Only with passion for wildlife, to deeply understand and study their habits in nature, can we feel their unique aesthetic characteristics, photographer Xiao Ge has said.

As a professional photographer, his works portraying wild animals have won numerous awards home and abroad. For Xiao Ge, he emphasizes the power behind the photographs, aiming to cause more people to care about and protect the ecological environment and wildlife through his works.

This is the second part of a two part series on shooting raw. You can see part one, from last week, here.

Merge multiple frames

RAW conversion software such as Adobe Lightroom can offer additional features that can help you be creative with your RAW files. One example is an HDR Merge, where multiple images of the same scene but at different exposures levels are merged together to make the most of the dynamic range in the frame.

Because you’re using RAW files rather than JPEGs, you have far more tolerance to make the most of the shadows and highlights in the scene and this technique works especially well in high contrast scenes where there is a vast difference between the dark and light tones in the frame.

However, there’s even more you can do with the merging options in RAW conversion software as Lightroom also offers a panorama option, where multiple RAW files can be merged to create a single file with a wider field of view.

Obviously, you will have to shoot images with a panorama in mind by capturing an arc of single frames, overlapping each picture by around 20% to give the software the best chance of successfully merging the files together and making the results look natural.

Perfect Presets

While working in the RAW file format does give photographers a great opportunity to fine-tune settings to create a certain stylistic look to your frames. However, doing this to each photo you’ve captured can take up far too much time.

This is where RAW Presets come in super useful and offer a one-click solution that will change multiple parameters in the blink of an eye. Lightroom offers a range of different default Presets covering everything from Landscape presets, portrait presets and plenty of black and white options.

However, once you’ve created a look you’re happy with yourself, you can save this as your own Preset and, as a third option, you can buy in Presets from other photographers and import them into Lightroom too.

When not to use RAW

Yes, believe it or not there are times when shooting RAW may not be the best option and these situations are generally reserved for when you have to capture huge amounts of imagery.

For example, say you are shooting a sports game under the floodlights. In this controlled environment, the lighting is unlikely to change so you can get your settings right and then shoot away.

JPEG format is also useful if you are digitally transferring images on the fly – many sports photographers have their camera linked to a laptop that automatically transfers the images back to a photo editor at base. ❂

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As a small business owner, freelance photographer, or budding entrepreneur in the field of photography,  choosing a suitable portrait lens is an essential step. This guide will help you understand the different types of portrait lenses and the factors you should consider while choosing the one that best fits your needs.

What Are Portrait Lenses?

A portrait lens is a specialized tool designed to capture stunning, intimate images of people. These lenses, often used by professional portrait photographers, offer a focal length and maximum aperture that provides a flattering perspective and an appealing shallow depth of field. The focal length refers to the distance between the lens and the image sensor when the subject is focused. Usually, portrait lenses come in the form of prime lenses, which have a fixed focal length, or zoom lenses, which offer a range of focal lengths.

Prime Lens

The advantage of a prime lens, like the 85mm f/1.8, is its wide maximum aperture that allows you to create images with a shallow depth of field, putting the subject in sharp focus while blurring the background. Prime lenses also often produce sharper images and perform better in low-light situations than zoom lenses.

Zoom Lens

Zoom lenses, on the other hand, are incredibly versatile. They provide various focal lengths allowing you to quickly adjust your composition without physically moving closer or further from your subject. One common zoom lens for portraits is the 70-200mm f/2.8. It provides longer focal lengths, ideal for compressing facial features and isolating the subject from the background.

Mirrorless Camera Lens

Whether you’re using a digital SLR or mirrorless camera, a good portrait lens is indispensable. Mirrorless cameras, a newer technology, are becoming increasingly popular due to their compact size, lighter weight, and superb image quality. Brands like Canon, Nikon, and Sony produce excellent mirrorless cameras, each with their respective range of compatible lenses.

Product Recommendations: Top Portrait Lenses for Small Photography Businesses

Finding the right portrait lens is no small feat. As you’ve read, there are several factors to consider in order to find the best portrait lens for your needs. We’ve established a set of criteria to guide you in selecting a portrait lens that aligns with your specific needs:

1. Focal Length (Importance Scale: 9/10)
   • Criteria: Generally between 50mm to 135mm for optimal framing and perspective.
   • Rationale: Ensures flattering proportions and a natural field of view for portraits.
2. Aperture (Importance Scale: 10/10)
   • Criteria: Wide aperture (e.g., f/1.4, f/1.8, or f/2.8) for better light capture and depth of field control.
   • Rationale: Enables beautiful background blur (bokeh) and excellent performance in low-light conditions.
3. Lens Mount and Compatibility (Importance Scale: 10/10)
   • Criteria: Compatible with your camera body (e.g., Canon EF, Nikon F, Sony E-mount).
   • Rationale: Ensures the lens will function seamlessly with your existing equipment.
4. Image Quality (Importance Scale: 9/10)
   • Criteria: Sharpness, contrast, and color rendition.
   • Rationale: Critical for producing professional-grade photographs.
5. Autofocus Performance (Importance Scale: 8/10)
   • Criteria: Fast and accurate autofocus, with manual override options.
   • Rationale: Essential for capturing sharp images, especially in dynamic shooting situations.
6. Build Quality and Durability (Importance Scale: 7/10)
   • Criteria: Robust construction, weather-sealing for outdoor shoots.
   • Rationale: Ensures longevity and reliability in various shooting environments.
7. Price and Budget Considerations (Importance Scale: 6/10)
   • Criteria: Cost-effectiveness, meeting the balance between quality and budget constraints.
   • Rationale: Maximizes return on investment without sacrificing essential features.
8. Additional Features (Importance Scale: 5/10)
   • Criteria: Image stabilization, specialized lens elements to reduce aberrations.
   • Rationale: Enhances image quality and user experience.

Using these criteria, we’ve handpicked a range of portrait lenses that stand out.. Each lens on our list has been assessed based on these factors. Browse our picks below and find your next portrait lens!

Canon EF 85mm f/1.8 USM Medium Telephoto Lens for Canon SLR Cameras

Product Features:

• 85mm standard lens with f/1.8 maximum aperture: Standard focal length with a large aperture, ideal for creating defocused backgrounds and delivering sharp, high-contrast images even at maximum aperture.
• Ring-type ultra-sonic monitor (USM) drives rapid auto focusing with near-silent operation.
• Natural angle of view and perspective: The lens offers a natural angle of view and perspective that’s perfect for portraits and natural images.
• Background blur: The lens’s wide aperture can create a background blur (bokeh), making your subject stand out against a soft, out-of-focus background.
• Compact size and weight: Measuring just 3 inches in diameter and 2.8 inches long, and weighing 15 ounces, this lens is easy to carry and handle.

Canon EF 85mm f/1.8 USM Medium Telephoto Lens for Canon SLR Cameras

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Nikon AF-P DX NIKKOR 18-55mm f/3.5-5.6G VR Lens for Nikon DSLR Cameras

Product Features:

• Focal Length: This lens offers a focal length range from 18mm to 55mm, which makes it versatile and suitable for a variety of shooting scenarios.
• Aperture: The maximum aperture varies from f/3.5 at the wide end to f/5.6 at the telephoto end. This is useful for managing depth of field and shooting in various lighting conditions.
• Vibration Reduction (VR): Nikon’s Vibration Reduction technology helps reduce the effect of camera shake and blur, especially in low-light conditions or when using slower shutter speeds.
• AF-P: This lens features Nikon’s AF-P (Pulse motor) technology, which offers fast, quiet, and smooth autofocus operation
• The lens is fully compatible with a range of Nikon DSLR cameras, including the D7500, D5600, D5500, D5300, D3400, D3300, D500, D850. Some models like the Df, D5, D810, D750, D7200, D7100 will have limited functions.

Nikon AF-P DX NIKKOR 18-55mm f/3.5-5.6G VR Lens for Nikon DSLR Cameras

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BALITY APS C Z Mount Sensitive 56mm F1.4 Portrait Lens

Product Features:

• Designed for Z mount cameras including ZFC Z5 Z50 Z6 Z7 Z6II Z7II. It supports eye-controlled focusing and tracking the subject, automatic aperture, A mode, S mode and EXIF information recording.
• Large F1.4 aperture offers greater control over the depth of field, enabling a soft blur effect in the background.
• Precise brass mount and a silent motor for sensitive and precise focusing.
• The lens comes with a hood that can be reversed on the lens when not in use. This makes it easy to store and helps protect the lens and block stray or scattered light.
• 10 optical structures in 9 groups, including 1 ED (Extra-low Dispersion) lens and 1 high refractive lens.

BALITY APS C Z Mount Sensitive 56mm F1.4 Portrait Lens

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Panasonic LUMIX G Lens for Micro Four Thirds Cameras

Product Features:

• F1.7 Large Diameter and Mid-Telephoto 85mm focal length offering a versatile field of view perfect for a variety of scenes.
• 31cm Closest Focusing Distance allows you to capture stunning close-ups with clarity.
• POWER O.I.S. (Optical Image Stabilizer) ensures steady and sharp images, even at slower shutter speeds.
• 240fps Drive AF ensures rapid autofocus, capturing fleeting moments with precision.
• Large F1.7 aperture perfect for low-light photography, capturing bright and clear images.
• 10 elements in 8 groups including 1 aspherical lens for superior image quality.
• Maximum Magnification of approximately 0.2x/0.4x (35mm camera equivalent), providing ample scope for detail-oriented work.

Panasonic LUMIX G Lens for Micro Four Thirds Cameras

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Sigma 56mm F1.4 DC DN for EF-M Mount

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Product Features:

• Stepper motor technology that ensures smooth, quiet, and progressive autofocus for precise imaging.
• Dust and water-resistant construction for reliable usage in various weather conditions.
• Large lens hood included as standard, designed to reduce side flares, improving overall image clarity.
• Flare and ghost images reduction design ensures maximum image quality by minimizing unwanted light artifacts.
• Standard 56mm focal length is versatile for a wide range of photographic styles and situations.
• Made in Japan – guaranteeing incredible craftsmanship and quality.

Sigma 56mm F1.4 DC DN for EF-M Mount

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Sony – E 50mm F1.8 OSS Portrait Lens

Product Features:

• Built-in Optical SteadyShot image stabilization helps capture sharp images, minimizing blur caused by camera shake.
• 7-blade circular aperture creates defocus effects, enhancing the subject by blurring the background.
• Large F1.8 maximum aperture allows for exceptional performance in low-light conditions.
• 50mm focal length is ideal for a range of photography styles, including portrait, landscape, and more.
• Minimum focus distance of 1.28 ft (0.39 m) and a maximum magnification ratio of 0.16x, allowing for detailed close-ups.
• 49mm filter diameter is compatible with a range of accessories.
• Included Lens hood (ALC-SH116), Lens front cap, Lens rear cap for maximum protection.

Sony – E 50mm F1.8 OSS Portrait Lens

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Lightdow 85mm F1.8 Manual Focus Full Frame Portrait Lens for Nikon

Product Features:

• Manual focus operation: This lens requires full manual focus operation on the DSLR camera
• Compatible with various Nikon DSLRs: The lens is designed for an extensive range of Nikon DSLR cameras
• 8-piece circular aperture: Enjoy a smooth and large focus range, ideal for capturing stunning portraits and landscapes
• Hybrid aspherical lenses and ultra multi-coating contribute to a better image quality by reducing aberrations and improving light transmission.
• Large aperture: The lens’s large aperture helps in creating shallow depth of field images with an attractive bokeh effect.

Lightdow 85mm F1.8 Manual Focus Full Frame Portrait Lens for Nikon

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Sigma 85mm f/1.4 DG HSM Art Lens for Canon EF

Product Features:

• Newly designed Hyper Sonic Motor (HSM) for swift autofocus control
• F1.4 aperture delivers exceptional low-light performance and depth-of-field control, allowing for beautiful bokeh effects.
• 9 aperture blades
• Compatible with the Mount Converter MC-11, this lens can be adapted for use with Sony E-mount systems
• 14 lens elements built in 12 groups for ultra-high resolution

Sigma 85mm f/1.4 DG HSM Art Lens for Canon EF

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VILTROX 56mm F1.4 f/1.4 XF Autofocus APS-C Portrait Lens for Fujifilm X-Mount

Key features:

• Compact and efficient design compatible with Fujifilm X-mount mirrorless cameras
• Short telephoto focal length paired with a bright f/1.4 maximum aperture for outstanding control over depth of field
• High-quality optical design featuring extra-low dispersion and high refractive index elements
• STM stepping motor integrated into the lens design for fast, near-silent, and precise autofocus performance along with full-time manual focus override.
• Internal focusing design that contributes to speedy performance.
• Micro-USB port for firmware updates that ensures your lens continues to deliver optimal performance.

VILTROX 56mm F1.4 f/1.4 XF Autofocus APS-C Portrait Lens for Fujifilm X-Mount

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NIKON NIKKOR Z 85mm f/1.8 S Portrait Fast Prime Lens for Nikon Z Cameras

Product Features:

• 85mm f/1.8 lens with a nine-blade diaphragm for soft, rounded bokeh
• Two ED glass elements and Nano Crystal coating ensuring lifelike accuracy and reducing lens flare and ghosting.
• Dust and drip-resistant design offering extensive sealing to keep out dust and moisture, making it ideal for outdoor and challenging conditions.
• Customizable control ring allowing for on-the-fly adjustments to camera settings.

NIKON NIKKOR Z 85mm f/1.8 S Portrait Fast Prime Lens for Nikon Z Cameras

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Fujifilm Lens XF35mmF1.4 R

Product Features:

• 35mm focal length (53mm equivalent in 35mm format) that provides a “normal” angle of view
• Constructed with 8 elements in 6 groups including 1 Aspherical Element
• 44.2-degree angle of view for capturing broad landscapes and tight interior shots
• 7-blade rounded diaphragm opening for creating beautiful bokeh effects
• 52mm filter size – compatible with a wide range of filters
• Focus range of normal 0.8m to infinity and Macro 28cm to 2.0m, offering versatility for close-up and distant subjects.
• Maximum magnification of 0.17x, making it suitable for capturing detailed close-ups.

Fujifilm Lens XF35mmF1.4 R

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Tamron 70-300mm F/4.5-6.3 Di III RXD for Sony Full Frame Mirrorless Camera/APS-C E-Mount

Product Features:

• Supreme lightweight portability: This lens is engineered to be extremely lightweight, making telephoto shooting a fun and stress-free experience. It’s a good choice for photographers who need to carry their gear for extended periods.
• Lens structure comprises 15 elements in 10 groups, designed to deliver high-quality images with excellent detail and contrast.
• Close focusing distance of 31.5″ at the wide end and 59.1″ at the tele end
• Maximum magnification ratio of 1:9.4 at the wide-angle end and 1:5.1 at the telephoto end.
• Moisture-Resistant Construction offering some degree of protection against the elements.
• Focal length: The lens offers a versatile focal length of 70-300mm, making it suitable for portrait photography, as well as a variety of shooting scenarios, including landscape, wildlife, and sports.

Tamron 70-300mm F/4.5-6.3 Di III RXD for Sony Full Frame Mirrorless Camera/APS-C E-Mount

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Meike 85mm f1.8 Wide Aperture Full Frame Auto Focus Telephoto Lens

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Product Features:

• Compatibility with Nikon F mount full frame mirrorless cameras and DSLRs, ensuring a perfect fit for your Nikon equipment.
• Classic 85mm portrait lens with a wide f/1.8 aperture, enabling beautiful photos with a smooth background blur effect, even in low-light conditions.
• Wide application range from selective architecture, landscapes, portrait, to short-range sports and theatre photography.
• Auto focus lens and automatic aperture offering ease of use
• Lens structure comprising 6 groups and 11 elements for delivering sharp and detailed images.
• USB connection for firmware updates to keep your lens operating at its peak performance.

Meike 85mm f1.8 Wide Aperture Full Frame Auto Focus Telephoto Lens

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Frequently Asked Questions (FAQs)

What is a prime lens, and why is it often recommended for portrait photography?

A prime lens is a type of lens that has a fixed focal length. In other words, unlike a zoom lens, a prime lens doesn’t allow you to zoom in or out to change your framing; to get closer or farther from your subject, you have to physically move. So why would anyone prefer this over the versatility of a zoom lens? The answer lies in the image quality and aperture size. Prime lenses often offer superior image sharpness and a larger maximum aperture (lower f-number) compared to zoom lenses. This larger aperture allows more light to reach the sensor, which not only helps in low light conditions but also provides a shallower depth of field. A shallow depth of field is desirable in portrait photography because it keeps the subject in sharp focus while blurring the background, helping the subject stand out.

What’s the difference between a full-frame camera and a crop sensor, and how does it affect the choice of portrait lens?

A full-frame camera has a sensor that’s roughly the same size as a 35mm film frame, whereas a crop sensor is smaller. The main impact of this difference is the ‘crop factor’ which affects the effective focal length of lenses. For instance, a 50mm lens on a crop sensor camera with a crop factor of 1.5x will have an effective focal length of 75mm. Therefore, when choosing a lens for a crop sensor camera, you need to account for the crop factor. If you want the equivalent field of view to an 85mm lens on a full-frame camera, for instance, you’d need a shorter focal length on a crop sensor camera. The sensor size can also impact the depth of field and low light performance, with full-frame cameras generally performing better in these aspects.

How does focal length affect a portrait?

Focal length can significantly impact how a portrait looks. Shorter focal lengths (wide-angle lenses) can distort facial features when used close up, making them less desirable for close-up portraits. However, they can be good for environmental portraits where you want to include more of the scene around the subject. Longer focal lengths (telephoto lenses) can compress facial features and provide a more flattering perspective. They also help to isolate the subject from the background, which is often desirable in portrait photography.

Why do some photographers prefer zoom lenses for portrait photography?

While prime lenses are often recommended for portrait photography, some photographers prefer zoom lenses for their versatility. A zoom lens allows you to adjust your framing without needing to move closer or farther from your subject, which can be particularly useful when shooting in a confined space. Some modern zoom lenses also offer excellent image quality and a reasonably large maximum aperture, making them suitable for portrait photography. For instance, a 70-200mm f/2.8 lens is a popular choice for portraits.

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Have you ever wondered what goes through the mind of a professional photographer when searching for unique compositions? In this article, I break down my entire thought process of how I find, compose, and build an image from start to finish.

Many times when I’m looking for images, there’s something happening in the image that I really want to photograph – this is basically the definition of photography. What sets a landscape photographer apart from someone just walking by and snapping an image is how they present what is happening to the viewer with context. Some might call this “telling a story.” So when I walked up to this image, there were a few things that immediately stuck out to me that felt unique and that I wanted to photograph.

The first one was this fog in the distance near the hillside. The next was how blue the water appears in this warm summer light. The last main element was this bit of warm light illuminating the scene, which felt somewhat rare in my time in Acadia National Park since all I’ve really experienced is fog and overcast. I know this because I had been in Acadia for over 10 days, and this was the only day I had gotten any golden hour light.

After deciding what elements I wanted to include in the image, now the puzzle was to put them together. Ideally, my foreground element would be something interesting that shows the light and waves while leading my viewers’ eyes back into the distance to the foggy hillside. This is where seascapes can be a bit difficult and something I’ve talked about in the past. Finding wave patterns that help create your composition is a skill that just takes practice and patience.

This evening, I found a cascade of rocks, almost resembling Legos, that not only were catching a bit of warm light but were also shaped by a layer of waves that, with the right wave, led my viewers’ eyes right to that hillside like we envisioned.

I got my camera and tripod out and started looking for strong compositions, but note how I’m not using my tripod yet because I don’t want to set anything up until I know the shot I want to take. The tricky part about many seascape images is that you typically want to be really close to the waves to fill the bottom part of your frame, but you also don’t want to put yourself in any danger. This is a dance as old as time, wanting to get as close to the action as possible without risking too much of your equipment. You can see here how close I get to the waves and actually end up backing off a bit because I’m a little concerned about a large wave compromising my position (and my camera). I can’t overstate how easy it is to get caught by a random large wave. My best piece of advice is to arrive early and spend time watching the tide before ever getting your camera out.

My first shots were landscape orientation, and this does a great job at including all the original elements we want within the image. The foggy hill (that now doesn’t have fog on it, ironically), the warm summer light, and those blue waves creating a diagonal line through my image. We even get a small bonus of the cliff face in the middle of the image to add more depth within the image. The issue with this composition is there’s a lot of dead space in the top left of the frame, and I’m not in love with it. I keep trying this shot and even move to a higher vantage point when I felt like the waves were getting a bit too close for comfort.

While I was able to find some nice lines in the waves from this vantage point, it exacerbated that area of dead space. The best way to remove a lot of that dead space is to fill up more of my frame with the foreground waves, which comes at the cost of being a bit more risky. Thus, I went back down closer to the waves and tried a few portrait-oriented compositions.

By switching to a portrait orientation, it eliminates a lot of that empty space and also gives the chance for the waves to create a perfect guiding line through the image like this. Wonderful, this was everything I wanted. I’ve eliminated much of the dead space, we have a nice leading line through the composition, and all of our important elements are still in the image. Yet… this is not the image I decide to edit.

Now you might be asking yourself, “Why did you show me all of these compositional ideas when you ended up throwing them out the window?” The lesson here for me is that I was very focused on trying to find waves that created a perfectly timed line through my images, that I didn’t properly recognize how unique this cascading rock face was in front of me.

Thus, when I got back to review my images, I actually ended up preferring the earlier snaps that mixed both the waves and the rock face to combine into my leading line of the image. The rocks also give a more significant sense of place, specifically Acadia National Park, whereas by hiding them in a wave, the image feels a little more generic. On top of that, right when I arrived likely had the best light as the fog rolled off, and I lost the light on the water and rock faces pretty quickly, and in photography – lighting trumps all. The fog in the distance also helps reduce the feeling of dead space in the top left part of the frame, which is non-existent in the later images. The portrait orientation does have stronger compositional elements to it, and if I had shot those from the beginning, my final image might have been even better.

Regardless of which image felt the strongest in my editing suite, the breakdown of my thought process remains the same. If you watch the video in the article, you’ll find a breakdown of another image that required very specific conditions to achieve. I would love to know your thoughts on this format and if it was helpful in your own journey as a landscape photographer.

Creating perfect panoramic stitches is an essential skill for photographers aiming to enhance their landscape skills. This technique, when mastered, offers not only incredible resolution and detail but also a unique perspective that elevates the art of photography.

Coming to you from Ben Harvey Photography, this informative video delves into the nuances of panoramic photography, offering a comprehensive tutorial. Harvey discusses the importance of gear settings, post-processing techniques, and most crucially, what to avoid during the process. He emphasizes the use of manual focus and manual settings to ensure consistency across the stitched images. Moreover, Harvey explains how panoramic stitches offer higher resolution, allowing for significant cropping capabilities and the potential for large-scale printing. This aspect is particularly important for photographers looking to exhibit their work or for those striving to achieve a higher level of detail in their images.

Additionally, the video explores the aesthetic benefits of panoramic photography. By stitching images taken at longer focal lengths, photographers can avoid the distortion typically associated with wide-angle lenses, preserving the depth and perspective in their photographs. This technique is beneficial in capturing expansive vistas without compromising the scale and proportion of distant elements. Harvey’s practical advice on the orientation of the camera, the use of an L bracket for stability, and ensuring levelness through spirit levels is particularly useful. These tips not only enhance the quality of panoramic images but also simplify the stitching process in post-production.

Harvey’s tutorial extends to the intricacies of exposure settings and lens choice, highlighting the need for a longer lens to compress perspective and maintain the integrity of the scene. This video is not just about the technicalities of panoramic photography; it’s an exploration of how this technique can transform a photographer’s approach to landscape photography, encouraging them to think beyond the conventional frame. Check out the video above for the full rundown from Harvey.

Speaking about the image which also won the Abstract views category, Sharpe said the layered branches of this conifer reminded her of the dancing cranes often featured in Japanese woodcuts, and described winning the annual competition as an enormous privilege. 

“In post-processing, I added a fill layer and used exclusion blending mode to alter the colours and enhance the feeling of movement and sense of the ‘birds’ dancing in a fantasy woodland.”

Tyrone McGlinchey, head judge, said the image ‘fired the imagination’.

“The soft, new growth transforming between plant and feathers – it is both enticing and enchanting. We are pulled into and beyond the symbolic dancing cranes, and embraced by their ‘wings’, to a place of hope and peace. It is rare that one can connect with nature and feel such compassion.”

Supported by the Royal Botanic Gardens, Kew, London, which also exhibits the winning images, International Garden Photographer of the Year is open to amateurs and professionals alike, from any country in the world. 

You can see all the category winners and runners-up below, and all the category winners and finalists at the IGPOTY website.