MCP Guest Writer has written 429 Articles:

7 Ways to Capture Emotion in Your Photography

juliaaltork

What separates a simple snapshot from a stunning success is the story the image portrays. I believe the most important element to be captured in a photograph is emotion. The more emotional the shot is, the more it appeals to our senses, and the greater the connection we feel to it. If a picture conveys emotion – whether it’s happiness, surprise, sorrow, disgust – it is successful.

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But how do you capture emotion with photography? First, you find a moment and then tell a story. For me, photography is all about capturing authenticity, movement, spontaneity, and mood.

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1. No “cheese”, please.

Emotions, by their very nature, do not follow static rules…..they just happen, based on what a person feels at a given moment of time. They are a complex and fluid aspect of the human condition, but capturing emotion can be especially tricky when people know they are being photographed.

The photos I often find myself most drawn to are the ones in which some emotion other than just happiness was captured. One mistake photographers often make is that they say, “Smiiiiile!”, or “cheese”, or whatever it is they say to force people to give any one constant expression. That is probably the last thing I want. Although, these shots can make for great memories later on, the mood is often masked with a fake smile or sometimes a silly face, maybe even a hand covering the mouth or eyes.

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2. Capture the mood of your subject.

If a child you’re photographing is in a pensive, quiet state, capture that. If the child is bouncing off the walls, capture that. If your child is staring at you, annoyed and displeased, capture that. You don’t always have to place your subjects into a posed position that is traditionally photo worthy – the photos are always waiting to happen, just let them.

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 3. Anticipate a “moment”.

Unplanned shots are awesome. That’s the good stuff! When your subject falls over, looks up at an unexpected moment, or cracks up, make sure to capture it! Those are often the most beautiful, honest, emotional, moments.

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4. Shoot after the “moment”.

Some of my favorite shots of my children are the ones I captured right after the shot that they were expecting. This is when they let go of that breath they were holding in, relax the smile that could have been forced, and the moment when their body falls into a more natural, relaxed state.

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5. Look for and photograph moments in between poses.

We can give our subjects direction all day long, but there’s something wonderful about a natural pose…and sometimes those moments are only to be found in the “in between” moments.

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So always anticipate the next move, before your subject gets there. Keep your camera to your eye and continue to look for the natural beauty.

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6. The “eyes” have it.

The eyes are the window to our soul. If one had to isolate any single body part to openly portray emotions, it’s the eyes. Human or animal, eyes usually always convey what the subject is feeling. The intense focus in the eyes of an eagle or the soft warmth in those of your pet Labrador, or the myriad expressions of a ballet dancer, the eyes are the key to capturing the emotions felt by the subject. A raised eyebrow or a sideways look can sometimes say what a hundred words cannot. I love photographing my children because they are a bundle of emotions, they haven’t yet learned the art of faking, and you can literally see the “truth in their eyes”.

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7. Look for the details.

As photographers, of course we know emotions are conveyed by the eyes and face. That’s the rule. So break it! Emotions can also be conveyed by other features. Never underestimate say, droplets of sweat dripping down a face, the gestures made by hands and feet, or the posture of a spine.

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Don’t limit yourself by believing emotion can only be captured in the face, instead, experiment with a full range of emotional interpretations.

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The authentic and genuine expression of emotion is what reveals person’s soul, capturing that in a photo is what tells their story and should be the goal of every photographer. There is no denying it, emotion is beautiful.

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Julia Altork is a photographer living in Greenville, South Carolina with her husband and three children. You can see more of her work by visiting www.juliaaltork.com.

4 Ways To Be Taken Seriously As A Young Photographer

If you’re a young photographer, or know of some younger photographers who have trouble getting taken seriously, here are some tips and tricks to getting the respect you deserve.  

1. Act Professionally

If you want to be taken seriously, you need to be professional. This component is involved in many aspects of the professional photographers life – from telephone calls to social media presence. Often times I will book a shoot with someone through e-mail and speak with them over the phone, but when I meet with them in person for the first time I can still see the initial hesitance in their eyes. I relieve this by continuing to present myself professionally (shaking their hand, keeping eye contact, dressing appropriately, etc.). It is so important for the client to have faith in you as a photographer so I find it crucial to attempt to wash away any doubt. Acting confident can also help to achieve this, so be sure to remind yourself that they booked you based upon your work – they booked you for a reason!

Social media presence is crucial to photographers. It’s important to set up a Facebook page, Instagram and other social networks specifically for your business. Keep your personal accounts separate. Even on your personal social media accounts, never to post anything offensive or immature. Even if you want to be yourself and have privacy, you need to consider everything you post, including comments, from the side of customer or potential client. They may stumble across it – so represent yourself well.

 

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2. Keep Your Brand Clean

On your business sites, such as your Facebook Page, post updates, recent photo shoots, and display your logo. While your brand may evolve, especially when you are young, you will want to make your brand recognizable. Try for consistency–see the black border with orange logo.  I place this on every photo. Also, work hard to maintain a sense of fluidity between your Website, Blog, Instagram, Facebook, and other places where you have a presence. While this can be said for any photographer, not just those of us who are young and starting out, it is even more crucial to gain and maintain respect.

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Continuing with the social media discussion, it is important to approach your photography pages as though you were the viewer, not the administrator. Would you want to see 15 Instagrams a day, and 20 status updates/photo posts? Probably not. This would clutter up your newsfeed and take the excitement out of seeing each post. Try to post when it you have something relevant to share but not so much that you overwhelmed your audience.

 

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3. Stay Organized

Staying organized is extremely important- and is often the hardest skill for younger photographers.  To combat youthful distractions, keep a planner and binder with you at all times. A planner helps keep track of photo shoots, and a binder helps with everything else.

When it comes to planning the hardest part is being honest with yourself. Don’t try to fit a million things into one day. If you do this, you’ll run yourself ragged, and it’s easy to end up running late or having to cancel on someone should one thing go wrong. And that is NOT professional. When too many things are stacked upon each other, the smallest glitch creates an avalanche on the rest of the day. The best advice is to cushion everything - leave extra time for travel and the unpredictable – this way you are prepared should something go wrong.

Keep all photo related materials together in your binder, including extra flyers and business cards, in case I am at a venue where people might be interested in my work. Also, have blank invoices, plans/shot lists for each photo shoot, and a price list of all your services and products so you don’t have to worry about telling someone an inaccurate prices. Keep examples of prints and some products in your binder too.  You never know when they will come in handy!

4. Be Confident

Staying confident when you are starting out as a young professional is much easier said than done. Sometimes it may seem as though you have been thrown into a shark tank and your just a little fish trying to find their way. I struggled for quite a long time with confidence in regards to my photography. I always feared that when people complimented me they meant that my work was “impressive for someone my age,” instead of accepting that it was just impressive. I never wanted to be talented for a 16 year old or 17 year old and so forth.  I wanted to be talented compared to anyone at any age. Remind yourself that photographers are booked because of their previous work. Clients see your photographs and desire something similar.

It’s easy to doubt yourself when you are shooting for free trying to expand your portfolio, but when someone is paying you, they pay you because they believe in you. If you seem nervous or doubt yourself, your client is going to begin to doubt you too. Smile, hold your head high, and do your best.

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It may be intimidating being the face of a photography business, but no amount of baby face can take away from the quality of work that you produce.

Bio: Mallory Robalino is a 20-year-old photographer from Long Island, NY. She specializes in sport, equestrian, and portrait photography. Some of her work can be seen at her website or her photography Facebook page: Mallory Robalino Photography.

The Beginner Photographer’s Guide to Understanding Resolution

resolution

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It happens to everyone, and it makes us all crazy. You spend months honing your skill, shooting in manual, perfecting light, diligent editing and finally having an image you want to print HUGE for your living room…and then it arrives all blurry and you are crying in the floor. Oh, that was just me? Huh, well, moving on…

Through the graces of a wonderful human being and local printer who took pity on me and my obvious lack of knowledge, I was given a sit down course in making the transition from camera to print and it simplified my life greatly. No more worrying about cropping images before loading into ROES. Yes, you heard me correctly. So, how does that work? By understand the relationship between PPI, DPI and somehow…PSI.

1. Forget DPI for now.

This is for printers. Dots Per Inch. Of color of ink. This does not correlate directly to your photo resolution when cropping and resizing.

2. PSI…think of this as a typo…

PSI has nothing to do with photographs. PSI is actually a measurement of pressure, used for the air in your tires for example. Somewhere along the line, photographers started using PSI to mean *Pixels per Square Inch.*  Think of PSI as a way to confuse newbie photographers. Just don’t use it.

3. PPI. Pixels Per Inch.

This is what you are looking at when resizing and cropping your photos. Here’s the thing, looking ONLY at the PPI will CONFUSE you. Why? Because in most cases, your camera is taking a large image size at a lower PPI. For example…  21inx14in @ 240ppi OR 72inx48in @ 72ppiBoth these sizes, though they have very different PPIs, are high resolution images. In fact…they are nearly identical…wanna see?

Look at the top two numbers for the first image size, 21inx14in @ 240ppi…

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Now for the second set, 72inx48in @ 72ppi…

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The results:

Uhm, wait a minute…they are EXACTLY the same size!!! 5184×3456. Meaning they have the exact number of pixels in both images, despite their obvious size and PPI differences.

  • Both will produce high quality images.
  • There is no reason to resize these images before loading into ROES to place orders.
  • When you load these high res images, ROES will then allow you to crop, tilt, rotate, etc. and still maintain the high resolution you are after.
  • If an image needs a stretched background, some cloning to straighten, those sorts of things, you may need to make those adjustments ahead of time.

Lesson:

You run into problems with resolution when you try to increase BOTH size and ppi at the same time. For example, taking an 8×10 @ 72ppi to a 20×30 @ 300ppi…is not going to work, but when going DOWN in size, you have much more leeway.To get a visual image of how this is works…think of it like this. You have 3 squares in front of you. Large, medium and small. In the medium square, you have 16 Lego bricks (don’t tell the children I played with their toys, then they want to play with mine!), your pixels, lined up in rows and they fill the square perfectly.
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Now, you can take these bricks and still fill the small square perfectly. There are even bricks to spare, but this smaller square is still nicely packed tight with bricks.
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But, if you take those same 16 bricks and try to fill the large square, you are going to have more space between them, more blank space showing through.

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Printing problems:

This is where your printing problems come in. As you try to use these same number of pixels to fill a large surface area, you are left with gaps. In order to fill those gaps, your computer is going pull from surrounding pixels sort of *guessing* what is needed to fill it up. This is where it starts to get *fuzzy* and not print well.

Okay now you are thinking…”so what does this mean when I crop and resize?” 

  • If I am taking an image that is the aforementioned 72×48 @ 72ppi, I can easily resize to a nice print that is 20×24 or other large size at 300ppi. Why? Because I am going down in physical size which allows me to use those extra pixels to fill up the resolution to 300ppi.
  • But again, I do NOT have to do this before I load to ROES. If I take my full size high res images, edit and save them just the way they came out of my camera (assuming I am taking RAW or high res JPEGS) I can simply load them into ROES and use their tools to do my cropping. The resizing will be done on the other end from my large file.
  • But their Q&A section says to resize to 300, right? Yea, I know… they say that because it is a frequently asked question, and they are answering based on the idea that you are going to do your own *pre-cropping,* in which case, they want you to do it at the right resolution. But if you just load it up and use their tools, all will be fine.

So now that you understand that, you find you have a slightly different problem…a client ordered a photo in different sizes, and while the small wallets look great, the desk print is slightly blurry and the wall print just looks bad.

  • This is normally more of an issue with your photo itself. It was probably slightly out of focus to begin with. But why do the smaller ones look okay?

Back to our squares…and now, that DPI I told you to forget temporarily. When printing, bigger isn’t always better. Sometimes you can get away with passing off a slightly not-so-perfect image off in a smaller size because smaller again means packing tighter. Now that we have moved over to the print side, we are looking at dots…as in dots per inch. ( Now this technically has to do with both DPI and PPI, but for the purposes of illustrating what’s happening, we are going with the dots).

With our squares again, we see what the image as an 8×10 looks like…

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Now, if I go DOWN in size, I can almost make it look better overlapping those areas that were previously gaps….

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So my wallet size actually ends up looking better, even though it is technically the exact same photo. And then when I take that *so-so* photo and go bigger…well….let’s not do that okay? It doesn’t end well.

{This is where I insert my disclaimer: Yes, those who have more in depth understanding of resolution and printing know this isn’t *exactly* how it all works, but for the purposes of helping beginner photogs understand what is happening to their photos, these visualizations work}

In the end if you have your camera set to take high res files, RAW or JPEG set to large file format…you are going to be just fine, no adjustment needed before loading to ROES, or even online consumer sites. If you MUST make adjustments, just be sure when you are done, your pixel dimensions, those numbers in the screenshots above, are in the THOUSANDS for good images, preferably the 5000×3000 range.

Kimberly Earl is the owner of K. Lynn Photography in Charleston, WV, a wife and mom to four kiddos. She has been snapping at the world since 1993 and been in business since 2007. You can follow her on Facebook, but she is currently on a short hiatus.

Stop Following the Rules of Photography to Start Capturing Photos You Love

Redefining Perfection

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If you ask someone how to get the perfect photo, you might get a response that includes information about exposure, posing, and lighting. Books you read might warn against chopping limbs, using wide angle lenses when photographing people, or failing to follow the rule of thirds. You might end up scared that other photographers will judge your photos and notice when you have broken “the rules,” making you nervous to step outside the box and get creative sometimes.

Even worse, you might try so hard to follow the rules that you leave every photo session stressed, exhausted, and disappointed–like I did, before I redefined perfection.

I did all of those things. When I first started trying to learn more about photography, I read a ton of books. I talked to a lot of photographers. I read a lot of tutorials, watched a lot of videos, and studied a lot of photographs to determine what I had to do to take “perfect” photos. In the process, I learned more than I thought possible about the technical side of photography, but I became so insecure and critical of my own work that I was not having fun.

I was not getting images that I absolutely loved.

For me, the sessions that stressed me out the most were always my own sessions with my two children. By the end of an attempt to get perfect photos with my sons, Gavin and Finley, I was usually ready to quit photography, my husband was usually ready to send me packing, and Gavin and Finley were usually crying because I kept trying to make them be still, look directly at my camera, and smile, when all they wanted to do was play or explore.

The turning point came for me when Finley was close to his first birthday.

I had planned out very specific shots that I wanted to get of him for his one-year photos, set aside a weekend to do them, and gathered together all of my props. I got a few cute photos with perfect smiles, perfect eye contact, and imperfect exposure (I only had a few months of experience with professional shooting), but I essentially ended each session with tears—either mine or Finley’s…and sometimes both.

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When Finley’s second birthday rolled around recently, I had already made the decision that I wanted to capture his true personality and the things he loves most, not try to get perfectly posed photos with perfect eye contact and perfect smiles.

You see, Finley is the ultimate reason that I learned to embrace imperfection in my photography.

Finley has always been a difficult subject to photograph. He never reacted to my crazy sounds and pleas to look at my camera and smile. He never stayed still longer than a second. He never focused his attention on taking photos long enough for even one great shot of the four of us smiling and looking at the camera. After my experience with his first birthday photos, I gave up on getting “perfect” shots. And when we tried to get family photos a few months later using a friend as a human tripod, I didn’t get upset when this was the end result.

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Even though people still make repeated comments like, “It’s too bad Finley isn’t looking at the camera,” the canvases I had made of this photo are hanging on my wall, my parents’ wall, and my father-in-law’s wall.

Why? Because he’s Finley. He would rather study a branch than smile for a photo or even look in that general direction. And you know what? That’s okay. In March, we got the official diagnosis that Finley is one of a growing number of children with an Autism Spectrum Disorder, and although it explains why I always had such a difficult time getting his attention in photos, it doesn’t change the fact that my entire idea of perfection in photography has been redefined. Finley’s photos that I took for his second birthday are perfect examples of my idea of perfection.

Perfection is capturing Finley’s love for drawing.

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Perfection is documenting Finley’s habit of exploring textures by rubbing things on his cheeks.

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Perfection is showing Finley’s love for horses (and wearing nothing but a diaper and cowboy boots).

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And sometimes, perfection IS a photo of Finley smiling and looking directly at the camera, but not because it’s “perfect” by any definition of the term.  I’s perfect because it shows the sweet spirit he possesses.

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When I was stressing so much over getting my subjects in the perfect position or trying to make them constantly look at the camera and smile, I missed amazing shots of my boys being themselves.

I decided it was time to loosen up a little. Instead of planning out sessions with my kids, I started leaving my camera in the living room where I could grab it quickly if I saw an opportunity for a cute photo of them. I broke a lot of rules in those photos, and some of them are not very sharp or exposed very well. But some of those photos are my absolute favorites. Some of those photos, in fact, are the ones that I know my children will still treasure when they are adults.

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By loosening up, I discovered that those photos were the ones I always considered perfect. I started to fall completely head-over-heels in love with lifestyle photography, and when I did, I rediscovered my passion for my hobby. Instead of trying to capture perfect smiles, I started trying to capture the love my subjects have for each other and the personalities that make them unique. As a result, my skills and the quality of my photos started improving because I had more room in my head to think about exposure and using available light to my advantage.

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Getting correct exposure is critical, and there are some “rules” that have their place in your work. I would never want to use a wide angle lens to take a serious portrait of a bride, for example, or make my subjects look like they are sliding off the edge of the photo. However, it’s okay to chop a limb sometimes, if necessary. It’s okay if my subject is not looking at the camera. I even read once that you shouldn’t have your subject looking off camera unless you can see what he or she is looking at. But does that make this a bad photo?

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Here’s my point—If you are one who absolutely, positively, LOVES perfectly posed photos where everyone is looking at the camera and smiling, then that’s perfectly fine. Those types of photos are perfect—for you.

However, if my experience raising an autistic son has taught me anything so far, it’s that what is considered perfect for one is not necessarily perfect for another.

Just as Finley is perfect in my eyes, the photos I take that show who he is and what he loves are perfect in my eyes as well.

If you find yourself stressed, exhausted, and insecure like I was every time you attempt to get great photos and want to redefine your idea of imperfection like I did, here are a few tips to help.

  1. Get a good grip on exposure first, if you don’t already have one. No amount of emotion or personality in your photos is going to matter if you can’t see it because your photos are completely over or under exposed. There are tons of MCP tutorials here on the blog that can help with that.
  2. Stop scouring Pinterest and trying to replicate the images you see. Getting inspired by photos you see is one thing, but trying to make your subjects do exactly what you have seen done before in those photos will usually only end in frustration. I once spent two hours creating a backdrop of newspaper pages to use in photos of my boys only to rip it down five minutes later because neither of my boys would cooperate at all.
  3. Decide what you truly want to document. Is it a relationship between two people? An aspect of someone’s personality? A hobby or interest? A particular emotion? Once you decide, make sure your exposure is solid, and then solely focus on capturing what you are setting out to capture.
  4. Relax about the “rules.” Don’t toss a photo that cuts someone off at the knees if that photo shows genuine emotion. Use a wide angle lens, if you like the look it gives your photos. Relax. Sometimes rules are meant to be broken…if breaking them results in a photo you love.

Now, grab your camera and go take a photo YOU think is perfect. Don’t worry what the books say. Don’t think about what other photographers might think of it. Take a photo you love, and love the photos you take.

Period.

Lindsay Williams lives in south central Kentucky with her husband, David, and their two sons, Gavin and Finley. When she isn’t teaching high school English or spending time with her quirky little family, she owns and operates Lindsay Williams Photography, which specializes in lifestyle photography. You can check out her work on her website or her Facebook page.

Why You Might Need a Mirrorless Camera in Your Camera Bag!

Fuji X-E2 mirrorless camera

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What is a Mirrorless camera?

In the past few years there has been a buzz in the photography industry. A new kind of camera has come out which promises fantastic optics, at a lower price, smaller form factor and has really started to gather momentum.  Some of the leaders in the Mirrorless segment are Sony, Fuji, Panasonic, Olympus, Canon, Samsung, and Nikon.

These cameras are physically smaller than the traditional DSLR because they don’t have a mirror that reflects what the lens sees up through to the viewfinder. By getting rid of the mirror you not only get the benefit taking up less space, but it also means that the sensor is placed closer to your lens. Most of the Mirrorless cameras out there are not equipped with full frame sensors. Most are crop sensor or 4/3s sensors. The Micro 4/3 cameras offer a 2x crop factor vs the 1.5x on many other mirrorless cameras.

The sensors are larger than a point and shoot, and that equates to better image quality. In addition, many of these systems require their own lenses for optimal performance. But, these lenses are smaller than those for dSLRs and are usually the same price or less expensive to other comparable lenses.

Vacation snapshot in St. Maarten taken with Olympus Micro 4/3 OMD EM5 and Panasonic 12-35mm lens.

Who benefits from a Mirrorless camera?

  • Mirrorless cameras are fantastic as they can suit a variety of purposes. Given the size and image quality they produce many full time photographers are choosing one of the Mirrorless systems as their walk around camera. Many claim that when they are not working for a client it can be burdensome to lug around a lot of gear and often times find themselves leaving their heavy gear at home.
  • For street photographers many of these cameras are a dream come true. Prior to Mirrorless you either had to deal with a small manual focusing camera, a point and shoot or a large DSLR, but it seemed like there was always a compromise. There are even a few models that have a fixed lens built into the camera and offer silent shutters. So if you’re looking to be discrete might be time to check them out.
  • In the last couple years a lot of wedding photographers have turned to Mirrorless to be discrete and to be used as a companion camera. Ever been in a church and found your Full Frame camera to be really loud? Or maybe you’re witnesses a personal moment during the getting ready part of the wedding day and don’t want to be intrusive. There are some photographers who have actually changed all their DSLR gear in favor of a light, high quality and discrete Mirrorless system.
  • Newbie photographers nowadays are faced with so many options of cameras. There is the big question of whether to go with Canon or Nikon, but Mirrorless is also a fantastic choice for your first high end camera. Many are very intuitive and help you “see” in manual mode better. Also, Mirrorless cameras are generally 40% less expensive to mid to high end DSLR and still produce fantastic images. So if you’re new, want to learn photography and are on a tight budget these could be just right for you.
  • Anyone who loves photography and has to have a camera with them everywhere. They know their cell phone isn’t quite good enough and a DSLR is just too much. They don’t want to compromise on image quality, but want something capable in a variety of lighting conditions and easy to carry around.
  • One perk with the micro four-thirds cameras by Panasonic and Olympus, for example, is that you can use the lenses interchangeably.  (Jodi, MCP, has both brands for her Olympus OMD EM5)

 

Taken with Olympus OMD-EM5 4/3 Camera with 60mm macro lens. Edited with MCP Enlighten Lightroom Presets.

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Taken with Olympus OMD-EM5 4/3 Camera with the Olympus 45mm 1.8 lens (Jodi’s favorite!). Edited with MCP Inspire Photoshop Actions.

What are limitations of Mirrorless cameras?

Of course there are some limitations of Mirrorless cameras. You must remember that they are only a few years old and although this generation is much better to last year’s offerings there are a few things that could be better.

  • AF – Autofocus has to be one of the big concerns regarding Mirrorless cameras. In the end technique will trump inexperience, but most Mirrorless cameras aren’t as quick to snap into focus as high end DSLRs. This is one area that has improved drastically and there is no reason to believe that it won’t improve incrementally with each new model release. Low light AF is a struggle at times, but then again DSLRs also struggle in low light.
  • Tracking subjects – This is related to Autofocus, but it goes a step further. Many sports photographers and similar will most likely stay away from Mirrorless systems, for now, as their tracking of moving subjects is still slower than most DSLRs. Although Mirrorless cameras do excel in the manual focusing department offering a variety of assist modes. But, even still, they can’t be relied upon for very demanding photography.
  • Replacing your camera system – Given that some of these systems aren’t very old their equipment and lens offerings are still pretty limited. So if you’re looking to make the switch make sure you are content with their current line-up of lenses. Of course, over time this will all improve. Some of the more eager manufacturers are producing up to 4 lenses a yr.
  • Battery life – When you have a Mirrorless camera you will instantly notice the difference in battery life to you DSLR. Mostly this is due to the smaller form factor and available space on the camera body. Most of these cameras average around 300 images per battery charge compared to around 900 photos (in RAW) on your DSLR. Some of the newer models are offering battery grips so you can have two batteries accessible at all times. Of course this adds to the bulk of the camera, but is a very useful add-on.
  • LCD/Viewfinder – Although there are some amazing things to say about the LCD screens and Viewfinders on the Mirrorless systems there are also some things to get accustomed to. A handful of these cameras have no viewfinder and only an LCD screen. For people transitioning from a DSLR this will be a disappointment. On most of the other Mirrorless cameras you are treated with an electronic viewfinder which is essentially a mini screen in the viewfinder. This will take getting used to as you’re not looking through a mirror, but instead you are seeing what the sensor sees. Although this sounds fantastic, and I agree that it is, these small screens suffer from lag and in some cases very low refresh rates. This is also an area that continues to improve as each new camera rolls out. But, there are tons of benefits to having an electronic viewfinder, but of course, it’s not for everyone.

There are a variety of differences to a DSLR so it’s hard to describe some of these as limitations. Instead we should see them as a completely different kind of system with its own quirks and way of using them. For anyone going to a Mirrorless system, there is a learning curve. But, like with any new piece of gear, once you learn it you’ll be amazed. I see a really good future for Mirrorless cameras as they continue to be innovative in ways a DSLR can’t. Their small form factor will appeal to many and the image quality has been said to rival many full frame cameras. I see this as only the beginning.

Taken with the Fuji Mirrorless. 

THPW3022 600x396 Why You Might Need a Mirrorless Camera in Your Camera Bag!
pin it4 Why You Might Need a Mirrorless Camera in Your Camera Bag!

Recent developments that show Mirrorless cameras are here to stay.

  • They have developed weather sealed Mirrorless cameras and lenses.
  • Some Mirrorless cameras have a leaf shutter which will allow you to sync with flash up to 1/4000 of a second!
  • More and more photographers are publicly writing/blogging/talking about their experiences and excitement over their Mirrorless cameras and how they are shooting more.
  • Several Mirrorless cameras are winning awards by major publications as the best camera of the year. And are quickly becoming trade show favorites. They’re even making magazine covers!

Using a mirrorless camera is challenging, fun, inspiring and most of all, it’s exciting to see the future of Mirrorless. As each manufacturer keeps improving others follow suit. Competition drives innovation and I’m excited to be a part of it. If you can borrow or rent a Mirrorless camera. Who knows you might find a place in your kit for it.

 

Taken with the Fuji Mirrorless.THPL1382 600x400 Why You Might Need a Mirrorless Camera in Your Camera Bag!

Tomas Haran is a Candid Style Wedding Photographer based out of Worcester, MA. He is also an educator and mentor. You can find him on his blog or on Facebook.

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