Huge Photo Editing Software Summer Sale

Topaz Labs, maker of leading professional photo editing tools, just announced their Spring into Summer 2016 sale! This week they are offering 40% off of the full Topaz Photography Collection (that’s a $ 200 discount). Whether you want to achieve stunning photo enhancements or apply artistic effects, their software has you covered. Simply remember to use the discount code SPRINGSUMMER2016 at checkout for an additional 40% off which ends soon. Deal found here: Topaz Photography Software 2016 Summer Sale

Topaz Photography Software Summer Sale (Click to Learn More)

You can also try a free trial. Software made by photographers for photographers. And existing owners of the older Topaz Collections can take advantage of the savings as well! They will just need to log in to their accounts to see their unique Collection upgrade price, then apply the code for the additional savings.

Photo Editing Products for Various Specialties:

Adjust – Magical contrast, detail, and color adjustments.

B&W Effects -Develop stunning black and white photography.

Clarity – Flawless image definition through intelligent contrast.

Topaz Clarity Example (Click to See More)

Clean – Creative smoothing effects with edge and texture control.

DeJPEG – Increase the image quality of your JPEG photos.

DeNoise – Excels at removing noise while preserving image detail.

Detail – Creative detail enhancement with no halos or artifacts.

Topaz Detail Example (Click to See More)

Glow – Create vibrant and beautiful images with energetic sparks of neon light.

Impression – Turn your photos into art with real brushstrokes.

InFocus – Sharpen your image by removing shake and motion blur.

Lens Effects – Creative effects derived from real-world lens and filters.

ReMask – The quickest and easiest way to mask your photo.

ReStyle – Over 1000 unique photographic effects.

Topaz ReStyle Example (Click to Learn More)

Simplify – Create art by selectively removing image details.

Star Effects – Add realistic star and lighting effects to your photos.

Texture Effects – Quickly achieve a variety of textured, toned, and lighting effects.

photoFXlab – Standalone image editor specializing in image effects.

How to Get the Summer Sale Discount:

Topaz plugs into your image editing software and gives you photo editing superpowers. The collection now includes 17 amazing products. Just enter the code SPRINGSUMMER2016 at checkout to purchase the full Collection for only $ 299.99 until 5/22/16 (originally $ 500). The products also include a satisfaction guarantee, if you are not completely satisfied with their products for any reason simply let them know for a full refund.

Offer found here: The Topaz Photography Software 2016 Summer Sale

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Accessory Review: Peak Design Slide Camera Sling strap

Peak Design Slide Camera Sling
$ 59/£45 | www.peakdesign.com | Buy Now

I admit, I’m generally not much of a camera strap user. Oh sure, I have a few straps, but they tend to be utilitarian affairs more there for emergencies or #dadlife convenience (‘What do you mean your feet hurt and I have to carry you the rest of the way through the zoo?’). Even when I was in the thick of my years as a working pro, I tended to work out of a bag far more often than I worked off my shoulder.

That said, shoulder straps have a lot going for them. They protect your camera from accidental drops, allow you to use both hands without putting your camera away, provide a way to keep multiple bodies at hand and the ease of access they offer cuts down on shots missed because you were digging your camera out of a bag or pack. So when I was asked to take a look at the Slide sling strap from Peak Design, I figured it was time to give straps another try.

Specifications

• Maximum Length: 145cm/57in
• Minimum Length: 99cm/39in<
• Weight: 171g/6oz
• Width: 45mm/1.8in
• Strength Rating: 200lb (This is the rating for the Dyneema-corded Anchor Link anchors. The 45mm seat belt webbing could probably lift up your car.)

It is worth noting that Peak Design also offers a narrower version of the Slide, the SlideLITE, for mirrorless systems and other smaller cameras. Specs are virtually the same save for the width being 32mm/1.25in and the weight being cut to 141g/5oz. The reduction in weight is likely due to the narrower width and the fact that the SlideLITE is unpadded.

In Use

Attaching the Slide took less time than any strap I have ever installed. The Anchor Link connector design is clever and quick. So much so, even when I wasn’t using the strap, I left the Anchor Link anchors installed on my camera. Sure, they look a little silly and flap around like little ears, but they don’t get in the way and allow me to install the strap again in seconds. With four anchors included, it would be easy to move the Slide between bodies. The anchors loop around your camera body’s strap eyelets and then click the anchor into the connector at the end of the Slide strap. To remove, you press down on the anchor and slide it back out again. You could easily do it in the dark and yet there is virtually no chance of it happening accidentally. 

There are two different options to connect the Slide to your camera. The first is the traditional connection to your body’s strap eyelets, suitable for the classic ‘neck strap’ style with the camera hanging down in front of you. The second makes use of the included Arca-Swiss compatible tripod plate.

The plate has small cutouts in each corner that allow attachment of an anchor. When connected to a strap eyelet and the plate, the camera hangs more naturally at your side when worn across your shoulder/chest as a sling. There are other products on the market that allow you to attach a strap to your camera’s tripod mount, but virtually all of them must be removed if you wish to use a tripod. Integrating an Arca-Swiss compatible plate into its design means that users of the Slide can easily tripod mount their camera without making any changes to the strap setup. 

The Slide is surprisingly comfortable. The wide soft seatbelt material combined with the internal padding makes carrying even heavy DLSRs manageable. It has been a long while since I’ve had a ‘padded’ camera strap. I have either found them exceedingly bulky or made out neoprene that allowed the camera to ‘bounce’ on my shoulder more than I liked. The Slide’s padding is only 1/4 of an inch thick or so, but it has enough firmness to it that it can support and distribute the weight of the camera. One side of the padded section is smooth and the other has rubberized ‘gripper’ lines added, allowing you to choose between the two options.

The one drawback to the Slide’s padding is that it is somewhat stiff and doesn’t fold up particularly well. This isn’t noticeable on your shoulder, but can be a little awkward when putting your camera into a bag. I suspect that the padding will soften up with age and be more flexible, but I wonder if that will take away any of the cushioning abilities. Only time will tell I suppose.

Length adjustment is quick and easy, even one-handed. You just pull up on the quick adjust handle to release the strap and slide up or down to the desired length. It’s really handy to be able to lengthen the strap for when you are actively shooting and to tighten it back up again when you’ve got some hiking to do. This does, however, bring me to the most glaring problem with the Slide.

While the metal adjustment handles are nice looking and give a sense of quality to the strap, they are also a significant hazard to equipment for those of us who put our cameras in bags. I was constantly afraid that the handle was going to scratch a body or LCD or worse, chip a lens that had somehow been put away without a cap on. As far as I’m concerned, there is no way that the Slide should have used metal in this design. The added weight was unneeded and the danger to camera gear too great. I would love to see this exact design, but with plastic adjustment handles. 

What’s the Bottom Line?

The Peak Design Slide Sling Strap is a well-made, innovative camera strap with a premium price tag. Its construction and materials show quality. The namesake ‘slide’ feature works exceedingly well, the minimal padding and wide strap width tames even heavy DSLR/lens combos and the Anchor Link connectors are a clever and quick way to install and remove a strap.

However, for all the good points about the Slide, the fear that the aluminum quick adjustment handles will scratch or chip expensive equipment is a significant drawback. This is particularly true for those of us who tend to work out of a bag more often than we carry a camera around our shoulder or neck. If you are in that boat and want a strap that still offers many (though not all) of the Slide’s features, it might be worth checking out the Peak Leash strap. 

What we like:

• Ease of length adjustment, even one handed
• Innovative hidden non-bulky padding
• Wide enough to be comfortable
• Easily installed/removable, can use on multiple cameras
• Versatile attachment system
• Material is soft and flexible
• Arca-Swiss style tripod plate attachment 

What we don’t like:

• Stiffness of padding makes it difficult to put in bag
• Metal adjustment buckles can bang against camera/gear in bag
• Most would consider it expensive for a camera strap

Final Rating:

Articles: Digital Photography Review (dpreview.com)

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7 Questions to Help You Find Your Perfect Personal Photography Project

Looking for the perfect photo project can sometimes be as challenging as searching for the perfect shot. Personal photo projects are a good way to motivate yourself to shoot more pictures, stretch your creativity, or even support the causes that are important to you, but how do you find the right ones? What do you do with the photos once you’ve found the perfect project? Here are seven questions to jump start your creative thinking.

photo by Mark Fischer

1. What are your hobbies?

This should be obvious, but you want your project to be something you will be motivated to continue over the long term. What better motivation than something for which you already have an interest? Take your hobbies and look for ways to document them, explain them, or showcase them.

2. What are your communities?

Churches, clubs, or informal groups can also provide options for personal projects. Because you are a member of these communities, you have access to get in close and share what attracts you to them. Alternatively, you can help them tell their story.

3. What magazines do you read?

The magazines you read reflect your interests, but you can also find another creative benefit. Each magazine has its own editorial style. Give yourself the assignment to shoot in their style and then personalize the photos to make your own version of the publication.

photo by John Liu

4. What skills do you want to master?

Let’s say you want to get better at portrait photography, a project that allows you to focus on that skill would be ideal. 100 Strangers is a project that lets you pair portraits with street photography. That can be a fun combination.

5. What are your values?

This is a little more abstract, but your value system can be an interesting place to find ideas. What do you care about? There’s probably a way to tell that story or support a cause with your talents.

6. What makes you angry?

Someone once told me that the things that make you angry can usually point you to your purpose. For instance, if you get mad every time you think about (insert your issue here), working to right the wrong might be your true calling. What makes you crazy out there? Use your photos to document those injustices, or maybe you can highlight your solution. That might be more satisfying than you think.

7. Who inspires you?

This could actually be a portrait angle or a values angle. A theme that follows the people who inspire you can be rewarding. One of my friends created a personal heroes project that is similar to this idea.

What will you do with the images?

Finding a personal project is satisfying all by itself, but what you decide to do with the images could provide an extra level of motivation.

• Blog them – This is probably one of the easiest ways of sharing a project. Blogs allow you to become your own publisher and share your photos and thoughts in an ongoing timeline. Share them with your community and inspire a conversation.
• Donate them – For every cause or topic, there is likely a nonprofit in desperate need of photos. Volunteering to support a needy organization is a great way to use your talents. You get a creative outlet. They get resources to tell their story and propel their mission. You can’t beat that.
• Photo book them – These days it’s so easy to create your own photo book or other product. Online sites make it easy to create a coffee table-quality book that showcases your work and ideas. You can sell them or keep them as your own personal brag piece.
• Publish them – If there is a news component to the project you select, you might find your community newspapers eager to publish your photos. All editors love impactful images, and someone who sends them great storytelling photos will soon become a best friend. You get exposure. Newspapers get content. Readers learn.
• Sell them – Just because it’s a personal project, doesn’t mean you can’t make money from it. Your personal online gallery could allow you to offer your photos for editorial or commercial use. You might even consider stock or micro stock photography sites.

photo by Thomas Frost Jensen

If none of these ideas appeal to you, try a Project 365 – photo a day or Project 52 – photo a week. This has the added benefit of motivating you to take more pictures regularly.

No matter how your personal photo project unfolds, you will find that there are great rewards both in the process of creating and in the sense of accomplishment when you have completed it.

About the Author:
Lynford Morton (http://ift.tt/AAECV1) spends weekends at Washington, DC’s favorite locations—making new friends and sharing my love of photography with eager new photographers. Living the dream.

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The Nikon D500 – Reigniting The DX / FX Debate And A Few High ISO Photos

With the introduction of the Nikon D500, I expect the DX/FX debate, which some had considered settled relative to “professional” grade cameras, to reignite. Following are some of my thoughts regarding my photography journey and a perspective on the D500 along with some high ISO photos.

“Mirror, mirror on the wall, who has the fairest ISO of them all?”

Like many, I had placed an order for the D500, not knowing if I would keep or cancel it. Given the D500 ship date delays, I didn’t put much stock in the latest rumors indicating the camera would ship on April 22nd. I imagined Nikon was furiously going over every aspect of the D500, to ensure a successful launch, and was willing to push the date again. The lack of comprehensive reviews prior to the ship date caused me to question whether Nikon was making some last minute changes to the D500’s firmware or refining the manufacturing line. I was surprised when I received emails indicating my credit card was charged and the camera would arrive on April 25th.

1) DX Comes Back From The Dead?

When Nikon failed to release the D500 (the DSLR formerly known as the D400)a few years ago, Nasim and others eventually declared DX to be all but officially dead, except for the lower-end of the market. And who could blame them? Rarely a day went by when someone somewhere didn’t lament the delay of the D500. Would anyone venture to guess how many words were written and hours wasted on speculation regarding the D500? Think about that one… Nikon certainly seemed to reinforce the notion of customers moving to FX for pro style bodies and lenses. It rapidly expanded the FX line, rounding it out with the D4, D800/800E/810/810a, D600/610, D750, and the stylish Df, along with a host of FX lenses. I thought Nikon’s urging customers to move to cameras requiring lenses with larger price tags, was a move in the wrong direction – particularly as smartphone cameras began to improve rapidly, the point-and-shoot market began to disappear, the seismic, one-time shift from film to digital was quickly tailing off, and photography technology of all types was coming down in both size and price, while improving in capabilities.

On the DX side? Apart from a few iterations of the D7000, customers received the obligatory 3XXX and 5XXX DSLR iterations, and more 18-to-something lenses. But no pro DX body. No pro DX lenses (with the exception of the Nikon 16-80mm VR). “Nikon” and “professional grade” become synonymous with FX over the last few years. Like many others, I made the leap to FX, despite the increased costs, weight, and loss of the crop factor for wildlife and other high focal length needs. And then Nikon caught us all by surprise with the release of the D500, which had been relegated to the same imaginary status as unicorns, the Loch Ness Monster, Sasquatch, and glass-enclosed aliens stored in the bowels of Area 51, by all but the most ardent Nikon disciples. My immediate thought (after thinking this was another hoax) was to wonder how many hours and words had been wasted over the years in pure speculation and debates over the D500 (“The DSLR formerly known as the D400”). Looking over the D500 specifications, I also wondered if the D500 was going to cause people to rethink the DX vs. FX debate, since it appeared that this DSLR might erase some of the traditional differentiators between the two platforms.

2) Would You Still Choose FX?

While I love the quality of the D800 DSLR series, I was always a bit conflicted with my move from DX to FX. Had Nikon announced the D400 when it was expected, I suspect I would have remained in the DX camp. A number of photographer newbies have come to me over the years, asking my advice regarding FX vs. DX. I have yet to steer anyone toward the FX platform, due to the cost, weight, but also in consideration of the practical benefits of FX over DX for most photographers. Why? I always considered FX overkill for all the but the most demanding professionals, particularly as digital photography technology improvements began to rapidly outpace most people’s ability (or interest) to exploit their full potential. When I asked people why they were considering an FX system, they looked at me incredulously, as if it was so obvious as to be beyond question. But when pressed for an answer, most couldn’t articulate their FX desires very well. Those that could claimed FX provided “better performance at high ISOs”(apart from the other answer – “because all the guys over at http://ift.tt/1rq7nmo said FX is better”). With the introduction of the D500, their answer may technically still be accurate, but to what extent does the difference in high ISO performance matter for practical purposes (taking real pictures under a variety of circumstances – not zooming into photos of brick walls at 400%)?

As I looked at my Nikon D500 and D810, and considered what each had to offer, I wondered what advice I would give myself, if I were to honestly (key word here) assess my needs, interests, photos I have printed, and glance through the 55,000 plus images (after a few purges) stored in my Lightroom catalogue. At 53.1 ounces (1505 grams), the D810/24-105mm feels a good bit heavier than the D500/16-85mm, which weighs 36 ounces (1021 grams) – a 17.1 ounce (484 grams) difference. If weight were the primary factor, the D500/16-85mm would win hands down. Would I tell myself to choose D810/FX route or, in consideration of the above, say “The D500 is more than enough camera for you.” I shared these thoughts with friends via email. One thought I was under the control of a hallucinogen (or just hanging out too much in Colorado). After all, are not more megapixels better? And FX megapixels the best of all? Of course. Well, except if you are also considering a medium format DSLR…)

3) Positioning The D500 – “Just” An Action Camera?

The D500 offers DX users an impressive, balanced feature set that should suffice for any type of photography. I have yet to see a comprehensive review, but if the D500’s feature live up to the hype, the D500 will prove to be a veritable workhorse, just as the D300 was. Many are focusing on the frame rate of the D500, attempting to pigeonhole it as wildlife and sports camera. But at just under 21MP, the D500’s megapixel count is just shy of the legendary Canon 5DM II and III models, higher than the Nikon D700, D3, D4, and Df models, and higher than any variation of the Canon 1D Mark series. With respect to the D5, the D500 equals it with respect to megapixels, and is only a step behind in the FPS rate. The other Nikon cameras, such as the D7100, D7200, D600/610, and D750, with an additional 3 megapixels, cannot claim a meaningful increase in resolution beyond the D500.

As such, I think Nikon’s positioning of the D500 as an action camera (and many simply parroting the marketing message) needs to be questioned. Why is the D500 – with more megapixels than many other flagship DSLRS (and slightly less than others) – being classified solely for wildlife and sports photographers? Because it lacks a pop-up flash and has a high FPS rate? It makes more sense to consider the D500 an all-round pro DX body which should, and probably will, cause some to reconsider the practical benefits of FX. It’s plausible Nikon is purposely stressing the action-oriented aspects of the D500 since it doesn’t want photographers to question its strategy of steering them toward the FX line. But if you a serious amateur like many of us, and use your DSLR for a wide variety of purposes – portraits, family functions, kids sporting events, landscapes, wildlife photos, travel, the occasional macro, etc. – the D500 may represent the best all-round pro body across the Nikon DSLR line. And yes, I recognize one could make a similar case for the D7200, save for the frame rate and buffer.

The D810 and D500 are very similar in size, with the D500 being only four ounces lighter. Nikon made the grip on the D500 deeper. This relatively minor change gives the D500 a wonderful feeling in your hand, particularly when a longer lens is attached to the DSLR.

5) The D500/D810 ISO 6400 Comparison

I was eager to see how well the D500’s high ISO shots compared with those of the D810. ISO 6400 was the key number for me. For that elusive (but always imagined) “photo of a lifetime,” obscene ISO levels will suffice. Better to get “a” picture rather than “no” picture. But for almost everything else – ISO 6400 is probably the practical limit for anything I care to showcase or print. I compared the D500/16-85mm and D810/24-105mm combinations shot offhand from the same position and approximate focal length equivalents. I asked my beautiful, but extremely quiet, assistant, Svetlana, to be my model.

I closely examined the RAW files from both DSLRs. Even when zoomed in at a few hundred percent, I struggled to see any meaningful differences. Downsizing the photos for this article didn’t change my opinion. If you can spot a difference in the noise levels between the D500 and D810, you have much better eyesight than I have. I actually thought the D500 RAW images looked slightly better than those from the D810, but your eyes may lead you to a different conclusion. This was pretty impressive.

5.1) RAW Files

D500 6400 RAW

D810 6400 RAW

5.2) Cropped RAW Files

D500 6400 RAW Crop

D810 6400 RAW Crop

5.2) Denoised And Sharpened Files

I used Imagenomic’s Noiseware to reduce noise and Nik’s InFocus sharpen the images. As with the RAW files, I was unable to see any difference between the JPEGs, even after employing my usual processing routine.

D500 6400 Denoised Sharpened

D810 6400 Denoised Sharpened

5.3) Cropped Denoised And Sharpened Files

D500 6400 Denoised Sharpened Crop

D810 6400 Denoised Sharpened Crop

6) The D500/D810 ISO 12800 Comparison

Nasim asked if I would add a similar comparison for ISO 12800. As you can see, both cameras do a pretty solid job. I would avoid shooting this high, but if it were the only option, either camera would produce decent images. Again, pretty remarkable for a DX DSLR.

6.1) RAW Files

D500 12800 RAW

D810 12800 RAW

6.2) Cropped RAW Files

D500 12800 RAW Crop

D810 12800 RAW Crop

5.2) Denoised And Sharpened Files

D500 12800 Denoised Sharpened

D810 12800 RAW

6.3) Cropped Denoised And Sharpened Files

D500 12800 Denoised Sharpened Crop

D810 12800 Denoised Sharpened Crop

7) Summary

Given the D500’s ability to effectively match the D810 on the noise front up to ISO 6400, and perhaps beyond, some may wish to reconsider their thoughts regarding the traditional DX and FX platform considerations. The weight/size/cost savings of the DX platform, the benefits of being on the same body style for both visible and infrared photography (one set of lenses vs. two), and the 50% crop factor for wildlife, and how often I take full advantage of the D810’s full 36 megapixels certainly have me questioning whether the D500 and the DX platform are a better fit for my needs. That may seem heretical to my FX pals, one of whom is already sending me highly cropped photos saying, “You will miss this…” No doubt there is a bit of truth in what he is saying. I am on the fence as of now, given my investment in the FX platform. If I were moving to a pro body DSLR today? The decision would be much easier, even with the existing set of DX lenses from Nikon and others. If rumors of Nikon revamping and expanding its DX line of lenses turns out to be true, the decision would be a no-brainer for me. Your needs may be different. Periodically questioning what you believe you think you need, and honestly comparing it what you actually use is always a healthy endeavor. Particularly when it comes to expensive photography gear.

As of this article, we know the D500 is having some SnapBridge connection issues. And some third party batteries are apparently not recognized by the DSLR. With the years of anticipation surrounding the D500 product release, and the sagging photography market, I hope Nikon has learned from its previous product launch mistakes, and will promptly address any/all issues as soon as they are found.

Lately I have been attempting to be more realistic regarding the features and capabilities that really matter, rather than paying attention to those that only dazzle and drive up equipment costs, but are rarely used or fail to make a meaningful difference in my photos. One result of this reflection resulted in my selling two of Nikon’s lens “Trinity” (Nikon 24-70mm f/2.8 and 70-200mm f/2.8), in favor of the Sigma 24-105mm f/4 and Nikon 70-200mm f/4. I have looked over the comments associated with my photos and realized the popular ones cannot be correlated with their megapixel count or the price tag of the lens used to take them. Then again, you might interpret the very notion that I am considering the D500 as further evidence I my Gear Acquisition Syndrome has got the better of me, and I am looking for some excuse to change equipment. Again. Something tells me, however, I won’t be the only one reconsidering the DX/FX decision going forward. I am looking forward to Nasim’s detailed review of the D500. Stay tuned…

The post The Nikon D500 – Reigniting The DX / FX Debate And A Few High ISO Photos appeared first on Photography Life.

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12 promises every landscape photographer should make

All images by Guy Edwardes

It’s a new (ish) year, and with several months of warm, sunny (ish) weather ahead of us we thought it is the perfect time to reevaluate our landscape photography. It’s quite easy to fall into routines, visit the same places and find yourself taking the same pictures. So in the post below we’ll show you how a little bit of effort on your part can go an awfully long way when it comes to capturing stunning landscape photography.

No more driving to the local scenic spots during your lunch break, parking in the car park and walking 20 paces or so to lazily shoot the same old view that every other visitor to the site does. We’ll reveal the benefits of getting up at dawn to shoot sunrise scenes, making the effort to trek up mountains for better views, and the joys of seeking out bluebells in a forest, lone trees in fields and surging waterfalls.

We’ll also help you frame shots better, with tips on adding foreground interest and composing arty abstract shots. Plus we’ll teach you new camera skills to set the right shutter speeds for milky waters in your coastal shots, how to take total control of depth of field and focusing, and how to best use telephoto lenses to isolate interesting sections in your scenes.

So, prepare to make an effort… as, when it comes to landscape photography, you will only ever get out what you put in (for more ideas, also check out our 10 Commandments of Landscape Photography – and how to break them).

1. I will… get up at dawn
A common mistake beginners make is to only photograph landscapes in the middle of a sunny day. It’s much better to set that alarm clock and get to your location before sun up. Before, during and just after sunrise are great times to shoot landscapes as the sun is lower in the sky, which means softer, warmer light across your scenes, and more colour in the skies.

This lower angle of sunlight also creates longer shadows, so you see the relief of the landscape, adding more depth to your shots. Use a tripod as light will be low, so shutter speeds will need to be slow (see our 4 tips for sharper shots when using a tripod).

2. I will… wait for the clouds to break
Wherever you live, the weather can be a pain in the proverbial. However, don’t put your camera away simply because the clouds have gathered or there’s a storm brewing. A skyscape full of clouds can add much more drama to your shots than a block of blue sky.

So get out there, be patient, take your time, and wait for a break in the weather to highlight the focal point in your scene and to bring life to your landscape shots. You’ll be surprised on how many occasions that seemingly dull, grey days offer fleeting golden moments (or, alternatively, find out How to replace boring skies in Photoshop).

3. I will… climb a mountain
We’ve all done it – driven to a beautiful location deep in the countryside, only to pull over by the side of the road to step out and lazily take a shot (or worse still, shoot from the car window!). You won’t get great shots like that.

Instead, pop on your hiking boots, prepare a packed lunch and get your camera gear on your back, then trek up to the beauty spots far from the car parks. Being higher up will create better opportunities for capturing stunning vistas, with far more interesting mountain scenery than down below with the coach tours (for more inspiration, see our 79 travel photography tips you shouldn’t leave home without).

4. I will… find a lone tree
The classic, artistic landscape shot is the ‘single tree in a field’. It’s simple yet striking, and the great thing is, there is bound to be a lovely lone tree in field within driving distance of your home (see our 10 tips for more creative pictures of lone trees).

Aim for a clean composition – the tree needs to be far enough away from distracting wooden fences, hedgerows or stone walls – and ideally positioned in the top corner, with fields full of colourful crops or flowers in the foreground and surrounds. Once found, return at different seasons to take shots with a completely different light, colour and feel.

5. I will… get a foamy waterfall
A great way of adding dramatic tension to your landscape shots is to find a gushing waterfall in an already-beautiful scene (find out How to set up your DSLR to shoot moving water).

To capture the power and motion of the waterfall you’ll need to use a long exposure, anything from two to 20 seconds, and also your tripod to ensure there’s no camera shake. You’ll need to shoot in low light – near sunrise or sunset – to be able to correctly expose your shot with a slow shutter speed. If you have to shoot in broad daylight, you can attach a neutral density filter to your lens so you can use a slower shutter speed.

6. I will… track down bluebells in bloom
Early in the year, what better way to say ‘spring is here’ than with a wonderful photo of blossoming bluebells. Go hunting in your local forests or speak to fellow photographers, local hikers or dog walkers to see if they’ve spotted any bluebells in the woods.

You’ll have to time it right, as there’s only a small window of opportunity (around two weeks, usually in May) to get a great shot when the bluebells are in full flower. Try and get creative with your compositions so the blocks of bluebells are the main focal point in your frame.

7. I will… zoom in for an arty abstract
Don’t think your landscape shots have to always be of big, sweeping hillsides with vast skies. Instead look for interesting elements within the landscape, such as areas of colour, pattern, shape and texture.

Rows and lines can also work well to lead people into your shots. Use a telephoto zoom lens (try a focal length of around 200-300mm) to pick out and home in on the interesting detail to create an artistic abstract image.

8. I will… look for elements to fill the foreground
The biggest compositional mistake with landscapes is to frame up the scene with a huge area of empty, boring foreground (see our 10 rules of photo composition – and why they work).

To avoid lacklustre landscape shots and improve your results significantly you must compose your shots to include some sort of foreground interest, whenever you use a wide-angle lens.

Get down low to avoid too much empty middle ground in your frame, then point your lenses down slightly to include rocks, stone walls or foliage in the foreground to lead people into your scene.

9. I will… vary where I place the horizon
A simple way to improve your landscape compositions is to avoid always placing the main focal point of your scene and the horizon across the middle of your frame. For most landscapes, a mix of two parts land to one part sky is ideal.

But with the right sky, placing the horizon a third of the way up the frame also works; this gives your shots breathing space and also enables you to take advantage of beautiful cloud formations and colours in the sky. Vertical compositions work well here too.

However, if the sky is boring, don’t be afraid of framing your landscape shots so there’s no sky in them at all.

10. I will… maximise depth of field
It’s good practice, when shooting landscapes, to use a narrow aperture to ensure your scenes are sharp from foreground to horizon, but it’s also crucial to focus accurately.

If you focus on the foreground, your horizon won’t be sharp enough, and vice versa; if you focus on your horizon, the foreground will be soft.

The easiest way is to use a single AF point and focus one-third ‘up your frame’ to ensure your shots are acceptably sharp from front to back.

11. I will… shoot a slow-shutter seascape
Shooting seascapes at sunset can be hugely rewarding to capture on camera. The trick is to take your wide-angle lens and tripod (and wellies to keep your feet dry!) and to arrive on location an hour before sunset to capture the changing light and colours (see 25 great examples of serene seascapes).

At this time of day the light levels will be low enough to use a narrow aperture (around f/16 or f/22) so you can get slow enough shutter speeds (around 10-30 secs) to capture the movement of milky waters (for more ideas, see our 10 tips for better coastal landscapes).

12. I will… use a long telephoto lens
Shooting landscapes isn’t all about using a wide-angle lens to capture the biggest scene you can fit into your frame. A great way of focusing on the main points of interest is to use a telephoto zoom lens with a long-end focal length of around 200mm.

A telephoto lens not only enables you to isolate main points of interest in a landscape, whether a row of trees or bridge over a snaking river, it also compresses perspective to bring objects closer together for a different angle of view compared to a closer, wide-angle shot (to learn more about your telephoto, check out our guide to Your lens markings explained).

The post 12 promises every landscape photographer should make appeared first on Digital Camera World.

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10,000 Photos Go Into Making These Stunning Three-Meter Insect Prints

London-based Sports and Portrait Photographer Levon Biss wanted to see how he could take his commercial lighting techniques into the world of macro photography. After attaching a microscope assembly to the end of his DSLR lens and getting some samples from the Oxford University Museum of Natural History, Biss was able to achieve extremely detailed, high resolution three-meter prints of 10 mm insects.

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