While we spend most of our time here at PopPhoto nerding out about the latest and greatest photography gear, we’re also suckers for truly old-school photo content. This fascinating video outlines what it was like to be a professional photographer in 1946.

Obviously, the industry, technology, and, well, pretty much everything has changed quite a bit back then. But some things do sound familiar. For instance, it’s weird to hear that there was an abundance of people in the profession even back then. The tools were obviously much less accessible than they are now, but even back then, people wanted to get in on the pro photography game.

Videos like this are truly a time capsule, and I have to wonder what it will feel like for people in 2100 to look back on the state of the industry in 2023. Our precious megapixels will likely feel so quaint.

The post This vintage video shows what it was like to be a pro photographer in 1946 appeared first on Popular Photography.

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A quick warning before you dig into this video: James Nachtwey’s war photographs can be incredibly hard to look at. The 75-year-old photographer has created some of the most powerful, brutal, and visually striking war photography from conflicts around the world. He has spent decades trying to show audiences the horrors that come with war, earning countless awards along the way. He recently sat for an interview with Anderson Cooper to look back on his career and discuss some of his most powerful work. It’s worth watching if you have the stomach for it.

Nachtwey considers himself an anti-war photographer. He has strived to shine a light on atrocities happening around the world. His incredible skill and understanding of the photographic process stand in stark contrast to the brutal and often horrifying subject matter of his images. His book Inferno is now almost impossible to come by, but it truly represents some of the most powerful photojournalism I have ever seen.

During the interview, we get glimpses into Nachtwey’s photographic process. While most of us will (thankfully) never have to shoot in war zones, his approach to storytelling and meaningful composition apply broadly to the photographic craft. For instance, he talks about his emphasis on subjects’ hands and eyes because they’re often the most expressive parts of the people and the final image. He’s a legend for a reason, and it’s fantastic to see him still creating work at 75 after years of literally getting shot and injured by bombs while out in the world with his camera.

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Super 8’s grainy, nostalgic look is having a moment right now, popping up everywhere from music videos to blockbuster TV shows. But even outside of pop culture, the consumer-friendly Super 8 film format is winning the hearts of amateurs and the analog community. If it’s caught your eye, too, here’s everything you need to know about getting started shooting Super 8 film.

Lead image courtesy of Noah Buscher on Unsplash.

What is Super 8 film?

This format might just be the king (or queen) of home movies. Introduced in 1965 by Kodak, it was a step up from the 8mm film that came before it, both in terms of quality—thanks to its larger frame size—and usability. This led it to be positioned as the new movie-making format of the masses.

More cost-effective than 16mm or 35mm, Super 8 film is housed in inexpensive plastic cartridges, so it’s easier to handle and load, too. These cartridges also convey to the camera important bits of information, like the film speed as well as filter information for B&W film. And in 1975, a magnetic strip was added to the cartridges to capture audio.

With its launch, Super 8 put the power of creativity in the hands of regular people. Suddenly, everyone was a movie maker.

Super 8 film today

Today, the medium is still very much alive—and by many indications—both doing well and picking up steam. Aside from the enthusiasts scooping up used cameras to record their summers, some of the biggest names in entertainment are turning to film—and Super 8 specifically—for their creative projects.

Harry Styles’ Watermelon Sugar, Katy Perry’s Daisies, Chopard’s short film with Julia Roberts, Burger King, and more have used Super 8 footage to create a grainy, vintage, old-school effect. Search for the medium on YouTube, and you’ll find there’s no lack of videos showing off the medium.

What Super 8 camera should I buy?

How much should I pay for a Super 8 camera?

Options are plentiful when it comes to used Super 8 cameras. Major brands still circulating include Canon, Nikon, and the king of Super 8, Beaulieu. Other brands like Minolta and Chinon sell for under $100, while Canon and Nikon Super 8 cameras can run as low as $300, depending on the model. But Beaulieu cameras are sure to command a heftier (over $500) price tag.

You can buy Super 8 cameras pretty much anywhere secondhand electronics are sold, including Ebay, Etsy, Facebook Marketplace, and used camera shops (like Pro8mm). But also know that an astute searcher may find luck befalls them at random garage or yard sale. The main thing you want to do when buying a Super 8 camera is make sure the motor works. If it doesn’t, you won’t be able to advance your film.

What to look for when buying any Super 8 camera

Some cameras may have a crank and are completely manual. Others will require batteries. If possible, go for a film-tested camera and always ask to see the footage and any CLA (clean, lube, adjust) certification the seller may have. It’ll be more expensive but save you the agony of wasted money on the back end. Developing Super 8 film isn’t cheap any way you slice it, so better to know you’ve got a working camera beforehand.

Best Super 8 cameras under $100

If you want to get your toes wet, there are Super 8 cameras out there under $100. The Chinon 723 XL is a good option with its autofocusing capabilities, and so is the Minolta XL 400 with its Zoom Rokkor-Macro lens, which has 13 elements. Both will shoot at 18 frames per second (fps).

If you can’t find those exact models, consider also the Bauer C series (A512 in particular), the Minolta Autopak 8 D6, and the Chinon 213 PXL. The Bauer A512 specifically may run you a little over $100.

Best Super 8 cameras under $500

The sought-after brands live here: Canon and Nikon occupy the top end of this range. Particularly, the Canon 310, 514, or 814 series are popular choices and finds. At the time of its release, the Canon 514XL had the world’s fastest lens at f/1.0. While the Auto Zoom 814, which is comprised of an all-metal mechanical design, was the first Super 8 camera to have an 8x zoom range with an f/1.4 lens.

There are also a handful of other Super 8 cameras that fall on the lower side of the spectrum, too, such as the Sankyo Sound SL-60S and Elmo 1012S-XL. The Nikon R8 and R10 would be considered the high end of this range.

Best Super 8 cameras $500+

If you’re sure Super 8 is your medium, you might find yourself fancying the fanciest of them all: The Beaulieu 4008ZM II. With beautiful design and a reputation for being the best Super 8 camera ever created, there’s a lot to its name. Thanks to its built-in rangefinder, plentiful shooting options (you can adjust the frame rate from 2fps to 50fps), and interchangeable lens design, this French-made camera gives creators plenty of control over their vision. Expect to spend at least $600, with mint kits running up to $5,000.

Also on the market are the Beaulieu S2008 and the 5008S, the latter of which is considered the professional model.

Types of Super 8 film and where to buy it 

Kodak is the main purveyor of Super 8 film, and it’s available from major retailers like Adorama, Amazon, and B&H. The options are Kodak Vision 3 (color-negative 50D, 500T, and 200T); Tri-X reversal 7266; and Ektachrome 100D color reversal.

However, you can also find B&W Fomapan R100 film, and Pro8mm packages their own, which you can buy in a bundle to include processing. Film cartridges run about $40 ($27 if you’re going for Fomapan) and can record 2.5 minutes at 24fps and 3.3 minutes at 18fps. Expect to pay at least $25 to process it.

If shooting Super 8 for the first time, we recommend grabbing the Kodak Vision 3 50D and shooting in daylight. 500T and 200T are balanced for tungsten light, and as a color-reversal film, Ektachrome is quite saturated. These might be better to experiment with once you’re more familiar with the medium.

How to use a light meter for Super 8 video 

Most cameras will often come with an internal meter, but unless you’ve confirmed it works, an external light meter is always a solid investment, whether you shoot stills or video. I personally use a Sekonic L358, but we’ve also got a list of best light meters for you to choose from. If you’re not ready to take the plunge on a real light meter, there are some apps, like Lumu, that have a video mode.

To use the light meter, you’d best take a look at the instructions, as each may differ slightly in how to operate the video mode. But, generally, you’ll want it to be in the f/s mode (frames per second), as opposed to A (aperture) or T (for shutter speed). Know that the frame rate you choose will affect how long you can film—at 24fps, you won’t shoot as much footage vs. 18fps.  

Where to get Super 8 film developed

There are still a good number of film processors that will develop (and scan) Super 8 film. A good bet is to see if there’s a local spot in your area that still processes Super 8. If not, see the list below for where to develop Super 8 film.

Pro8mm

Pro8mm has an incredibly robust lineup of offerings, from selling/renting Super 8 cameras to film development packages. They’ve processed film for Harry Styles, Drake, and Katy Perry, to name a few. Their packages include film, processing, development, and color correction. If you find yourself really bitten by the analog film bug, they’ll also do 16mm, double Super 8mm, and Super 16mm films. 

Film Photography Store

The Film Photography Store has many films on offer, from Super 8 to 35mm and 16mm, which they will also develop and digitize. 

Negativeland Film

Negativeland is a motion-picture lab that will process Super 8 and 16mm films.

Color Lab

Working with clients including National Geographic Channel, NBC, HBO, and the Academy of Motion Picture Arts and Sciences, Color Lab processes 35mm, 16mm, and Super 8 color negative film and Super 8 B&W film.  

BB Optics

BB Optics specializes in motion picture processing for Super 8, 16mm, Super 16mm, and 35mm, also offering color grading services and post-production supervision. 

How to develop Super 8 film at home 

This is a real commitment and should only be attempted if you have prior experience developing your own film. If you don’t, try 35mm first before taking on the (literally) gargantuan task of processing Super 8.

For those who want to take the plunge, any old developing tank won’t do. You’ll need a special drum that will accommodate the reel, which is typically 50 feet per cartridge. A Jobo Super 8/16mm drum kit (drum, tank, and foot pump) will run you about $880—and that’s before you’ve procured the chemicals.

After you’ve picked up the drum, you’ll want to consult the shop on the chemicals you’ll need to process the film. Then, you’ll need to make sure you have space. Practically, will you be able to hang 50 feet of film somewhere while it dries? This video delves into more specifics to consider.

How to convert Super 8 film to digital  

Digitizing film reels is usually included or an optional add-on to the development package at labs. However, if you’re going to shoot a decent volume of film and want to save a little money, you can scan it at home—with less hassle than the development process.

Scanners are available from Amazon, B&H, and other retailers, and Wolverine Data seems to be the brand of choice. The Wolverine 8mm and Super 8mm Film Reel Converter retails for $299.95 and will digitize film at a resolution of 720 pixels. For $100 more, the Wolverine Digital Movie Maker Pro scans at 1080 pixels. Simply load up the film and the scanner does the rest, compiling the footage onto an SD card (that you must provide). This video offers a detailed tutorial on how to set yours up.

Further resources for Super 8

Feeling daunted? Don’t be—at the end of the day, you only need three things: A working camera, film, and a place to develop. Should you be searching for additional resources, try the Pro8mm Super 8 Reference Library, which features tips, a film calculator, education, manuals, and more. Super8camera.com is also a wonderful compendium of the medium. Happy movie-making.

The post Everything you need to know to get started with Super 8 film appeared first on Popular Photography.

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In this season’s photo book selection, we look at early color photographs by urban street photographer, Mitch Epstein; Elaine Mayes’s portraits of hippies and oddballs at the height of Haight-Ashbury’s counterculture scene; a reprint of William Eggleston‘s famous Chromes; whimsical portraits of Swedish farmers and villagers from the early 20th century; and a special edition of Kikuji Kawada‘s Chizu (The Map), one of the most sought-after photo books of all time.

Mitch Epstein, Silver + Chrome – 112 pages, hardcover (Steidl)

Related: Walker Evans’ American Photographs, and five other photobooks worth checking out

Mitch Epstein was one of the first photographers to champion the use of color film in the 1970s, at a time when “art photography” was B&W. A former student of Garry Winogrand, he once asked his mentor, “Why not color?” to which Winogrand apparently had no good response. With his blessing, Epstein began working with Kodachrome.

His work was first exhibited in 1977, in New York, and he was immediately seen as a serious photographer. This new book shows the transitional period when he was shooting both B&W and color, with photos from 1973-1976, many of which have never been seen before. They highlight the energy and effervescence of cities like New York, Los Angeles, and New Orleans, the sexual liberation occurring at the time, and reactions to the Vietnam war.

Elaine Mayes, The Haight-Ashbury Portraits 1967-1968 – 96 pages, hardcover (Damiani)

The Summer of Love in San Fransisco lasted just one season. It started in 1967, and quickly went downhill as people from around the United States flocked to the city to take part, motivated by press accounts of the sex, drugs, and rock and roll that were freely available.

Freelance photographer Elaine Mays, who was living in the Haight-Ashbury district of the city—which was ground zero for the counterculture—had photographed the Monterey Pop Festival in 1967, and began photographing the hippies and other counter-culture oddballs around her the following year. Instead of just taking street photographs, she took portraits of the people she encountered, asking them to pose naturally.

“Natural” was different for each person, and this collection of portraits shows a wide range of people and how they presented themselves to the camera during this pivotal time for American youth culture. The wide range of subjects in this book is a window on the type of people who gravitated to San Francisco in this time, some of whom may still be there.

William Eggleston, Chromes – 432 pages, hardcover (Steidl)

This three-volume set from William Eggleston’s early career was shot between 1969 and 1974. First released in 2011, it went out of print fairly quickly. The contents of the set were curated from a collection of more than 5,000 slides, including photographs made on both Kodachrome and Ektachrome, many of which had never been published before.

Eggleston’s approach to photography was “democratic,” which, to him, meant that anything could be a subject. As such, some may find his photos simplistic and boring, but when looking at a collection of his work, you can see how he views the world, and how his framing of subjects makes sense.

He spoke of these photos as “poetic snapshots.” And the combination of the unexpected compositions with the saturated colors of the photos—most of these photos were printed using the dye transfer process—makes them jump off the page. Eggleston’s work is an acquired taste, but anyone who appreciates these photos should get this book now, because it’s unlikely to be reprinted.

John Alinder, Portraits 1910-1932 – 256 pages, (Dewi Lewis)

Every now and then, an unknown photographer is discovered whose work went overlooked in their lifetime. A recent example is Vivian Maier. Her mesmerizing street photographs spanning the 20th century weren’t uncovered until shortly after her death in 2009. However, she is now recognized as an important photographer.

John Alinder was the son of a farmer in Sweden and a self-taught photographer. In the 1980s, a curator discovered more than 8,000 glass plates of photographs he took between 1901 and 1932 of people in his village. The subjects are mostly dressed in their Sunday best, unsure of how to pose for a camera, and there is a sense of whimsey in many of the photos, as people stand on chairs or logs, some making funny poses, and others looking very serious. Somewhat like August Sander‘s portraits of everyday people, these photos lack pretension and show a glimpse of a world that is on the cusp of the past and modernity.

Kikuji Kawada, Chizu (Maquette Edition) – 272 pages, (Mack)

One of the most sought-after Japanese photo books has long been Chizu, which means “The Map.” Photographer Kikuji Kawada first visited Hiroshima in 1958, photographing the dome that remains as a memorial from the atomic bomb explosion in 1945. Over the next few years, he continued to photograph the site and was notably moved by the stains on the walls and ceiling of the dome.

On August 6, 1965, Chizu was published, the book featuring photos of these stains, along with photos of Japanese war memorabilia. The current edition is a reproduction of the original maquette (the pre-production dummy), in two hardcover volumes, together with a paperback volume, which discusses the history of the book, and includes an interview with the photographer.

In The Photobook: A History, Volume 1, Martin Parr and Gerry Badger describe Chizu as, “the ultimate photo-book-as-an-object,” adding that, “no photo book been more successful in combining graphic design with complex photographic narrative.”

The style of photos and the unconventional crops give the book an abstract quality. This is especially true of the original edition, which included fold-out pages. The maquette edition is much simpler, without the gatefolds, but it still shows how powerful this book is.

The post Portraits from the Summer of Love, and four other photo book picks appeared first on Popular Photography.

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The flagship Leica M11 rangefinder launched earlier this year boasting a host of upgrades, most notably, a higher-resolution sensor and a more powerful processor. And yet, the camera sports the same basic design as its ancestors, dating back to the 1950s. But it’s precisely this combination of new and old that makes a Leica, well, a Leica.

We’ve had the pleasure of shooting around with the new camera for a little while now. And with a complete review on the horizon, we wanted to share some initial samples and impressions to get you pumped. All of these photos were captured with the Leica Summicron-M 35mm f/1.4 ASPH lens. Exposure information and edits are noted in the captions.

Related: Leica redesigns one of its most popular lenses (and makes it more affordable)

Leica M11 sample photos

With its state-of-the-art, custom-made 60-megapixel sensor and updated “Maestro III” image processor, one has high expectations about the M11’s image quality, and gosh does it deliver. From color to sharpness (due mainly to the quality of Leica’s lenses) to dynamic range, the M11 does not disappoint.

Many cameras don’t capture the color of amazing sunsets like this one, usually being too flat. (Smartphones, on the other hand, are over-the-top.) Here, the exposure is well-balanced. And if you want to brighten up the foreground a bit, the M11 is fully capable.

It may look like the foreground couldn’t possibly be so lush and green but that’s how the M11 rendered it in this converted DNG file (with no color adjustments applied). If for some reason, you wanted this scene to be even punchier, there’s a “vivid” color profile in the menu. The detail on the mountain is also impressive: you can easily make out the edge of the glaciers.

Again you can see the vibrant color in the flowers and foliage, this time in an out-of-camera JPEG.

Details, details. At full resolution, you can see the individual cables on the elevator as well as every piece of the platform at the top of the Needle. There isn’t any moiré on the platform, which is nice to see, given that the camera doesn’t have an “optical low pass filter.”

The Summicron-M 35mm f/1.4 ASPH lens has quite a bit of vignetting when wide-open (or close, in this case). While the camera doesn’t offer the ability to correct this automatically, popping the DNG file into your favorite Raw processor will allow you to reduce or eliminate it.

In this photo, there’s a balanced exposure with no blown highlights from the windows. Note the lack of distortion, as well.

Color again impresses, and there’s a nice smooth transition from the sharp foreground to the blurred background.

You can easily make out individual pieces of grass on this somewhat hazy day.

The original image was a little “warm” and the foreground was darker than I would’ve liked. But two easy adjustments to the DNG file in Adobe Camera Raw produced a more realistic image.

The M11 again captured the reds, oranges, and yellows of a beautiful sunset.

The Summicron-M 35mm f/1.4 lens struts its stuff in this photo, with excellent sharpness on the lamp and a smooth roll off to the wall and sign in the background.

It’s easy to find the peeling and bubbling paint in the foreground of this photo.

The original version of this photo had some mild vignetting, which was easy to fix in Adobe Camera Raw. You can see each individual leave on the shrubs both near and far away.

In the original version of this photo, the highlights on the mountain were blown out, dramatically reducing detail. By editing the DNG file I was able to dial back the highlights while boosting the shadows to closely match what I saw with my eyes.

Lastly, the carvings on and above the arch look almost too real in this photo. While it looks like there is some moiré distortion to the left of the doors, it is just the pattern in the concrete.

That’s all for now, stay tuned for our full Leica M11 review, coming soon!

The post Leica M11 sample photos: 60 megapixels sure looks good appeared first on Popular Photography.

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There’s nothing quite like bonding with a member of another species. Inviting creatures, large or small, into your home to love and care for is one of the great joys of life. And though it may not be easy, it’s surely worth the effort. After all, (most) animal pals give us unequivocal love, comfort us without judgment, and make us smile when we’re blue. So, for this challenge, we want to see your best pet portraits.

This week’s theme

This week’s theme is all about non-human friends, everything from ants to alligators, owls to aardvarks. If they’re your animal homie, that’s good enough for us! All forms of photography are welcome too. Want to make a cyanotype of your dog’s paw? Go right ahead! Or a large format print of your esteemed horse Jimacko? Right on. How about a collage of your lobster Florence, snapped with a Game Boy Camera? Uh, sure! We can’t wait to see what you’ve got.

How to enter

To submit, use #popphotooftheday on Instagram or Twitter, or submit to our Flickr pool or our Facebook group. If joining the Facebook group, please answer the membership questions and agree to the group rules.

And please limit your entries to no more than three per platform.

More info

For more info on Photos of the Day, including the official rules, head here.

The post Scales, feathers, or fuzz: Show us your best pet portraits appeared first on Popular Photography.

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What’s better than funny pet photos? How about an entire photo contest dedicated to our comical companions? Well, the Comedy Pet Photography Awards are back with a fresh set of winners for 2022. And the photos do not disappoint. From sassy alpaca to spastic pups, this gallery has no shortage of personalities.

About the Comedy Pet Photography Awards

The Comedy Pet Photography Awards are a UK-based competition, open to all. Founded in 2020, the competition’s mission is to, “promote positive awareness of animal welfare issues and celebrate the incredible and valuable contribution that pets can and do have on our lives.” And each year, they donate a sizable chunk of cash to one or more pet rescue charities.

Related: A selection of the year’s best nature photos

The overall winner of this year’s competition, Kenichi Morinaga, took home a £2000 (USD $2172) cash prize. In addition, he gets the honor of deciding which animal welfare organization the competition will make a £5,000 (USD $5424) contribution to. And, apparently after much thought, he chose the UK-based Cat Welfare Group.

Category winners, meanwhile get a Comedy Pet Photography Awards goody bag and bragging rights. Now, on to the photos!

Overall winner & Cat category winner

The Cat category and overall winning image definitely has a cartoon vibe. It’s as if these two were chasing one another, Tom and Jerry style, only to collide, head-on, leading to two exaggeratedly compacted bodies. I fully expect an accordion to play in the moments after this collision.

Horse category winner

Radim Filipek took home the top prize in the “Mighty Horse” category. And gosh darn are those some jovial equine. Mamma, on the right, seems to be really laughing it up and having a good time, (though a Crest Whitening strip couldn’t hurt). And, crikey, Monty is a big boy for just three days old!

Other Creatures category winner

Personally, this is my favorite image of the bunch. That expression, the single tooth showing, and the long stogey-looking stick dangling from the mouth all give this alpaca a most humanlike quality. In fact, I’m pretty sure I encountered this guy playing blackjack at an off-the-boardwalk casino in Atlantic City, New Jersey.

Junior category winner

Cats are curious creatures and occasionally, their instincts get the best of them. That appears to be the case for Jack the Cat here. Poor fella is stuck at the top of the hedge! Hopefully, his rescue didn’t require a visit from the fire department. Either way, Freya Sharpe took home the top prize in the 16 and under category for this one. And it sounds like Jack is made it down safe and sound.

Pets who look like their owners

The more I look at this image, the more I see the resemblance. They say couples who grow old together start to look like one another. Perhaps the same is true of pets?

People’s Choice

The people have spoken and their favorite image is this fantastic snap of one goofy, happy, recently-rescued pup. Between his story and that face, how could Carter not bring a smile to yours?

Comedy Pet Team Favorites

Finally, the folks who run the contest picked a favorite and they chose well. While the image title suggests that this proper pup is a chauffeur, I see them more as the cool guy, rolling up in a fly red whip, ready to steal yo’ girl or guy. Pup just needs some Tom Cruise-approved aviators.

Submit your own funny pet photos

Got some funny pet photos of your own? Details for next year’s contest have yet to be announced but keep an eye on the contest website for updates.

The post Laugh it up fuzzball – the year’s funniest pet photos appeared first on Popular Photography.

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You’ve likely seen plenty of photos with soft, out-of-focus backgrounds. With the right setting, they can look rather dreamy with brightly colored circles (called bokeh) behind the subject. Perhaps most importantly, they immediately draw your attention to the subject in the image and can help hide distracting things in the background. This image style utilizes one end of the depth of field (DOF) photography spectrum, which spans from shallow to deep.

Apple’s Portrait Mode brought this look to the mainstream, putting shallow depth of field capabilities in the hands of smartphone users and not just those with expensive cameras and lenses. Unfortunately, how Apple and other smartphones accomplish this look isn’t a very accurate representation of what depth of field is or how you actually achieve it. 

Related: Outsmart your iPhone camera’s overzealous AI

What is depth of field in photography?

Shallow depth of field

Depth of field can get highly complicated (there’s even a math formula involved), but it doesn’t have to be. It is defined as the distances between the nearest and the furthest subjects that are in acceptably sharp focus. Put in even simpler terms, it’s the amount (or depth) of a scene that is is in focus.

As mentioned, depth of field can span from shallow to deep. Shallow depth of field means that there is only a small—or narrow—area of the scene in focus. This is the type of image you see with portrait modes where the person is in focus, but the background is blurry. With smartphones, this look is generated using AI and artificial background blurring. However, there are ways to control depth of field in a more technical manner via the three factors that affect it: focal length, aperture, and distance.

Deep depth of field

On the flip side, a deep depth of field generally means that most of the scene is in focus. Landscape photographers frequently employ a deep depth of field to show sweeping, dramatic views. You’ll also see the deep depth of field in many photojournalism images. 

It’s important to remember that depth of field is indeed a spectrum. You can have only the tip of someone’s nose in focus, the entire person, the entire scene, aor anything in between. We tend to just refer to the extremes when talking about depth of field in photography, but a middle ground does exist as well.

What is depth of field not?

When I was teaching introductory photography classes at a university, the concept of depth of field was a bit confusing to students. Very frequently they would focus on the background of an image, and if it was in-focus, they’d assume the photo had a deep depth of field. It is common to think that focusing deep in the back of the image means deep depth of field. But it’s incorrect.

Decoupling focus distance from depth of field

This is where Apple—and, to a certain extent, other smartphones—have made things confusing. When you point your iPhone at something, it defaults to focusing on the thing closest to the phone. So, without overriding the default, it will always have the foreground in focus and the background out of focus. That seems to have led to an assumption that all images with a shallow depth of field have a blurry background. This is not the case.

Because of this confusion, I think it’s also helpful to point out what depth of field is not. In photography, depth of field is not where you focus. Instead, it is how much is in focus. You can have a shallow depth of field with something right in front of the camera in focus and the background out of focus, but you can also have the opposite, an in-focus background, and a blurry foreground. And, of course, anything in between can have a shallow depth of field too. 

What’s the easiest way to control depth of field?

Related: The Apple iPhone 14 Pro has as many megapixels as a full-frame camera

The focal length of your lens and the camera’s distance to its subject are both factors that will affect the depth of field. In general, the longer the lens, the more a subject will appear “separated” from its background or foreground. In terms of distance, the further the subject is from the camera and/or from the background, the more isolated they will appear.

However, the easiest way to adjust DOF on the fly is to “open up” or “stop down” the aperture. Opening the aperture means using smaller F-numbers, like f/2, which results in a wider diameter opening in the lens. The more light coming into the lens, the shallower the depth of field.

Stopping the lens down involves using larger F-numbers, like f/11, for a smaller diameter opening. This leads to a deeper depth of field. For example, an aperture of f/1.4 will let more light in, with less of the frame in focus. While an aperture of f/16 will let less light in but most of the scene will likely be in focus.

Why does depth of field matter?

Since your phone can figure things out all on its own (or so it thinks), why does any of this even matter? Knowing what depth of field is and how to manipulate it can be an easy way dramatically improve your images. With the right depth of field—along with clever framing—a photograph can go from boring and straightforward to creative and interesting. On your phone, you can tap where you want to focus to bypass the default, resulting in a more unique photo. It is a simple trick that can make a big difference.

Understanding depth of field becomes even more important if you use a dedicated camera instead of your phone. Cameras do not have built-in AI to blur the background artificially as your phone does. So if you want that look, you’ll have to do it the old-school way. Good thing you’re now a whiz at it.

The post Nobody understands depth of field and it’s all Apple’s fault appeared first on Popular Photography.

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For this week’s reader challenge, we asked you to submit photos of the inanimate. And as always, you delivered. While some folks settled on more unusual subjects to photograph, the vast majority of you stuck with classic still life hallmarks, including floral arrangments, skulls, glassware, and more. The winning images range from dramatic to lighthearted to just plain spooky.

Want to be featured in a future gallery? Weekly themes are posted Sundays. To enter, you can upload your submissions to our Flickr pool, tag them on Instagram and Twitter, or join/upload them to our Photos of the Day Facebook group.

Lead image by David Terao. See more of David’s work here.

Channeling the Dutch masters

Skulls are a staple of the still life genre and Instagram user Skzikit brilliantly channels the work of Dutch Golden Age painters like Pieter Claesz with this shot. Plus, with Halloween nearly upon us, the spooky factor feels especially fitting.

Eggs? Eggs.

Sometimes the simplest subjects make for the most enjoyable images. And Susan Liepa‘s image of eggs is a good example. Something about it makes me smile, maybe it’s the delicate way they’re stacked, the gentle tones, or the soft focus. Or maybe I’m just hungry for a hardboiled… nope, definitely the former.

Swirls of shadows & highlights

This is a particularly gorgeous image of a subject most simple—the humble glass—captured masterfully by José Luis Funes. The swirling highlights and shadows play nicely off the plain, slightly textured grey backdrop. And the framing gives ample breathing room around the subject.

But perhaps most importantly, it appears no beverages were spilled during the making of this shot.

Standing straight

This still life, captured by Robert Serbinenko also put a smile on my face. Though the subject is once again quite ordinary, the results are both humorous and eye-catching. I feel like I’m looking at some tiny soldiers standing straight in a line against a setting sun, or maybe an unreleased Pink Floyd album cover. Or maybe both.

Horizontal arrangement with lilies & flax

This classic still life scene was captured by Judith Hamblyn using her Samsung S10 smartphone. The arrangement looks professionally styled, i.e. gorgeous. And I love the way the floral colors pop against the dark green backdrop.

’69 GTO

Finally, we have this awesome barn scene, featuring a 1969 Pontiac GTO, snapped in Southern Alberta, Canada by Gordon Hunter. While old cars, busted bikes, and rotting dolls may not be the first thing you think of when you think “still life,” the scene surely works! I can only imagine what other treasures are hiding in there.

The post Freeze! The week’s best reader-submitted still life photos appeared first on Popular Photography.

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Photography has a lot of rules that are really just principles. Most of them are useful guidelines worth understanding, not edicts to be followed to the letter. In this photography fundamentals series, we’re going to look at when you should follow the rules—and when you should consider breaking them. First, though, we need to cover some of the most important fundamentals of photography composition.

Related: How to take good pictures in bright sunlight

The rule of thirds

The rule of thirds is one of the most common—and most misunderstood—fundamentals of photography composition. The idea is that you divide your frame into thirds both vertically and horizontally. The important elements of your image should then be placed on one of these third lines or better yet, at one or more of the four intersections of both vertical and horizontal third lines, like the truck in the image above. 

While not itself the secret to wonderful images, the rule of thirds is a great way to avoid some big compositional mistakes. If you follow it, you normally place the most important elements of your image nicely in the frame without them being too centered. 

If you’ve got a reason to ignore the rule of thirds, go right ahead. Otherwise, it’s a handy starting compositional principle to work from. 

The golden ratio

The golden ratio or golden spiral is similar to the rule of thirds, compositionally speaking, but with more mysticism and mathematics thrown in.

While the rule of thirds splits the frame into three equal sections, the golden ratio, also known as the Fibonacci Spiral, places a vertical frame line closer to the center of the frame, splitting it into one slightly smaller and one slightly larger quadrant. Each time the frame is split horizontally, the smaller section is then split vertically using the same ratio. This process is repeated, breaking the frame into smaller and smaller chunks, as shown above.

However, even though the ratio appears often in both great works of art and nature, we’ve yet to see an image where it creates a significantly stronger composition than the rule of thirds (they’re just so darn similar). So, while it can be fun to play around with, it’s certainly not a compositional rule that you should obsess over.

Symmetry

Symmetry can make for incredibly eye-catching images. It’s often easy to create symmetrical compositions with reflections, like from surface water, or using man-made structures, as shown below.

Symmetry is also one of the most fun compositional principles to break. Images with a mix of symmetrical and asymmetrical elements can be incredibly compelling. 

Complementary colors

Think back to your earliest art class, remember the color wheel? Well, the same principles that apply to painting and drawing also apply to photography. Colors opposite each other on the wheel, when placed side-by-side or near one another, often appear brighter. So, photos with reds and greens, yellows and blues, or purples and oranges, for instance, will look extra vibrant and punchy. Use this knowledge to your advantage.

Leading lines

Our eyes are drawn to strong lines in images. This makes things like guide rails of a bridge or even just a road through a landscape, a great way to guide (or lead) your viewers’ gaze to the most important parts of your photo. 

Leading lines isn’t so much a compositional rule you should break, as something you should be aware of if you don’t want to use it. If your image has strong lines, it will draw viewers’ attention. If you don’t want them looking where the lines lead, you will have to reframe your shot. 

Fill the frame

Filling the frame is a compositional approach that says your subject or subjects’ should take up as much of the image as possible. With a portrait, this generally means cropping in so that the subject’s face or body completely fills the frame. This removes the background and as a result, the context of the scene from the subject, often leading to some pretty dramatic results. The same approach to can be applied to a crowd, as shown above.

While a useful stylistic approach for many kinds of photography, there are plenty of times when you shouldn’t fill the frame with your subject. For example, if you are trying to show size by situating your subject in its environment, or trying to create a sense of isolation, filling the frame will undermine your intent.

Don’t cut things off

A common principle recommended in many photography books is to avoid cutting limbs, torsos, and other crucial parts of the image with the edge of your frame. It’s easy to understand why; most people look silly with half their hand chopped off. However, it can be tricky to pull off in practice, especially when you’re shooting street or travel scenes. 

At a fixed point, the photograph ends but the world continues. While it is worth thinking about what is getting cut out of the image by the frame, you will always have to make a decision that cuts something out. (Just try to keep as many limbs in the image as possible.)

Keep the action going into the frame

Especially for sports and other kinds of action photography, a good principle is to keep the action going into the frame. This means that if your subject is running to the right, then they should be positioned to the left of the image so they are running into the open space. 

This is another rule that works in a lot of situations, but can readily be broken when you have cause to do so. For example, if you are shooting a 100m sprint and want to show the gap between first and second-place runners. 

Useful rules, but not laws

Photography is a wonderful mix of science and art. While the process of capturing an image relies on the laws of physics and mathematics, composing a photograph is a pure art. Although the fundamentals of photography composition include some fantastic rules, they are best viewed as starting points that will stop you from making mistakes, rather than laws that can’t be broken. 

In the next article in the series, we’ll look at how to do just that.

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