Photography News

 

 

1. What Gear Will I Need? 

• Telephoto zoom lens – Gets you close to the window without having to climb a ladder
• Wide-angle lens – Useful for when the window's particularly large
• Tripod – In dark churches you need a sturdy tripod
• Remote release – minimise shake

 

2. Support

When you walk through the doors of a church you instantly notice how dark the interior is and as flash is banned from most historical buildings you'll be relying on long exposures to get your shot. As a result, a tripod and remote release are essential pieces of kit but if you're out for the day with the family and didn't plan on stumbling across a stained glass window you just had to photograph you need to look for a wall you can put your camera on or find a pillar you can rest against while you take your shot. Just remember to keep your arms tucked into your body and hold your breath while you fire the shutter to minimise shake.

 

Not all churches will allow photographers to use tripods or if they do there may be a fee so it's best to double-check before you start taking your shots.
 

3. Position

In an ideal world, you'd be able to use a ladder or even scaffolding to get you directly in line with the window to minimise distortion but as people would be a little upset if you started erecting poles in the middle of a church, you need to find a spot further back from the window and use a longer lens to zoom into the stained glass. If you can't find a position that lines you up with the centre of the window take the shot anyway as you can edit this as well as problems with converging verticals once you're back home.
 

4. Size

Some stained glass windows are so big that even with a wide-angle lens you can't get the whole window in-frame. You can take several shots of the window and stitch the images together when you're back home or you could forget about the big picture and focus in on the colourful detail.

Due to the size of the window and as you'll be looking up at them you will probably need a small aperture to ensure everything from the bottom to the top of the window is in focus.
 

5. Exposure

A bright window surrounded by dark interiors will confuse the camera's exposure system and you'll either get a shot where the window is too bright as the camera has compensated for the surroundings or a shot of a perfectly exposed window with black surroundings as the camera has taken its reading from the window light. One way to solve this problem is to take two shots, one exposed for the window and the other for the surroundings, then once you're back home you combine them to make one perfectly exposed shot. You must use a tripod and ensure the camera doesn't move if you do this as the slightest of nudges will mean the final shots don't line up correctly.

If you don't want to include any of the building's structure in the shot you can usually rely on the camera to meter correctly unless it's a really sunny day then you'll need to use exposure compensation.

 

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Portrait photography is a very popular subject and with so many ways you can capture a brilliant photo of a person, it's easy to see why it's one of the most uploaded genres to the ePHOTOzine Gallery. From capturing images outdoors with natural light to indoor shoots with a full lighting set-up, close-ups, candids and professional model shoots, there are plenty of themes and methods to keep a photographer occupied!

To get you off on the right path, we've put together 10 top tips all on portrait photography and, please, if you have any top tips of your own, we'd love to see them in the comments below. 

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1. Look Your Subject In The Eye

Make sure the eyes are sharp and breathe more life into your shot by adding catchlights into the eyes.

If you're photographing children get down to their eye level. This leads to a more natural posture as they don't have to look up. The shot will also be more personal and intimate, particularly if you crop in close so they're looking directly out of the frame.

2. Simple Backgrounds

Take a good look around your shot before you hit the shutter button. Make sure there are no lampposts growing out of your subject's head and that cars or rubbish bins aren't stealing your attention. Plain backgrounds will always work best, as they help place emphasis on your subject, however you can't always find a plain wall to take your shots against so make use of your camera's wider apertures and throw the distracting background out of focus.

 

3. Use Flash Outside

Bright sunlight will create ugly shadows on your subject's face so use a pop of flash to eliminate them. Try using the flash from the side as this will give the image more dimension. While on cloudy days you can leave your flash in your camera bag as the soft, diffused light the clouds help create is perfect for portraiture work.

For more tips on using flash outdoors take a look at our previous article – flash outdoors.

 

 

4. Play With Backlight

By placing the sun, window or studio light behind your subject you'll be able to create hair/rim light that lights the edge of your subject. This can really make your subject 'pop' out of the image as the outline of light acts as an extra layer keeping your subject separate from the background.

 

5. Be A Director

Most people won't know what pose works best or what light works where so make sure you talk to them, giving direction when needed. If you make the effort to have a conversion they'll become more relaxed in front of the camera too.

 

6. Don't Centre Everything

Standing centre stage may work for an actor but off the boards and in a photo that's not cropped you want your subject to be slightly to the left or right of the shot. This gives the shot a more pleasing perspective and interest. If your subject's not looking directly into the lens give your subject room to look into and if they're moving through the shot make sure there's space for them to step, run or cycle into.

Imagine a rule of thirds board that looks similar to a naughts and crosses board sat over your scene can help with composition. Take a look at our rule of thirds advice.
 

 

 

7. Create Candids

Candids are shots of people who aren't posed. This could be children playing with their toys, a groom chatting to his new bride quietly in a corner or your mum making a cup of tea. The key to candids is not taking your shot straight away. Wait until the person you're photographing has forgotten about the camera so they're focused on their activity before you take your shot. If you're out on a planned shoot try taking a few photos while you're on a break as your subject won't feel as self-conscious and you'll be able to capture a few natural-looking shots.

If you're working with children make sure they're having fun because the minute they get bored they'll turn unco-operative. Don't forget the odd prop such as balls and sweets. They'll rarely get turned down and they'll soon have them so occupied they'll have forgotten you're there with your camera.

8. Make A Frame

When something gets in the way of your shot the first thing you think to do is move but this isn't always necessary. Finding spots where branches, walls, fences, flowers and other objects can add colour and interest to your composition by creating a frame. Just remember to use a longer focal length to blur your frame so all focus still falls on your subject.

 

9. Get Closer To Your Subject

Using longer zoom lenses will let you crop tighter on your subject without distortion or having to invade their personal space. This bit of extra space will leave your sitter more relaxed and as a result, you'll end up with a more pleasant portrait. As well as having a pleasing perspective your shot's background will be nicely thrown out of focus, even if you're using a smallish aperture and your backdrops only a few feet behind your subject.

Filling the frame with your subject will create a shot that has more impact, is more intimate and if you're using a longer lens, it will help flatter their features for a more pleasing shot.

10. Shoot Reflections And Silhouettes

Your subject's reflection will give you an image that's more visually interesting. For example, getting your subject to place their hands and head on a table with a reflective surface will add depth to a shot. Be creative with the surfaces you use and look for walls and objects that are reflective as well as using the more obvious reflective surfaces such as puddles and glass.
 

All photos by Joshua Waller.
 

 

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If you've ever taken photographs with the sun in front of you, you're likely to have experience flare, which probably spoilt your photograph. However, there are several things you can do to remove it or if you're feeling creative, you can use it in your shots to add a little romanticism, mystery and warmth to your work.

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1. What Is Flare?

Flare is caused by direct light entering the lens, which then bounces around the glass elements causing a reduction in the photograph's contrast. Sometimes this will just make the picture look washed out and lacking vibrant colours, but often you would also see a series of coloured shapes across the photo. The shape is an image of the lens' aperture or diaphragm and will often be hexagonal. This is joined with streaks of coloured light crossing the picture. Modern lenses have multicoated lens elements and are designed to reduce flare but even with the most expensive products, it can still occur.
 

2. How Can I Stop It?

The easy way to prevent flare is to shoot with your back to the sun - a method that was always suggested in camera manuals before multicoated optics. The trouble with this suggestion is that there are many occasions when you cannot control where the sun is in relation to your subject. It's easy, for example, to ask a person to turn direction or change the angle that you shoot a flower from, but try shooting a castle on a hilltop or boat out at sea and you're usually stuck with no other choice than to face the sun.

Fortunately, there are things that can be done. First, make sure the sun is at least out of the frame. If this is not possible to adjust the position so that a nearby building or tree shields the sun from the camera position. Alternatively, shield the lens from the sun using your hand or a piece of card. Take care to avoid this creeping into the frame. Better still, use a lens hood.

 

3. What If I Want To Use Flare In My Shot?

 

It's easier to get flare with less expensive lenses and be prepared to work lower to the ground, laying down if it's needed to get the sun in the right position. Remember, you're trying to get the camera to do something it's designed not to do so work in manual and trust your own judgement as your camera will keep telling you your shot is blown out. Position yourself so you're shooting into the sun, just before it starts setting and remember to adjust your exposure so your subject doesn't come out as a silhouette. Don't be afraid to use overexposed backgrounds as this will add to the effect and switch to manual focus if your lens keeps searching for a focus point, which it might do as the background will be the lightest part of your shot so it probably won't want to focus on your subject. If you want to shoot some indoor portraits this technique works just as well with your subject positioned against a window or patio doors.

 

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Today, we thought we'd take a look at some photography tutorials members can have a go at while enjoying the outdoors, plus with these particular tutorials, you probably won't have to venture far from home with your camera to capture some top shots.

As we're taking a walk in the woods, trees are an obvious subject but don't forget to look for small details such as leaves and then later in the year, fungi and berries can make interesting photos. If you're not too noisy, you might spot wildlife with a wide variety of birds making woodland areas their homes along with squirrels and, of course, you might see a friendly dog out for a walk with its owner, too. 

 

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1. Photographing Trees 

 

It's an obvious one we know but as you'll be surrounded by them, it makes sense to pick up some tips on how you can photograph trees a little differently.

Here are three of ePHOTOzine's top tutorials on this subject: 

• Ten Top Ways To Photograph Trees
• Tree And Leaf Photography
• Photographing Long Lines Of Trees

 

2. Drag Landscapes

 

Why not give your woodland shots an abstract twist and shoot a drag landscape? This can be done in-camera or if you prefer, shoot your 'normal' image and then apply the drag effect in Photoshop. 

 

 

3. Capture Sunbeams Through Trees

 

Capturing sunbeams bursting through a treeline will add an extra level of interest and an almost magical/fairytale feel to your woodland shots. However, for the shot to work, you need a few elements to come together at the right time and you can find out what these are in this tutorial: How To Shoot Sunbeams Through Trees

 

4. Have A Go At Macro Photography 

 

From fungi to insects or close-up shots of bark, wooded areas are full of macro photography opportunities. Have a look at these macro photography tutorials for inspiration:

• Dew Drops On Spider Webs
• How To Photograph Lichen
• Photographing Fungi
• Photographing Bees And Other Insects

 

5. Photograph Wildlife

 

If you're patient and don't mind sitting still for a while a spot of bird or even squirrel photography could be something you want to try. Just don't forget your long lens and wrap up warm if heading out early as mornings can still have a bite to them at this time of year. For more tips, have a read of these tutorials:

• 10 Quick Tips On Photographing Garden Birds
• Photographing Red Squirrels

 

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Leedslass1 (Day 8 - Pier).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 1

Bad Weather Landscapes

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Day 2

Rainbows

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Day 3

Beach

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  Day 4

Shallow Depth Of Field

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Day 5

Shoot From The Hip

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Day 6

Floral Abstract

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Day 7

Drag Landscapes

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

 

Stone circles are scattered around the country, often in remote locations occasionally surrounded by village developments. There are more than 1000 of these monuments catalogued in the British Isles and Western Europe. It's thought that the circles were constructed for ceremonial use and today they provide subjects for photographers to explore their creative side.

 

Here are ten Stone Circles you should visit and photograph in the UK:   Castlerigg, Cumbria

The circle is one of the oldest in Britain and comprises of 40 stones (as stated by the National Trust) in a 30-meter diameter with the tallest stone being 2.3 meters high. With a backdrop of Skiddaw, Blencathra and Helvellyn peaks this is a very impressive location for a very impressive circle. It's best either photographed on a sunny day for clarity of the distant mountains as a backdrop or when there's mist around for an atmospheric alternative.

Avebury, Wiltshire

This Neolithic monument is situated in several fields with an inner and outer circle. It's hard to get a shot of the entire circle so pick sections and focus on one of the stones as the main subject with several others tailing off. Choose a day with a bright blue sky and use a polariser to darken the sky to provide incredible contrast and definition. The site is owned by the National Trust but it's currently free to visit.

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Nine Stones, Devon

The Nine Maidens, also known as the Seventeen Brothers comprises sixteen stones ranging in height from 0.5 to 0.8m. You have to work hard to get an atmospheric shot of these stones as they are smaller than some, but it's possible, and with a wider angle lens you can frame the whole circle. Shoot from a higher point to get some perspective.

 

Callanish, Isle of Lewis, Outer Hebrides

Next to a road and loch, but from the right position both can be excluded to get a very dramatic set of shots. Shoot from a low viewpoint to exclude near rooftops.  The circle is approximately 13m in diameter and comprises 13 tall and slim stones that are more jagged than most circles and provide opportunities for haunting imagery.
 

Duloe, Cornwall

A circle of approximately 11 meters diameter made from eight quartz stones placed in a grassy field. The highest stone is about 2.6m tall. The surrounding landscape isn't that interesting for this circle, so shoot from the ground up using a wide-angle for most dramatic results.

 

 

 

12 Apostles, Yorkshire Moors

As this circle is situated on Burley Moor, Ilkley, you need to do some walking to get to it so travel light and also do some research with a map first to pinpoint its location as it could easily be missed. It's a ruin with just 12 stones remaining and is in a 16m diameter. The highest stone is 1.2m so you have to work hard to get dramatic results. A distant shot can work better. In a short fall of snow, the stones stand out well against the white covered heather.

 

Stonehenge, Wiltshire

Without doubt, this is the most famous of all the stone circles (it's on many people's bucket lists) and looks very impressive, but sadly for photography purposes, it's now not possible to go close to the stones and shoot from a creative low viewpoint. It's managed by the English Heritage so there's an entrance charge and there's also a small fence rope that needs cloning out from distant shots. But you can walk all the way around and get lots of profile shots and some viewpoints are much more balanced than others. You'll need to use a slightly less wide angle for here - a standard zoom is fine.

 

 

Hurlers, Cornwall

A group of three stone circles situated on the edge of Bodmin Moor, near the village of Minions. It's a group of quite small stones, but several of them are impressive shapes and can make for interesting creative shots. You can walk up the incline onto the moors and photograph the whole circle. The central circle is the largest with a diameter of 41m. You can include distant tin mines in some viewpoints. 

 

Arbor Low, Peak District, Derbyshire

This would have been a brilliant stone circle but it has either collapsed or was never actually erected. The stones are arranged in a circle and there is a small entrance fee now in place to get up-close to the stones. Fortunately, the terrain, which includes a circular ditch, is such that you can still take some impressive shots and include several stones in one scene.  A distant clump of trees on the horizon adds balance to the photo.

 

Merry Maidens, Cornwall

One of the few stone circles that are well preserved and most likely in its original state. The stones form an almost perfect circle with a 24m diameter and a height of about 1.2m. The shapes of the stones are less interesting than some but the site does offer a fair bit of potential in the right light. Shoot from the ground to make them look more dramatic.  It's worth taking a panoramic shot of the whole circle too.
 

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Piers are strong structures that stand along the coastline of many of our favourite seaside resorts and they're a brilliant subject for a photographer. Not only can you photograph them as a whole, but you can also get in close with a macro lens, focus on patterns, point your lens at passers-by or wait for the sky to change and capture these historical structures at sunrise/sunset. 

With so many ways you can photograph piers, you really can keep yourself busy for quite a few hours so with this in mind, here are our 5 top ways you can photograph a pier next time you're at the coast.  

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1. What Photography Kit Do I Need For Pier Photography?

 

Wide-angle lenses will always be useful when photographing piers as you'll be able to capture shots of the beach, sea and pier as well as interesting sunsets or sunrises, depending on what time of the day you're visiting the coast. Close-up lenses or better still, macro lenses will allow you to get detailed shots of textures in the wooden boards, patterns in rust and more. Don't forget your tripod and pack a polarising filter to reduce glare and increase saturation so blue skies appear to be even brighter. This doesn't mean you can't shoot on a dull day, however as rain clouds building in the background of your beach landscape will add mood and create a different feeling in your pier shots.  

 

2. Go Wide On The Beach

 

Shooting from the beach will give you a cracking shot of the pier in its surroundings that works particularly well at sunrise/sunset. For added atmosphere try slowing your shutter speeds down to blur the movement of the sea as it crawls up the beach.

 

3. Get On The Pier, Guide The Eye

 

Take a walk along the boards early morning before the tourists arrive and the empty pier can be used to guide the eye out to sea. If you want to emphasise the bustle of the seaside resort try using slower shutter speeds to blur the movement of the people walking up and down the pier.

 

4. Walk Under The Pier 

 

If it's safe to do so go and have a walk under the pier as you'll often find a symmetrical structure that creates a strong graphical shot when photographed from the beach. The supports closer to the sea will often have interesting tide line patterns, seaweed and creatures worth a quick snap with your macro lens too. Just keep an eye on the tide if you venture under as you don't want you and your kit getting wet or worse still, swept out to sea.
 

5. Patterns Can Be Perfect 

 

When you've photographed the popular pier angles, the patterns in the wooden boards, rust on bolts and peeling paintwork on railings make great texture shots you can blend into other images in Photoshop.
 

Bonus Tip: When you're back at home remember to wipe down all of your gear to remove sand, sea salt etc. and leave it to dry out completely. 
 

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1. What Are Drag Landscapes? 

When you look outside and see the sky's grey and dull you may think your day of landscape shooting is ruined but you're wrong. OK, capturing pin-sharp vistas may be out of the window but you can have a go at drag landscapes. Now, when we say drag we don't mean they're boring! In fact, they are quite the opposite. A drag landscape is about finding a scene with strong lines, pressing the shutter button and as the exposure processes, drag your camera up, down left or right. By doing so, your final landscape will have an abstract or even painting feel to it and you'll be glad to hear that the grey, boring sky is well disguised! The technique also works in harsh contrasty light normally regarded as being no good for photography.

 

2. Flowers As Drag Landscape Subjects

Drag landscapes are something that can work all year round on a variety of subjects but as we mentioned this technique back in March when talking about photographing Daffodils, we thought they'd make the perfect subject.

 

 

3. Drag In One Go

You need to move the camera in one clean, steady movement. Using your arms is a good way to control the movement with freedom or you can use a tripod if you prefer a more structured movement. Make sure you've packed your telephoto zoom lens and if you're venturing quite away from home, don't forget the essentials such as spare batteries and memory cards. 

You can think of drag landscapes a bit like a zoom burst except instead of twisting the lens you're moving the entire camera. You need to find your subject, focus up, then move so your lens is pointing away from it. When you're ready, pan back in and when your subject comes into view hit the shutter button.

Don't stop panning until you're past your subject as your shot won't have the blurry, streaks of lines we want to create if you do. You may have to turn Image Stabilisation off as it will want to create a sharp image and this isn't what we are trying to do.  If you look at the screen and see you have diagonal lines it's because you moved to the side slightly as you moved your arms down which you may like the look of but if you don't, the beauty of digital means you can delete it and just try again. Getting the right exposure can be tricky, we found a 10th or 6th of a sec was just about right but if you do need to slow it down, even more, try fitting a polarising filter.

 

4. Change Direction

Once you have the hang of it try panning in different directions, paying attention to the shapes and lines of the object you're photographing. If your subject's a waterfall, for example, pan up or down following the flow of water. Lines of trees and bright colours such as fields of Poppies and Rapeseed also work well.
 

5. Less Drag

If you want the image to be slightly more recognisable start the exposure and pause before you begin dragging. If your subject doesn't have any hard edges you can create an abstract shot that's more about texture. Dragging your lens in a circular motion rather than in a straight line will further enhance the abstract feeling but it's not something that will work with all subjects. 
 

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The concept of the super zoom continues to stretch, aided by advances in lens design, new materials and precision manufacturing techniques. Once, 28-200mm was amazing, although quality was sometimes a bit suspect. Now, we have reached a remarkable 20-200mm with this very appealing new lens from Sigma. The sheer versatility of a lens offering an ultra-wide 20mm and a very respectable 200mm, whilst being able to focus down to equally amazing magnifications, is not to be underestimated. But what has to give to achieve this? Speed is one thing, with much more restricted apertures to keep the lens size down. Quality is of keenest interest. After all, a lens that is not sharp would be no use no matter how attractive the specification. We are getting used to manufacturers making the once impossible possible, so let's see if Sigma have repeated the trick once again, using the full frame 42MP Sony A7R III.

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Handling and Features

High quality plastics help to reduce weight, making it possible for this full frame lens to weigh in at a very modest 540g (FE mount) or 550g (L mount). Dimensions are equally modest, the lens measuring 77.2mm x 115.5mm.

Starting our tour of the lens, there is a provided bayonet fit petal lens hood that clips firmly into position and needs no catch to keep it there. Within the bayonet fit for the hood is a conventional 72mm filter thread. The hood is quite shallow, having to accommodate the 20mm wide end of the range, but fortunately, the lens is not prone to flare anyway. The hood will still be useful to protect the lens against knocks, even if its optical value is limited.

 

 

The reasonably wide manual focus ring is electronic, so operation is as smooth as silk. The AF/MF switch lies behind this, as does the lock switch. The lock fixes the zoom at the widest end so it can be carried without the lens extending under its own weight. There is clearly some weight in glass within the barrel, as even the vertical product shot would find the lens slowly sinking if set to 200mm. If the lens is pointing downwards, for example, to make the text shots in the samples, the same problem occurs and it might have to be focused and then taped into position to ensure the zoom does not drift.

The wide zoom ring does extend the lens and is firm but even in operation. There are clearly marked points for 20mm, 28mm, 35mm, 50mm, 85mm, 135mm and 200mm.

AF is driven by a High Speed Linear Actuator (HLA) and this is fast, accurate and virtually silent. Focusing is down to 16.5cm (6.5”) at 28mm. Between 28-85mm, the maximum magnification is 1:2, or half life size. This is the same as older macro lenses, and another huge benefit. The minimum focusing distance does vary, and is 25cm (9.9”) at the wide end and 65cm (25.6”) at the tele end.

 

 

Optical construction is 18 elements in 14 groups, including 1 FLD, 3 SLD and 4 double-sided aspherical. FLD glass mimics the low dispersion of fluorite, but at a realistic price level that allows its more widespread use. The diaphragm comprises 9 blades, producing as rounded an aperture as possible for enhanced bokeh.

The lens body is dust and splash resistant, almost an essential for active photographers out in the field. This is described as the ability to withstand light rain, but the instructions from Sigma caution that this does not mean waterproof and due care should be taken not to allow water ingress into the lens. There is a water and oil repellent coating to the front element. Finally, the L mount version of the lens is compatible with the Sigma USB dock UD-11.

In use, the convenience of the lens is just amazing. The freedom of having 20mm ultra-wide, 200mm telephoto and 1:2 macro shooting all available in one optic is obviously fantastic. No lens changing needed in inclement weather. Yes, the aperture is somewhat restricted, but with the equally amazing high ISO values that are been well established, it now all depends on the quality of the results, so time to see how things went in the technical tests.

 

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Performance

At 20mm, central sharpness is excellent from f/3.5 all the way through to f/16, remaining very good at f/22. The edges are good at f/3.5, very good from f/4 to f/11 and fair at f/16 and f/22.

At 50mm, central sharpness is excellent at f/5 and f/5.6, very good from f/8 to f/16, good at f/22 and fair at f/32. The edges are very good from f/5 to f/16, good at f/22 and fair at f/32.

At 135mm, central sharpness is fair at f/6.3, good at f/8 and f/11, very good at f/16, good at f/22 and fair at f/32 and f/40. The edges are fair at f/6.3, good from f/8 to f/16 and fair from f/22 to f/40.

Images respond well to a little unsharp mask in Photoshop and yield nicely crisp and attractive images.

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a Sony A7R III body using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is well controlled at the centre, less so at the edges, especially at wider settings. Generally, there is little sign of colour fringing. For more critical subjects, such as tree branches against a bright sky, software solutions may be helpful in reducing unwanted CA effects.

Distortion measures just -0.04% barrel at 20mm, +0.17% pincushion at 50mm and +0.64% pincushion at 135mm. These are very impressive figures for any lens, but especially so for such a wide ranging zoom.

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on a Sony A7R III body using Imatest.

 

Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, but we know attractive bokeh when we see it. Here we find relaxed and attractive bokeh. The out of focus gradation is gradual and makes a very pleasing backdrop, perhaps especially for portraiture and flower studies.

The flare performance is excellent, with no sign of unwanted artefacts.

Vignetting is very well controlled through the longer focal lengths, being allowed to drift only at the wider 20mm. Even so, there are much worse results than this in much more expensive lenses. Correction in camera or in software can be used if necessary. Having said that, some very attractive natural vignetting at 20mm can help make beautiful landscapes. Lens defects can often be turned to advantage.

 

Aperture 20mm 50mm 135mm f/3,5 -2.7     f/4 -2.4     f/5   -1.6   f/5.6 -1.9 -1.6   f/6.3     -1.3 f/8 -1.6 -1.3 -1.3 f/11 -1.4 -1.2 -1.3 f/16 -1.4 -1.2 -1.3 f/22 -1.4 -1.2 -1 f/32   -1.2 -0.9 f/40     -0.9

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Sample Photos Previous Next

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Aperture range Previous Next

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

 

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Value For Money

The [AMUK]Sigma 20-200mm f/3.5-6.3 DG Contemporary|Sigma+20-200mm+f/3.5-6.3+DG+Contemporary[/AMUK] lens is priced at £799.

The [AMUK]Tamron 25-200mm f/2.8-5.6 Di III VXD G2|Tamron+25-200mm+f/2.8-5.6+Di+III+VXD+G2[/AMUK] lens is priced at £729.

These lenses look to be competing directly, with a clear trade off between the wider 20mm of the Sigma, or the faster 25mm of the Tamron. Both look to be great VFM and they both have their own strengths and weaknesses. Choices!

 

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Verdict

With such an extended zoom range, especially with the ultra-wide 20mm wide end, there are instantly questions as to whether the quality can stand up to close scrutiny. In terms of the 20mm point, it does with consummate ease. The magic continues to unfold to 50mm, with even distortion levels so low that a macro lens might find competing to be a challenge. As we zoom to the longer focal lengths, sharpness drops off, as well it might, as the lens is not immune to the laws of physics. The variable aperture design means that the seven apertures available at 135mm and beyond start at f/6.3, so we soon reach the point of f/16 and beyond, and diffraction is taking a firm hold. 

However, to be fair, who uses such a lens at apertures from f/22 to f/40, probably not wildlife photographers seeking faster shutter speeds to freeze the movement of skittish birds and animals. Used at longer distances also benefits the quality of the results, as again the usual expectation is to be using such a lens in a practical way at a distance rather than to photograph lens test charts.

The new lens does what it is intended to do and makes a very good job of it. It has to be Highly Recommended.

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Pros

• Good to excellent central sharpness
• Minimal distortion
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• CA well controlled centrally
• Versatile extended zoom range
• Moisture and dust resistant
• Magnification 1:2 between 28mm and 85mm
• Beautiful bokeh
• Affordable pricing

 

Sigma 20-200mm f/3.5-6.3 DG Contemporary Cons

• Loses fine detail at edges and longer focal lengths
• High vignetting figures at 20mm
• Limited apertures
• Some CA at edges

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=4.5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – Crisp results and a versatile, extended range from ultra wide 20mm to telephoto 200mm.|E_id=8027[/REVIEW_FOOTER]

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As we are well into spring now and flowers are rapidly starting to take over gardens, we thought we'd carry on with the flower photography theme but this time we're taking things indoors and are adding an arty twist to the scenario. Have a read of the tutorials, have a go at the techniques then why not upload your results to the ePHOTOzine gallery?

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1. Photographing An Arty Flower Shot

 

The location for this shoot was a living room, making most of the light pouring through the window. Direct sunlight is too harsh for this work so the set up was placed away from the window. A macro lens is ideal for this subject and it's always a good idea to mount your camera on a tripod for stability. Use a remote release, if you have one, to fire the shutter and if your camera has it, the mirror lock-up facility can also help minimise any risk of camera shake. 

 

2. Photographing Flower Blooms With A Lightbox

In this article, I want to share my techniques for using a lightpad and one of the best uses for the lightpad is to help create a high-key look for your photographs. I started with a dead Hydrangea bloom; I removed the delicate petals from the stem and placed them in a random pattern on the lightpad.  Then, I turned on the lightpad and by doing so I could see the veins in the petals.

 

3. Abstract Flower Photography Tips

 

The most popular approach to flower photography is to include the whole flower but by getting in very close or by choosing a less conventional crop you can create a rather exciting image. Plus, it's a technique you can try all year round as you can just buy your flowers from the supermarket when there's none showing their heads in your garden.

 

4. Five Top Tips On Low Key Flower Photography

 

Photographing a flower head on a black background is a simple but effective way to make yourself a piece of wall art. The bright petals against a stark, dark background make a vibrant image that wouldn't look out of place on the shelves of stores that are designed to fill your home with accessories and decorations.

 

5. Flower Photography With A Difference

When you think of flower photography your first thoughts will usually be of shots of a single head taken from an overhead angle or a cropped in shot that focuses on the shapes and colours of the flower. There's nothing wrong with these shots as they do work well but for something different, take a look underneath the flower head.

 

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Compositional rules are there as guides, but that doesn't mean you always have to use them. Sometimes breaking the rules can help you create an image that's far more striking, so here are 8 more ways how breaking the guidelines can help you create an image that has far more impact.
 

1. Centre Your Subject

 

With the rule of thirds, you have to ensure that your main point of focus is positioned on one or more of the four intersecting lines on the nine-square grid you have to imagine is sitting over your image.

However, there are some shots where placing your subject in the middle of it will give you a more striking image. For example, a road or path stretching off towards the horizon, starting so it fills the frame and winding away until it vanishes can look better when positioned in the centre.

The same goes for shots with lots of symmetry. A long table that's set for dinner with rows of chairs and lines of plates, glasses and cutlery on it will make a more interesting photograph if positioned in the centre of the frame, while photographing escalators, steps, piers and tunnels so they sit in the centre of the frame can help exaggerate their length, giving the impression that they go on forever. Portraits are more pleasing to the eye when you use the rule of thirds grid but if you're shooting a portrait that has a more creepy, unusual feel to it, positioning your subject in the centre of the shot will enhance this uneasy feeling.

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2. Split Your Image In Two

 

When you're working with the horizon or lines you should avoid splitting the image in two, so horizons should be slightly higher or lower, depending on where the interest is and lines should be positioned to the left or right of the centre line. However, cutting your image in two will give you a shot that has a lot of impact, particularly if you're going for something more abstract where strong blocks of colour are your focus.

  3. Work Wonky

 

Keeping your horizons level and your shots straight is a rule that's important for landscapes but there are other subjects where tilting your camera will give them more energy and a sense of excitement/fun. If you're going to do this, make sure you do it properly, really turning your camera. If you don't, it'll look like you were going for a straight shot and angled your camera by mistake.

4. Play With White Balance

 

Capturing shots with the right colour temperature is something that's important the majority of the time, however, there are occasions when using the wrong preset or making adjustments after in post-production will help boost colours, make shots more interesting and fun. For example, you can emphasis the coolness of a winter scene with blue tones and give more warmth to Autumn landscapes to enhance the orange and yellows that are prominent during the season.

 

5. Use Higher ISOs

 

For shots that are clean and sharp, you'll generally need to use the lowest ISO possible. Of course, there are many cameras now that cope quite well at higher ISO levels, and they won't leave noise in your shots. However, if you have a camera that still struggles at higher levels, use it to your advantage, shooting some grainy images.

If you don't want to create the look in-camera, shoot at a lower ISO and run your image through photo editing software and apply your grain digitally. The grain works even better with black and white shots so while you have your editing software open, try converting your coloured shot into something much moodier. Portraits are good subjects for this but if you have a few landscape shots you've taken on dull days, try converting them to black and white, add a little grain and a grungy frame and you'll breathe life back into a boring shot.

 

Make The Most Of Out Of Focus Shots

 

For a more dream-like composition, try throwing your whole frame out of focus. A wide aperture will be needed and you'll probably have to focus manually to stop your lens focusing on something in the frame. You want the shot to be out of focus just enough to make it look like you did it intentionally but still leave enough detail to make the scene recognisable. Your other option is to blur what would be considered as your main point of focus and have something in front or behind them sharp. A more subtle way to use the effect is by creating a soft-focus portrait. Take a look at our Photoshop Tutorial for more information on how to do this.

 

Move Your Camera While Taking A Shot

 

The 'try to keep your camera as still as possible' rule only applies when you're not going for a strong, abstract shot that's full of energy. If you're photographing action, a car speeding along a track or dancers spinning in a circle, moving your camera while you take your shot will add a little blur that can increase the feeling of speed and excitement.

Using a slightly slower speed than you'd usually use to capture action will further enhance their movement and you probably don't need to move your camera to do this. Again, having part of the shot a little sharper than the rest will give your viewer a focus point. Try zooming your lens barrel out or in through the exposure too to create a zoom burst. You'll probably want a tripod to hand for this as it makes it easier to turn the barrel of the lens. Zoom bursts work well on stained glass but they can give equally good results on groups of fast-moving dancers who are making their way towards you.

Try removing all sharpness from the shot with a drag landscape. We've covered this on-site in a previous technique which you can find here: Drag Landscapes

 

Shoot From The Hip

 

OK, so shooting with your camera held to your eye or using your camera's screen to frame your shot isn't a rule, just more of a thing that everyone does because that's the way camera's work! But by leaving your camera by your side and 'shooting from the hip' you can get some interesting results. Sure, it can be a little hit and miss but as it doesn't look like you're taking a photograph you stand the chance of capturing much more candid results, particularly on the street.

 

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You don't have to venture far to take a great image. In fact, if you get down on your knees in your garden a simple blade of grass can look great in a photo! A blade of grass? We hear you cry. Yes, if you use a shallow enough depth-of-field a blade of grass can look pin-sharp and picture-perfect against a very blurry background. Of course, you can pick other photogenic subjects such as flowers, plus, if parts of your garden are a little untidy this technique will hide this too!   [HOOK]position_1[/HOOK]  How To Take Photos With A Shallow Depth Of Field: What You'll Need

A macro lens is needed and if you can, use one that has a slightly longer focal length like a 100mm rather than a 50mm for better compression. It does mean, though, that focus is even more critical because depth-of-field is so shallow. A groundsheet, kneeling mat or even a bin liner will keep your knees or if you're laying down body dry and if you need extra support you could use a bean bag or just shooting hand-held would okay.

 

  How To Take Photos With A Shallow Depth Of Field: Top Tips

 

1. Wide Aperture 

You need to use a wide f-stop to get the right effect. The aim is to get as much of the subject in focus as possible without losing the nice blurry feel but doesn't over blur the shot as this will distract from the subject. Try f/5.6 and use the camera's depth-of-field preview button to check the aperture's effect on the background.
 

2. Get Closer

Although the main way to control depth of field is with the aperture the positioning of yourself and your subject can also enhance the blur. You want to, ideally, close the distance between the camera and subject but have as much distance as possible between your subject and the background.
 

3. Subject Choices

It works great on blades of grass, insects and small flowers. later in the year, if you live near a rapeseed field try isolating a specific flower or part of the field out to draw attention to it. You could try blurring part of the foreground as well as the background to create a frame for the subject.

 

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The coast is a popular destination for many at the weekend (even more so if it's a Bank Holiday weekend which gives us an extra day or sometimes more to play with). So for those of you who are heading off on a day trip, we've got 5 top tutorials all about beach photography which should come in handy when you're down by the sea. 

 

1. Take Better Photos At The Beach With These 6 Tips

When the sun's out us Brits pack the car up with buckets, spades, the dog and family members and head to the beach. But as well as eating ice cream and playing the odd game of cricket or rounders take some time out to take a few beach photos. It doesn't even have to be a gloriously sunny day for photography either as waves crashing against the sea wall will look just as good as a family snap on the front.

 

2. 12 Ways To Improve Your Beach Photography Today

 

From advice on what gear to pack to tips on turning around rather than just looking out to sea.... this tutorial has 12 top ways you can improve your seaside photography without too much effort on your part. 

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3. How To Capture Beachcomb Coastal Close-Ups

 

Beachcombers find all sorts of treasures that make perfect photographic subjects. So while you're at the coast, take a walk along the beach to see what interesting objects you the sea has washed up for you to photograph. To find the most interesting objects you need to follow the tide lines just after a good storm or strong winds have blown in. head out not too late after high tide to give you the best chance of uncovering some photo treasures before they get picked up or the surrounding sand's spoilt with footprints.

 

4. 5 Tips To Instantly Improve Your Beach Shots Taken With A Compact Camera

 

If your camera will be packed along with the buckets, spades and sunblock, take a look at these 5 tips so your shots of the beach look as good as the real thing. We have advice on switching away from auto mode, tough camera tips, ways you can boost sunset colours and why changing your angles is well worth a try. 

 

5. 4 Top Tips On Photographing Beach Huts

 

A popular shot to capture when you're photographing beach huts is to use a wide-angle lens to get a full line of these colourful structures in the frame. If you plan on doing this, try to get a large expanse of sky in the shot too. Be careful if you're using a particularly wide lens as you can end up with objects creeping into the frame that you didn't want to capture and keep an eye on your exposure.

 

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  To Photography A Rainbow, You Will Need: 

• Tripod - Stability when using longer shutter speeds
• Polarising Filter - Enhance the rainbow's vibrancy
• Wide Angle Lens - Sweeping landscape with the full arc of the rainbow
• Telephoto Lens - For distant objects that you want to frame with the rainbow
• Standard Lens - Capture foreground, background and the rainbow with not too much trouble

  How To Photography A Rainbow, Step-By-Step: 

 

Step 1. A Bit Of Luck Needs To Be On Your Side 

Unfortunately, due to the conditions that are needed for a rainbow to appear, you really do need to be in the right place at the right time (you might see a few more at this time of year though due to the rainy nature of April). Don't fancy waiting for one to appear in the sky above you? You'll also find them in bubbles and near other water sources such as fountains in town squares and around waterfalls.

 

Step 2: Get Your Positioning Right 

If you do happen to stumble across one, position yourself so the rainbow can act as a frame for a building, interesting rock formation or whatever photogenic subject you may find. If you don't, your shot will just look empty and boring. For added interest, position yourself so the rainbow intersects your subject as this is where the eye will be drawn to.

 

 

Leading lines such as deep shadows and long roads will draw the eye into the picture as well as add interest to the shot. If you do this use a small aperture so the foreground and rainbow are both in focus. You also need to work quickly as they can appear and vanish within a matter of minutes. 

 

Step 3: Don't Meter From Dark Skies

As rainbows need moisture and sunlight to appear more often than not you'll have clouds full of rain lingering in the back of your shot but this isn't a bad thing as the dark colours of storm clouds will help enhance the vibrancy of the rainbow, making the colours really stand out. Just make sure you don't meter of this part of the sky though as your rainbow will end up losing some of its punch.

 If you get the chance, do spend some time assessing which angle the rainbow looks most vibrant at to make it really stand out from the sky behind it.
 

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Today is the first day of April and as we can pretty much guarantee that April's famous showers will fall over the UK and Ireland over the next few weeks, we thought we'd give you some rain photography inspiration.

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Learn to shoot creative portraits in the rain, brush-up on your landscape skills or how about trying to capture macro shots of raindrops on plants? Whatever you photograph, do remember that your rain-themed image could win you a prize if you win our weekly Photo Month competition.

 

1. Photography Tips For Bad Weather Days

 

How many times a year do I hear those immortal words "Oh, it's a bit dull for photography today" or some variation of them? No, no, no... There is no such thing as bad weather, only different types of lighting. The biggest problem about landscape photography on days that are "unpleasant" is what goes on in your mind. If you look out and think "It's dull" then you will take dull pictures, and usually not simply dull in terms of lighting, but dull compositionally because you are starting with a negative attitude, and that's if you even bother to go out the front door!

 

2. How To Take Great Landscape Shots When It's Raining 

 

When people first get involved with photography, especially landscape photography, they tend to gravitate towards nice weather shooting. If it’s rainy or stormy then just put their cameras away and wait for another day. Perhaps this is partly to do with cameras and water not mixing too well. Perhaps it’s also because they don’t realise what great opportunities there are in poor weather Rain and bad weather can offer the photographer some of the most atmospheric shots if you know where to look and how to protect your equipment.

 

3. Capturing Creative Shots Of Raindrop Patterns

Rain may be good for the garden but it's not something most photographers are fond of. However, if you find yourself in your car, on route to a landscape location when the heavens open, all is not lost as you can use your car as a canvas for shooting water drop abstracts.

 

4. Four Quick Creative Rain Photography Tips

At this time of year, there is a high possibility that you might get caught out by rain showers when you're out exploring. If you do experience some rain, even if you're at home nice and dry when it begins, here are some ways that you can capture rain creatively. 

 

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It's always good to get your shots right in-camera but there are times when this isn't possible. For example, you may have a few shots from the zoo where bars spoil the shot or have a distracting object in the background of a portrait you didn't notice when you took the shot or it was impossible to avoid. In these cases, you can use Photoshop to fix your photos.

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ePHOTOzine has covered healing, cloning and repairing in various tutorials so if you need to brush up on your photo editing knowledge or just want to learn a new skill, click on the following links: 

 

1. How To Use Photoshop's Healing Tools

If there is one aspect of Photoshop that is essential but often misunderstood, it’s the healing tools. It doesn’t matter if you are a digital photographer or use a hybrid approach scanning film, you simply can't get by without the healing tools.

 

2. Repair Your Butterfly Images In Photoshop

Butterflies are fairly difficult insects to photograph because they tend not to keep still for long, are easily frightened and are so fragile they're often damaged. In this technique, we're going to look at improving a typical butterfly shot where you may have a blurred wing spoiling it.

  3. Introduction To The Clone Stamp Tool

One of the most useful tools in the digital photographer's toolbox is the Clone tool - it's also known as the Rubber Stamp or Clone Stamp. In simple terms, all that happens is the Clone Stamp tool picks up, or samples, pixels from one place and drops them somewhere else. It’s one of the most used devices to remove or add detail to a digital image.

  4. Remove Unwanted Items From Images

When you return from a day at the beach and look back at your photos to find a collection of brightly coloured brollies, windbreaks or even people spoiling your shots there's only one thing to do and that is to make them disappear. By using a simple tool in Photoshop, no it's not a magic wand, you can easily turn a cluttered beach scene into something much more pleasing to look at.

  5. Fixing Red Eye In Photoshop

Red eye's caused by the flash illuminating blood vessels in the eye and when the light bounces back, you get red eyes. Some people are more likely to get red-eye than others but if you're one of these people or you have a family member who does, here are a few methods you can try to fix it so it doesn't spoil your family holiday shots.

 

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Water is a brilliant photographic subject as it's so varied, you can capture a different form of it most days. From frost and mist to rain falling on cars, rivers flowing through landscapes and how about getting creative with bubbles? With so many options available, we've covered quite a few water-themed tutorials we want to share with you, all in one place, so you have a water photography reference guide to look at next time you're looking for some inspiration. 

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1. Top Tips On Photographing Water Bubbles

 

I know the first thing some people will ask: 'why?' Well, to be fair, that is a perfectly sound question and yes, why bother standing in a stream and shoot water bubbles. To me, it is because you can and with digital, there is no cost. It is also a nice break from the usual blurred water shots that many of us love. So, while you are out there doing waterfalls, spend a few minutes afterwards trying this subject.

 

2. How To Photograph Wildlife On Water

 

Feeding ducks is something everyone enjoys but next time you head off for your Sunday morning stroll around your local pond, pocket your camera as well as the treats you take for the Mallards and Swans.

 

3. Top Water Sports Photography Tips

 

Head to the coast on a sunny day or even to your local reservoir and you'll probably find someone skimming along the water, holding onto a sail fasted to a windsurf board or getting pulled along by a boat on a board. The pros make it look easy and their jumps, turns and sheer speed make water sports a great photographic subject.

 

4. Our Best Underwater Photography Tips

 

Want to know how to improve your underwater shots? Take a look at these underwater photography tips which we've grouped into common questions which those wanting to try their hand at underwater photography ask. 

 

5. 4 Quick Creative Rain Photography Tips

 

At this time of year, there is a high possibility that you might get caught out by rain showers when you're out exploring. If you do experience some rain, even if you're at home nice and dry when it begins, here are some ways that you can capture rain creatively. 

 

6. How To Photograph Water Creatively - Ice, Fire & High-Speed

 

If you thought H2O was boring, think again as our friends over on the COOPH YouTube channel have put together a really cool tutorial on photographing water creatively. With a DSLR, tripod and a little bit of experimentation, COOPH shows you how to make a real splash with your images! All of the themes are super-easy to follow and the results are really impressive.

 

7. 10 Top Tips On Adding Blur To Water For A Creative Effect

 

Love it or loathe it, blurred water can look great in the right situation so it is always worth a try. For those who are new to the technique, here are 10 tips to get you started in turning even small cascades can look like raging torrents.

 

8. Waterfall Photography Tips: 3 Ways To Photograph Waterfalls

 

When it comes to photographing waterfalls, you can either capture the power and intensity of every cascade or you can slow things down and make the movement the focus of your photo.

 

9. 10 Top Frost Photography Tips For You To Read Today

 

With a cool, clear night comes morning frost and it's a subject that works well for both close-up work and wider landscape shots. For your close-ups of the patterns frost creates, you'll need a macro lens or a 70-200mm zoom lens with extension rings will work just as well if you don't own a macro lens.

 

10. Top Tips On Photographing Water In The Landscape

 

Rivers make a wonderful subject for the outdoor photographer, yet people rarely set out with the intention to photograph them. Rivers offer an abundance of opportunities from grand sweeping vistas to detailed abstracts to wildlife as well as being fantastic places to enjoy the outdoors. Here are 6 key pointers to help you achieve better river and open water landscapes.

Water in the landscape makes a great photograph at any time of the year but in winter, after we've had heavy rainfall or fog's settled in, lakes and rivers suddenly take on a new look that's well worth braving the cold to capture.

 

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You can use any lens you like for landscape photography as with many things in life, it is not what you have got, it is how you use it.

Your choice of focal length entirely depends on how you want to interpret a scene. It is true that if you put two photographers in front of a stunning scene, one will fit a wide-angle and move in closer and the other will fix a telephoto and take a few steps back. Basically, there is no right or wrong when it comes to lens choice so long as it has produced the image you imagined in the first instance.
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1. Standard Zoom

 

Your standard zoom will find plenty of uses for landscape shooting, and you probably know that already. Its focal length coverage from moderate wide-angle through to short telephoto makes it a perfect partner for general photography.

Using a standard zoom is straightforward enough and the two sections on wide-angle and telephoto lenses cover the key techniques you need to know at the two lens extremes.
 

2. Wide-Angle Lenses

 

Wide-angle lenses have a wide-angle of view so get more into the frame. That is pretty straightforward and that is how such lenses are used, ie to get more in. But wides are also great at letting you get in much closer to the subject, giving greater intimacy.

There is a knack to getting the most from wide-angle lenses. The most important technique is to fill the frame, especially the areas directly in front and directly above the subject. A common mistake of inexperienced wide-anglers is to include too much blank foreground or too much bland sky. To stop this, just look around the whole viewfinder before you take the pictures, and if you think there is too much emptiness use the zoom to alter the crop. Or simply move your feet. It is too easy to be rooted to the ground when taking a stride or two closer to the subject or finding some foreground to fill the frame will improve the picture.

 

3. Telephoto Lenses

 

While wide-angles include more, telephoto lenses let you be much more selective in what you include in your frame. For landscape shooting, a telephoto lets you isolate details and it will also make it easier to crop out a blank sky and compressed perspective.

For landscape work, being able to isolate detail and to compress perspective is a very powerful tool in your armoury. Picking out strong lines, textures and features like trees, barns and so on is incredibly useful. As the saying goes 'less is more'. On days when the sky is not very interesting, a telephoto also makes it much easier to crop it out.

  4. Macro Lenses

 

You might think that a macro lens is not much use for landscape, but you'd be wrong. A typical macro lens is a short telephoto so it has plenty of general uses, but being able to focus really closely can be a real bonus in certain circumstances such as when the light isn't great and you have a very bland sky.

If you have a day like this, turn your attention to micro landscapes where you can use the close-focusing ability of a macro lens to get you right into a scene. With a macro lens, you can explore clumps of moss and lichen or patterns in leaves or flowers.

When working with macro lenses you do have a very limited amount of depth-of-field available even at very small apertures. With this in mind, focus very carefully and use the camera's depth-of-field preview to check what is going to come out sharp at different apertures. If you use the preview, allow your eye to get used to the darker viewfinder image before making an assessment.

Once you are this close, the camera's autofocus can struggle and it will end up searching back and forth for sharp focus. If this happens, just switch to manual focus. Have a tripod handy too as it will help avoid camera shake and allow you to make very precise and repeatable compositions. 

 

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  Take a walk around your town and you'll soon realise there's plenty to make a photographic project from. You'll have a collection of buildings housing a variety of businesses all with their own architectural quirks and highlights. Even if you live in a small village with a pub, a post office and a few small shops you'll still find plenty to photograph.

 

1. Gear Suggestions

A zoom will let you capture details and a wide-angle lens will give you a bigger depth of field to help the viewer understand the location. A tripod is useful but as you're on the move a monopod is even better as is a bag that will give you quick, easy access. Spare batteries are always handy, too.

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2. Time Of Day

As you live there you'll have a rather good idea about what's around your town but do you always go there at the same time? By taking a walk during different times of the day you'll be able to see how the light/angle changes and how many people will be there. If you go early morning you'll find that the light is more diffused whereas twilight will give you a dark blue sky and detail from the lights in the town/city. If you don't want people in your shot then early morning is better and the streets are cleaner, less cluttered. If you want people in your shots, the town at nine o'clock in the morning will have those on the commute while three hours later you'll have shoppers. Also, people do draw attention away from the surroundings so unless they add to the composition of the image do you really want them in the shot?

  3. Patterns, Textures And Reflections

Contrasting architecture, colours and textures work well and all towns feature buildings built in different years, even centuries. A brand new, metal and glass tower block will contrast an old, pub well for instance. 

Reflections in buildings, in puddles or even water features, can add a twist to an architectural image. You should take your time to see what angles work best and if glare gets too much use a polarising filter.

 

 

4. Themes And Stories

Why not shoot to tell a story or pick a theme? You could choose to photograph the theme of food suppliers, for example, and this could be anything from greasy spoons to greengrocers and supermarkets. Or how about a project on shop windows, or numbers, or signs? If there's any construction going on, make a series out of the building work. If you know of a major renovation you could do a photo a day from start to completion.

Look for shots that show how your community live. Meeting places, parks or even washing lines full of washing outside someone's house can all make for good pictures - and have a social element.

 

 

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