APS-C camera and you purchase a lens specially designed for crop-sensor models, you won’t be able to use that lens on a full-frame camera if you eventually decide to upgrade.

So you must ask yourself: What lens type is right for me?

Here’s my recommendation: Decide in advance whether you ever plan to use a full-frame camera. If you do expect to go in that direction, only purchase full-frame lenses. Otherwise, feel free to consider APS-C lenses.

Note: APS-C lenses do come with some major advantages: they’re often less expensive, smaller, and lighter. But the optics can be on the weaker side, so be sure to read reviews before you buy.

3. Don’t fall into the focal-length trap

The focal-length trap has caused problems for many a photographer. Don’t let it get you, too!

You see, the focal-length trap is the belief that you need lenses covering every conceivable focal length.

If you already own an 18-55mm lens and want to buy a telephoto zoom, you might therefore believe you should avoid a 70-200mm lens (which is often an outstanding choice, by the way!), and that you should instead purchase a 55-200mm lens – so that you have lenses spanning all the way from 18-200mm with zero gaps.

And if you already own a 24mm prime and a 50mm prime, you may believe you should buy a 35mm prime so you can fill the gap.

This is a mistake. You don’t need to own lenses of every focal length. Instead, you should own lenses that cover the focal lengths you plan to use, as I discuss in the next section:

4. What subjects are you going to photograph?

Photography is a wide-ranging art that encompasses many subject categories, including:

• Sports
• Birds
• Wildlife
• Portraits
• Street scene
• Landscapes
• Architecture
• Insects

And generally speaking, each photographic subject or genre requires specific focal lengths. If you want to capture birds, you’ll need a lens in the 400-800mm range. If you want to capture environmental portraits, you’ll need a lens in the 24-35mm range. If you want to capture insects, you’ll need a (macro) lens in the 100-200mm range.

So instead of picking your focal length based on gaps in your gear bag, pick based on the subjects you want to shoot.

In other words, start by identifying your main subjects. Then, once you know what you want to photograph, choose the best lens (or lenses) for the job. Let focal length become a secondary consideration.

Bottom line: Don’t buy a lens because you think you should own it. Buy it because you actually need it. Make sense?

5. Should you buy a zoom lens or a prime lens?

Many photographers struggle to choose between zoom and prime lenses, and understandably so – both lens types offer several benefits and drawbacks to consider.

The main benefit of zoom lenses is convenience. If you’re a wedding photographer, for instance, it is much easier to zoom from a wide-angle to a telephoto focal length than it is to change lenses. And if you’re a landscape photographer, it’s easier to frame the scene precisely with a wide-angle zoom than it is to change prime lenses.

Zoom lenses also tend to reduce your overall kit size. For example, a landscape photographer may need to carry lenses covering ultra-wide focal lengths, standard focal lengths, and short-telephoto focal lengths. This would require a handful of primes, but can be handled using just one or two zooms.

On the other hand, prime lenses tend to offer better image quality and wider maximum apertures (often at lower prices, too). Primes are frequently far sharper than zooms, and they have fewer optical issues (such as vignetting and chromatic aberration). Plus, try comparing an 18-55mm kit lens to a 50mm prime; the 18-55mm lens will often have a maximum aperture of f/5.6 (at 50mm), while the 50mm prime will have a maximum aperture of f/1.4 or f/1.8.

In practical terms, the prime lens will let you capture far more light (which is useful for shooting indoors or at night), and it’ll also help you take photos with beautiful blurry backgrounds.

Which should you pick? That’s up to you! It all depends on what matters; do you care about convenience? Do you want to ensure your kit is highly portable? Or do you care about background blur, low-light performance, and better optics?

Some photographers prefer primes, while others prefer zooms. Just think about your priorities. And decide what best fits your requirements!

6. Don’t forget about weight and size

Before you buy a lens, think carefully about the weight and size that you’re after. After all, you’re the one who will be carrying the equipment around – and while a hefty lens might not seem like a big deal when it’s in an online shopping cart, you’ll really start to notice that extra weight after carrying it for hours during an uphill hike.

Lens weight is a necessary evil if you’re after solid low-light performance and impressive durability. But make sure you really need those capabilities; you don’t want to decide your equipment is too heavy after you’ve shelled out the cash.

And there’s another thing you should think about when it comes to size: filters. You can save a lot of money on filters by buying lenses will smaller diameters. Do a search for circular polarizing filters and compare the prices of the 58mm and 77mm sizes. If you need to buy a lot of filters (landscape photographers, take note!) then you can potentially save hundreds of dollars by buying a smaller lens.

7. Think about build quality and autofocus

Most manufacturers offer a range of lenses: some inexpensive options, some midrange options, and some expensive or high-end options. Inexpensive lenses may seem like a bargain, but they won’t be built as well as more expensive lenses. They may also have inferior (i.e. slower and noisier) autofocus motors.

Expensive lenses, on the other hand, tend to be built well, use good-quality autofocus technology (i.e., faster and quicker), and may also feature weatherproofing (which is essential if you take photos in bad weather or dusty conditions).

When considering a lens, remember all these points. Don’t forget to ask about (or research) the lens’s build quality, determine whether it is weatherproofed, and check the speed and quality of the autofocus motor.

8. Should you buy a third-party lens?

Third-party lenses tend to be a lot cheaper than lenses made by camera manufacturers. And while third-party brands may have had issues in the past, that’s not true anymore; these days, third-party brands such as Tamron, Sigma, Tokina, and Rokinon are highly reliable and offer a decent selection of lenses for most major camera systems.

That said, original manufacturers do tend to offer a wider variety of options, so I’d recommend looking at both third-party and OEM models when researching new glass.

Things to consider before buying a camera lens: final words

Now that you’ve finished this article, you’re hopefully ready to grab your next lens!

Just remember the points I’ve shared, and do what you can to avoid major pitfalls (like the focal-length trap). That way, you can buy a lens that satisfies you for years to come!

What lens do you plan to buy? Share your thoughts in the comments below!

The post 8 Things to Consider Before Buying a Camera Lens appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

The post Review: Espresso Displays 17 Pro 4K display for Photographers and creators! appeared first on Digital Photography School. It was authored by Sime.

In the age of portable technology, having a reliable, high-quality external monitor can significantly enhance productivity and creative work. The Espresso Displays ‘espresso 17 Pro’ is a prime example of this! Offering a sleek, high-resolution solution for photography professionals and tech enthusiasts alike. Here’s my review of this beautiful, Australian designed and engineered portable display.

Design and Build Quality

The first thing that struck me about the Espresso Displays 17 Pro 4K display is its design. At just 9mm thin, it is one of the slimmest monitors on the market. The display weighs in at just 1.1kg, so that combined with the ultra-thin profile makes it easily portable, perfect for those who need to travel or work from various locations. The aluminum frame and scratch resistant (level 6) glass not only add to the aesthetic appeal but also ensure durability. (aka my 10yo hasn’t damaged it yet!)

This pro series monitor comes with a super sturdy magnetic stand, aptly named ‘Espresso Stand Pro’ which folds down into a compact travel partner for your display. It allows for easy attachment and detachment, no fiddly lining up, you open the stand and then position your display in front of it and after a decently reassuring thunk, you’re attached and good to go. The stand is pretty much infinitely adjustable, providing multiple viewing angles to suit different needs, whether you’re working, presenting, or watching a video. You can pretty much set the stand from flat to 18 degrees (for drawing) with the handy in-built foot right up to pretty much vertical and everywhere between.

Display Quality

The display measures in at 17.3″ and has a 4k resolution. It can achieve 450 nits brightness, which isn’t as bright as most current day Mac laptops, my 16″ Macbook Pro hovers around 1000 Nits, and honestly I thought this might be a bit of a show-stopper, but in actual real-world use, the displays brightness has been absolutely fine. I’ve used it a variety of environments from my home office to a cafe and for a mixture tasks including photo editing, both in Lightroom and Photoshop, as well as in my 9-5 as a social media manager, having my work and post schedule all spread out on the Espresso Displays 17 Pro 4K wherever I am is a total god-send!

Technical Notes from espresso here:

• “espresso 17 Pro screen shows 1.07 billion colours, covering 100% of the DCI-P3 colour space”
• The espresso 17 Pro screen has a resolution of 3840 x 2160, commonly known as 4k. This results in a Pixels Per Inch (PPI) of 257.6. In comparison, the Apple retina display is 227 PPI, and the Apple Pro XDR display is 245.

In short, it’s a stunner!

Performance and Connectivity

This was a big eye opener, it’s so very simple! A single (included) USB-C cable runs your power and signal to the display, you don’t need anything else. Now, you can use an external battery pack if you’re away from power and want to save a little laptop battery power, the Espresso Displays 17 Pro 4K has two USB-C ports, and while you connect your laptop to one, you can connect an external battery to the other to add some external juice. Espresso Displays also have their own ‘Espresso Charge’ external battery, which is a 32,000 mAh gargantuan external battery, it magnets itself perfectly to the Espresso stand and doubles your run time. Note, some airlines may give you a sideways glance when you mention 32,000mAh, so make sure you check before you fly. (I don’t have the battery and wasn’t able to test battery life with it, I’m sorry) Just a note here: It can be taken on flights with carry-on but with permission from the airline. i.e. it’s designed to support as close to a full day of power when combined with a full battery charge on the laptop.

Portability and Versatility

For my everyday carry, I’m currently using my thinkTank Venturing Observer 20L backpack, its a sleek, no mess, no fuss EDC Backpack and the 17 Pro 4K slots into the laptop section of the backpack with not so much as a MM to spare. I can take the display, my 16″ Macbook Pro as well as the stand, any cables, my pen, headphones, water bottle and a notepad (yes, actual real paper, that stuff is so good – try it haha) with relative ease. The display is lighter than my Macbook Pro, and really hasn’t added any heft to my EDC.

User Experience and Software

The espresso 17 Pro comes with a couple of pieces of software, notably espressoFlow which is the engine room of screen management if you will, allowing you to manage workspaces, you can use your display as a semi-touchpad, you can rotate the screen and there’s also a great ‘snap’ feature. Oddly, there was one thing I missed when I left the ‘Windows’ computing world, that was the ability to SNAP a screen into a certain place – the espressoFlow software allows you to use a quick set of key combos to shift your active windows from one display to the other, to the left, to the right etc – it’s SUPER handy, even when I’m on my iMac with my traditional second screen, I can use espressoFlow there, and flick windows around my two main screens like I’m dealing cards – it’s a great piece of software!

There’s also JOT, Jot is kinda like a notepad that allows you to draw, as well as implement many various shapes and sizes, think graphs etc. You can draw something, copy and paste it into many various other apps – it’s great for noting stuff down in meetings, kind of like a scribble pade for big kids (But my 10yo also says it’s his favourite thing)

Speaking of Jot, let’s talk about the pen experience for just a minute. The espresso 17 Pro isn’t a replacement for your high end graphics tablet, it’s not coming after your Wacom (in its current form, though I guess they could at some point?) the resolution of the pen isn’t up to scratch with what you can do on a dedicated graphics tablet, but for run and gun edits in photo applications (as opposed to fine detail work) it’s completely fine and really enjoyable to use.

Using the espresso 17 Pro without the pen, with the ‘LiveTouch’ gesture movements and scrolling are silky! Even with my clumsy fingers, the display is very easy to navigate, using similar gestures to those you might be used to using on your Mac.

Battery Life and Power Consumption

One aspect to consider is power consumption. While the monitor does not have an internal battery, it draws power through the USB-C connection. This can impact the battery life of the connected device, especially if you’re using a laptop. However, the power draw is relatively low, and the convenience of a single-cable connection often outweighs this drawback. Keep in mind that for higher brightness levels, you might need to employ that extra external USB-C battery or the espressoCharge.

My Conclusion

The Espresso Displays 17 Pro 4K display is an excellent choice for anyone in need of a portable, high-quality external display. Its sleek design, stunning 4K resolution, and easy connectivity options make it a valuable tool for professionals and creatives. While it may have some minor drawbacks, such as power consumption with prolonged use, the overall performance and portability make it a standout product in the portable monitor market.

Whether you’re a digital nomad, a remote worker, or someone who simply values high-quality displays, the Espresso Displays 17 Pro 4K display is worth considering. It combines form and function in a way that enhances productivity and delivers a superior visual experience.

The post Review: Espresso Displays 17 Pro 4K display for Photographers and creators! appeared first on Digital Photography School. It was authored by Sime.

The post 8 Tips to Prevent Memory Card Problems appeared first on Digital Photography School. It was authored by Megan Kennedy.

Memory cards are a crucial component of digital photography, yet they’re more prone to problems than we like to admit. If you don’t take proper care of your SD, CF, and XQD cards, you might end up with a card failure on the job – or, even worse, corrupted files that you can never get back.

So how do you prevent memory card issues? In this article, I share everything you need to know, including:

• When to format your memory cards
• How many images to shoot before switching to a new card
• How to prevent corruption when ejecting a card
• Much more!

So if you’re ready to put a stop to memory card errors once and for all, then let’s dive right in, starting with the basics:

What is a memory card?

A memory card is a storage accessory that records the image data created by digital cameras. Every camera contains some type of memory card, which slots right into your camera and saves each photo on the fly.

Thanks to memory cards, you don’t need to carry a laptop into the field; instead, you can let the memory cards (temporarily) store your images until you can access your computer or external drive.

At the end of each shoot, you can remove the memory card from your camera, connect it to your computer, and transfer the images for viewing, editing, and storage.

All memory cards are designed for the same broad purpose – saving data – but there are many different memory cards built to suit specific needs, camera models, and budgets. Not all cameras use the same memory cards, and not all memory cards are equally durable, fast, or reliable.

And while memory cards are an incredible piece of technology, they do require care. Below, I offer my top eight tips to keep your cards in tip-top shape:

1. Purchase quality cards

As I explained above, there are several types of memory cards, each with different specifications and levels of quality. And while it can be tempting to purchase a few cheap cards and call it a day – especially in light of your expensive camera and lens purchases – it’s important that you select your memory cards thoughtfully.

Unfortunately, cheap memory cards can compromise your photos. The cheaper the card, the more likely it is to fail during a shoot or while transferring images (both of which can lead to file corruption). Plus, cheap cards tend to be less durable, which means they’ll struggle to function when dropped in water, rained on, or otherwise impacted.

Bottom line: Purchasing a good memory card is key to safeguarding your images. While quality cards may be more expensive, they’re undoubtedly worth the extra cost. Brands like SanDisk and Lexar are go-to options for professional photographers. Steer away from deals that look too good to be true, avoid purchasing used cards, and avoid obscure brands with poor reviews.

Also, if your memory card does start to have problems, remove it from your camera immediately and put in a more reliable card. Shooting with an already-sketchy card – even if the issue seems to have temporarily disappeared – is a recipe for disaster!

2. Use a good card reader

Memory cards offer different specifications and quality levels. The same is true of card readers, devices designed to transfer files from a memory card over to a computer.

While card readers seem like pretty straightforward equipment, you don’t want to run the risk of corrupting files as you upload them to the computer, which can happen and may result in the loss of thousands of photos.

So invest in a good memory card reader. It’ll save a lot of stress down the road. Ensure the reader you purchase has plenty of good reviews, and – as with memory cards – swap it out at the first sign of trouble. It’s not worth risking your precious files.

3. Correctly eject your memory card from the computer

Do you ever remove your memory card from the computer without ejecting it? If the answer is “Yes,” then you’re not alone – but I’d encourage you to change your approach.

Removing your card without ejection is generally harmless, which is why many folks do it without issue. But in certain cases, not ejecting your card can result in corrupted data or even card failure, putting your next shoot at risk (and potentially costing you lots of money, too).

So to prevent memory card problems, always eject your card through the computer before removing it. (There are a few ways you can do this, and as far as I’m aware, they’re all equally effective.)

Also, if you try to eject the card but your computer gives you the “This memory card is still in use” dialog box, then do not attempt to remove the card anyway. Make sure all relevant operations are complete, then eject the card a second time.

4. Turn your camera off before removing your memory card

Here’s another simple way to minimize memory card problems:

Turn off your camera before removing the card. (And make sure your LCD screen goes black; if you’ve just taken a burst of photos, the camera will continue saving images, even once the switch is set to “Off.” You don’t want to remove the card until after this writing process is complete.) Removing your memory card with the camera still on is an easy way to interrupt the writing process and corrupt your image files.

Additionally, avoid shooting while your camera battery is low. If your camera runs out of power while reading/writing to the card, it can be detrimental to all the data on the card.

5. Don’t completely fill your card with images

It sounds counterintuitive, I know. After all, if you have the space, you should fill up the card…right?

Not quite. You see, just like a maxed-out hard drive, a card nearing capacity underperforms, and this can compromise your images.

To avoid this issue, invest in a large memory card, keep an eye on your image count, don’t fill your card over 85-90% capacity, and always have a spare card at the ready. (At the same time, don’t use a card that’s too large; it’s better to avoid putting all your eggs in one basket.)

6. Don’t switch devices without formatting

Switching your memory cards from camera to camera risks compatibility issues that can corrupt the data of the whole card.

If you need to change equipment, either format the card before use or grab a new card. So if your main camera fails and you need to switch to your second body, don’t just take the card out of your first camera and stick it in; instead, safely store the in-use card, then pop a freshly formatted card in the second camera.

7. Don’t delete files in-camera

I get it: If you take a photograph you don’t like, it’s tempting to erase the image right then and there. For some photographers, it’s part of a memory-saving strategy. However, individually deleting photographs in-camera can lead to corrupted files, so I’d encourage you to avoid it whenever possible.

Deleting images can also soak up valuable shooting time (and you may miss various opportunities because your eyes are on your camera LCD screen). Plus, LCD previews aren’t easy to evaluate. You don’t want to delete an image only to later realize it was an absolute gem!

So don’t do any in-camera deleting. If you want to delete content, wait until you’ve safely uploaded the files to your computer.

8. Format your memory card each time you use it

My final method of avoiding memory-card issues is a big one:

Once you’ve transferred a card’s files to your computer, stick it straight back into your camera and format it. (You can find the “Format” option in your camera’s menu.) Formatting a card will completely clear it and will prepare it to store new image files. If you go too long without formatting a card, the data will start to get scrambled, you’ll start to see various memory card errors, and you’ll end up with all sorts of problems.

So format, format, format!

Note: While it’s possible to format a card via your computer, this isn’t recommended. It’s always best to format the card using your camera.

How to prevent memory card issues: final words

Memory cards are amazing little pieces of technology. And while they can have problems, a few simple steps will keep them functioning at peak performance, allowing you to focus your attention on taking photos.

So remember the tips I’ve shared. Incorporate them into your workflow. And have fun shooting!

Do you have any other tips for minimizing memory card problems? Have you ever lost files due to a corrupted card? Share your tips and stories in the comments below!

The post 8 Tips to Prevent Memory Card Problems appeared first on Digital Photography School. It was authored by Megan Kennedy.

The post Tethered Photography: A Step-By-Step Guide appeared first on Digital Photography School. It was authored by Suzi Pratt.

This article was updated in August 2024 with contributions from Suzi Pratt and Jaymes Dempsey.

When I first delved into studio photography, I was so excited. I had my lighting, I had my camera and lenses, and I had some great subjects.

But after spending a few weeks shooting, I became frustrated. In the studio, every little detail counts. A blemish or piece of dust on a product, a slightly out-of-position light on a portrait, a too-powerful flash, an off-color ambient light; each has the potential to ruin the photo and make it useless to both you and your clients. Yet the camera LCD, and even the viewfinder, just didn’t offer large enough previews to check for these issues. I needed a better way to evaluate my studio shots. That’s when I tried tethering, and I immediately realized that it was the perfect solution to my problems.

So what is tethered photography? How does it work? And how can you efficiently tether your camera while shooting?

In this article, I explain everything you need to know about tethering, including:

• How tethering can instantly improve your workflow
• When you should (or shouldn’t) tether your camera
• Two simple ways to shoot tethered

Let’s dive right in.

What is tethered photography?

Tethered photography is the process of connecting your camera to a computer, tablet, or even a smartphone via a cable or wireless app. Once you’ve successfully connected the devices, any new image captured by the camera is then passed directly to the computer and saved in a designated folder.

Therefore, as soon as you press the camera shutter button, you can see your image displayed (in high resolution) on the computer screen. If you’re tethering in a program like Lightroom, you can even make adjustments to your file; for instance, you can boost contrast, convert the shot to black and white, and apply presets.

Many tethering programs allow you to adjust camera settings from your computer, tablet, or smartphone – and you can fire the camera shutter from your device, too.

The benefits of shooting tethered

Tethering lets you quickly preview each photo on a large monitor within moments of firing the shutter button. That way, you and your client can scrutinize your shots on a big screen. You can check for perfect composition, focus, exposure, and subject blemishes – and your client can indicate what they like or dislike about each new file.

Depending on the tethering software you use, you might be able to apply various presets to the image, so as to better visualize the final (edited) result.

Tethering also lets you organize your images as you go along. In a program like Lightroom, you can add notes, star ratings, keywords, and more to each new photo. That way, you can stay on top of your file management, and you can record key information while it’s still fresh in your mind.

The downsides of tethered shooting

Tethering is great – but if you’re not careful, it can cause problems, too.

For one, you or your client might get too caught up in little details while inspecting the photos, which can stall a photoshoot. When tethering, it’s important to set expectations with your client. Let them know how you work and do what you can to set a steady pace.

Tethering can also suck the battery life out of both your camera and your connected computer. You should always carry extra batteries and – if possible – shoot near a wall socket in case you need to plug in your laptop.

And tethering software is notoriously finicky. It sometimes stops working for no apparent reason, so you’ll want to get set up and take some test shots before your photoshoot starts (so you have time to troubleshoot). You should also have a backup plan, just in case.

Finally, tethering requires extra equipment, such as a lengthy cord and a laptop or desktop computer. So while it might be tempting to tether for on-location shoots, consider carefully before hauling along your expensive electronics.

Ultimately, whether you tether is up to you. It’s a great way to improve the final product – but it can be slow, plus it involves extra software and moving parts, so if you need to do a fast-paced portrait session or an outdoors product shoot, it might be better to shoot the “normal” way.

Tethering your camera: essential equipment

The traditional and most reliable way to connect your camera to a computer or another device is with a cable. There are a variety of different cables and ports available, so the specifics will depend on your exact devices. (For further information, check your camera manual.)

Some cameras even offer wireless tethering. The image transfer process can be slower compared to cabled tethering, but if you prefer to work without a cord, this is a great method to try.

If you plan to tether with a cable, you’ll need:

• An extra-long (e.g., 15 feet) USB cable to connect your camera to your computer
• Tethering software, such as Adobe Lightroom (paid), Capture One (paid), or Canon EOS Utility (free)

I’d also recommend a portable table to hold your laptop such as the Tether Tools Aero Table, as well as a Jerkstopper to prevent your USB cable from being yanked from your camera.

If you’d prefer to tether wirelessly, then you can forgo the cable and the Jerkstopper – but you’ll still need the laptop, the table, and the tethering software.

How to shoot tethered: step-by-step instructions

In this section, I explain how to tether with two low-cost, simple programs: Adobe Lightroom and EOS Utility. I’m assuming you’re tethering with a cable (the process is similar when tethering wirelessly, albeit with a few extra wireless activation steps when starting out).

Shooting tethered in Lightroom

If you already own Lightroom, the quickest way to get started tethering is with the Lightroom Tethered Capture feature.

Step 1: Connect your camera to the computer

Make sure your camera is turned off. Connect one end of the cable to your camera and the other end to your computer. Then turn the camera on.

Step 2: Start Tethered Capture in Lightroom

Open Lightroom. Select File>Tethered Capture>Start Tethered Capture.

Step 3: Choose your tethered settings

In the Tethered Capture Settings dialog box, you can enter a session name, select a file naming template, pick a file destination, and apply metadata and keywords.

Pay careful attention to where the photos will be saved (you need to be able to find them later!).

Once you’re satisfied, click OK.

If all goes well, you’ll see the screen displayed below, with a narrow control panel and a Library where photos captured via the tethered shooting connection will appear. You should see your connected camera listed on the left-hand side:

Lightroom sometimes has difficulty detecting the connected camera. In that case, you’ll get a No Camera Detected message:

If that happens, make sure your version of Lightroom and your camera’s firmware are up to date. Also, check to ensure your camera can do tethered capture in Lightroom. If your camera cannot tether in Lightroom, you can use a third-party plugin as a workaround; do a search for your camera model and you may find a solution.

Finally, try rotating through several different USB cables to make sure they’re working well.

If you’ve done all of the above and you still can’t get tethering to work, you might want to try tethering using a different program, such as EOS Utility:

Shooting tethered with EOS Utility

If you own a Canon camera, you can use the free EOS Utility software, which offers a simple tethering program. In my experience, this method is more reliable and consistent than Lightroom’s Tethered Capture option.

Step 1: Download EOS Utility and connect your camera

Head over to the Canon website, find your camera, then select the latest version of EOS Utility:

Download the program. Then – with your camera turned off – plug in your tethering cable. Turn your camera back on.

Open the EOS Utility program on your computer. The software should recognize your connected camera, which means you can then select the Remote shooting option:

Step 2: Work with the EOS Utility interface

Once you’ve successfully selected Remote Shooting, you should see the following interface:

The display lets you adjust certain settings from your computer, though there are some functions, such as lens zooming, that you’ll need to do manually.

Next, if you have the option, set your camera to Live View mode. Your camera display should appear on your computer screen, so you can see exactly what your camera sees.

Then, when you take a photo, the file will appear on your desktop!

Enhance your photoshoots with tethering!

Now that you’ve finished this article, you know how to shoot tethered in both Lightroom and EOS Utility. And you’re ready to do some high-quality product or portrait photography.

So connect your camera to your computer. Test out tethering. See what you think!

Now over to you:

What type of photoshoot do you plan on tethering? Which software will you use? Share your thoughts in the comments below!

The post Tethered Photography: A Step-By-Step Guide appeared first on Digital Photography School. It was authored by Suzi Pratt.

The post Photography Lighting Equipment: The Essential Guide appeared first on Digital Photography School. It was authored by John McIntire.

When you first dive into photography lighting equipment, you’re bound to feel massively overwhelmed. Studio lighting seems complex, it’s full of confusing jargon, and it certainly isn’t designed for the beginner.

But here’s the truth:

While photography lighting might seem complicated, it’s actually pretty easy to get started – assuming you have the right teacher. That’s where this article comes in handy; I aim to share all the photoshoot lighting basics, so that by the time you’re done, you’ll have a strong understanding of both studio lighting equipment and the accompanying vocabulary.

Let’s get started.

Types of light

In this section, I cover the main types of studio light. Note that each lighting type varies in terms of usefulness, portability, cost, and more.

Strobes

A studio strobe, sometimes referred to as a monobloc or monolight, is a dedicated flash unit. Strobes generally use cords, though more battery-powered offerings are brought to the market every day. Power output between models can vary greatly; cheaper strobes offer about as much power as cheap, third-party flashguns, while class-leading strobes are some of the strongest lights in the business. For this reason, strobes are the most common studio light used by professionals.

Continuous lights

Continuous lights serve the same function as strobes, but they don’t flash. Instead, they are high-powered, constant lamps that can (usually) be fitted with modifiers. While associated with video, continuous lights still have their place in stills photography. LED lights are currently flooding the continuous light market, and many of them are viable options for stills shooters.

Note that continuous lights are sometimes referred to as hotlights – because they tend to get very hot. Be careful with modifiers that sit close to the bulb, as they present a fire hazard. (This does not apply to LED lights.)

Flashgun/speedlight

Flashguns are small lights that are mounted on top of your camera. They are highly portable, and some come with reasonably high power outputs. Although flashgun versatility is ultimately limited by size and power output, they are still an extremely useful tool for any photographer interested in off-camera lighting. They’re also less expensive than dedicated studio strobes.

Light functions

In this section, I discuss lighting roles. In other words, what do different studio lights actually do? How many studio lights do you need? And where do you point them?

Key light

The key light is a main light; you use it to create the overall lighting effect. Generally, the key light is the brightest and most prominent light in your scene.

Fill light

A fill light is positioned in reaction to the key light. It reduces the intensity of shadows created by the key light, thereby decreasing the overall contrast in your scene.

Rim light/backlight

Rim light illuminates your subject from behind, generally with the goal of separating the subject from the background. Often, rim lights are positioned so that only a sliver of light is visible on the sides of your subject.

Background light

Background lights point away from the subject to light the background. Not all studio lighting includes background lights, but like rim light, it’s a nice way to create subject-background separation.

Hair light

Hair lights are used in portrait photography to add emphasis to your subject’s hair. They can also be used to help bring up the exposure of your subject’s head if it is blending into the background.

Ambient light

Ambient light refers to any light present before the addition of your studio lighting. It comes from lights in the room, daylight from a window, cracks above the door, etc.

Modifiers

Modifiers go between the light source and your subject, with the goal of changing the quality or intensity of the light. A modifier might harden the light, it might soften the light, it might reduce the light, or it might create unique lighting patterns.

Umbrellas

Umbrellas look like, well, umbrellas, except they’re not designed for rainy-day use. Instead, photography umbrellas come in silver or white and are attached to your light via a mount. By pointing a studio light into the umbrella (which reflects the light back to your subject, as displayed in the photo below), you create a much larger, softer light source. Umbrellas are technically directional, but they can have a lot of spill, and they certainly aren’t the easiest modifier to control.

Translucent umbrellas/shoot-through umbrellas

Translucent umbrellas don’t reflect light like the umbrellas discussed above; instead, they’re made of a diffusion material that softens the light. Simply point your light into a translucent umbrella to get a beautiful, even result (though with practically zero directionality).

Softboxes

Softboxes come in a variety of shapes and sizes. Once mounted, a softbox shapes and softens the light to become more flattering. Softboxes also tend to be quite directional, they are easy to control, and they can even be adjusted with additional modifiers (such as grids). Softboxes are highly versatile, so they’re an ultra-popular studio accessory.

Strip boxes

Strip boxes are a special type of long, rectangular softbox. They produce a narrow beam of light, which is great for lighting a subject from behind for a rim lit effect.

Octaboxes

Octaboxes are special octagonal softboxes; the rounder result is useful for shaping portrait lighting. Octaboxes tend to be quite large, creating especially soft, flattering light that’s perfect for portrait photography.

Reflectors

Not to be confused with handheld reflectors (discussed below), reflective modifiers mount directly to a studio strobe. They channel the light in a specific angle for very directional light. Reflector light is very hard, and most reflectors are designed to take a variety of grids.

Snoots

Snoots are modifiers designed to focus your light in a very narrow beam. They make great hair and background lights.

Barn doors

Barn doors are fitted with two to four flaps; these allow you to block and shape the light to create different effects. For instance, barn door flaps can help you focus your light on a specific aspect of your subject (such as the hair), or they can be used to prevent (flag) the light from hitting a certain spot.

Beauty dishes

Beauty dishes are directional modifiers that sit somewhere between soft and hard light. They are great for beauty photography, fashion photography, and portraiture. They often come with grids and diffusion socks to give you extra options.

Grids/honeycombs

Grids are modifiers for your modifiers. You place them on a reflector, softbox, or beauty dish to further narrow the beam of light – to ensure the light is only falling on your subject (or on some other, desired location).

Gobo

A gobo goes in front of a light source and changes the shape of the light. A gobo might simply narrow the beam, or it might create complex patterns.

(Confused? Imagine a Venetian blind with light streaming through. Now imagine the pattern on the wall. The blind is acting as an effective gobo and shaping the light!)

Color Gels

Gels are colorful, translucent sheets that fit over your light. Thanks to gels, your lights can produce just about any color imaginable (for all sorts of creative effects!).

CTO Gels

These are color correction gels, used when you need to correct the color temperature of a given light. For example, if you have a gridded beauty dish that is on the warmer side and you want to use a second, cooler light as a hair light, you’d place a CTO gel over your hair light. That way, you can match and balance the color output of both lights.

Portable reflectors

Not to be confused with reflective modifiers (above), reflectors allow you to reflect light back onto your subject. They are a way to create fill light without a second dedicated light source. Reflectors come in many shapes and sizes, from the ubiquitous 5-in-1 reflectors to fancy tri-flectors sometimes used in beauty portraits.

Diffuser/scrim

A diffuser is a piece of translucent material that you place in front of a light source to alter the quality of the light or to reduce its intensity. Some diffusers do both.

Flags

Flags are used to block (or flag) light from falling on certain parts of the scene. You can use a flag to stop excess light from falling on your background, or you can use a flag to reduce the exposure on specific parts of your subject. For example, I sometimes use flags to underexpose everything from the neck down in close portraits. This helps ensure that the face is the main focus of the image.

Studio accessories

In this section, I discuss accessories that can make for easy, efficient photo shoots.

Light stands

Light stands are designed to hold your light sources. Make sure your light stands can handle the weight of your heaviest light (note that a high-powered, dedicated strobe requires a lot more support than a speedlight!).

Dolly

Dollies are highly useful; they’re light stands, but equipped with wheels!

Boom arm

A boom arm is a light stand that you can position at any angle, from completely vertical to completely horizontal. Boom arms are a great way to get your lights up high and to place your lights at angles a traditional light stand can’t manage. You can mount different varieties of boom arms to other light stands, as well as permanent fixtures like walls.

Reflector stand

These are dedicated stands designed to hold a reflector in place (e.g., under your subject’s chin).

Background/backdrop

A backdrop is the surface behind your subject. Backdrops can range from paper and vinyl rolls to bare or decorated walls to pieces of painted canvas.

Background stand/support

Background stands are support systems designed to hold a backdrop in place. They can be free standing or wall mounted.

Clamps

Clamps and other fastening devices come in all shapes and sizes. You can (and should) use clamps liberally; backgrounds, flags, reflectors, gels, and many, many other things need to be held in place during photo shoots. For example, bulldog clips are indispensable for holding up canvas backdrops, while double-headed clamps can attach to a table and hold a flag or reflector (as pictured below):

Rails

In bigger studios, you might see lights fixed to fittings on the walls and ceiling. These rails allow you to move your lights around a space without the hassle of a light stand. They also keep cords out of the way of you and your subjects.

Other

Here are a few miscellaneous items of studio lighting equipment that it pays to own, along with a couple of key vocabulary terms:

Quality of light

Light quality refers to the physical characteristics of light (generally the shape, intensity, hardness, and color).

Lighting pattern

A lighting pattern refers to a particular lighting position designed for predictable and established results. Examples of lighting patterns include butterfly lighting, Rembrandt lighting, and split lighting.

PC sync socket/cable

The PC sync lets you connect your camera to a flash. You can use this in lieu of triggers.

Triggers

Triggers allow a camera to communicate with lights and ensure that flashes fire while the shutter is open. They range from very basic models with just one function to complex devices that allow for full control over the settings of multiple lights.

Slave mode

In slave mode, a flash will detect the light from another flash via a sensor, then fire off a burst. It’s perfect for situations when you have multiple lights but only one basic trigger.

Mount

Modifiers attach to a strobe via a mount. A lot of lighting manufacturers have their own proprietary mounts associated with their systems (Bowens, Profoto, Elinchrom, etc.), so you will need to ensure that any modifier you buy will fit the system that you own.

Modeling light

Many strobes come fitted with two bulbs: a powerful flashbulb, from which you get the strobe light, and a weaker modeling bulb, which is on whenever the strobe is not flashing. The modeling light helps you see what the light quality and direction are doing to your subject. As a bonus, if you’ve cut out all ambient light (as you should in a studio environment), modeling lights allow you to see!

Studio lighting equipment: final words

Well, there you go:

An introduction to studio lighting equipment, complete with plenty of vocabulary. Now that you’ve finished this article, you can confidently step into a studio and know exactly what is going on – and you can get started with some studio lighting of your own!

Now over to you:

Which of the studio equipment items mentioned above do you own? Which do you plan to buy? And which is your favorite? Share your thoughts in the comments below!

The post Photography Lighting Equipment: The Essential Guide appeared first on Digital Photography School. It was authored by John McIntire.