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Posts Tagged ‘LOOK’

Sony provides an in-depth look at the Sony Xperia 1 II camera tech

30 Apr

Sony first announced its triple-camera-equipped Xperia 1 Mark II flagship phone in February but users around the world are still waiting for the commercial release of the device. Once available, with its photo-centric design that borrows a number of features from Sony’s Alpha series cameras, the Xperia 1 Mark II should be a compelling option for mobile photographers. Now the company has shared additional information on camera technology and features in Japan.

In its primary camera the new Sony offers the same 12MP resolution as its predecessor. However, those pixels are distributed across a larger sensor surface. The Mark II’s 1/1.7″ primary sensor is quite a bit bigger than the Mark 1’s 1/2.6″ variant, but still falls short of some other flagship phones. The Xiaomi Mi 10 Pro and Huawei P40 Pro for example come with 1/1.33″ and 1/1.28″ sensors respectively.

The Xperia 1 Mark II comes with a larger sensor than its predecessor.

However, Sony is deploying a different strategy to most of its direct rivals. Both rival phones mentioned above use much higher resolution sensors and pixel-binning technology to reduce noise levels and capture images with a wide dynamic range.

Sony bets on ‘traditional’ large 1.8µm pixels, which, according to the company, make the new sensor 50 percent more light sensitive than its predecessor and results in improved low light performance.

The 12MP sensor offers faster read-out than the 108MP Quad-Bayer sensors used in some competitors.

Sony says the conventional design of the sensor offers faster read-out speeds than the pixel-binning Quad-Bayer technology deployed in most current high-end phones. The entire sensor can be read out in 10ms versus 32ms for a 12MP image from a Quad-Bayer sensor.

The sensor features 247 phase detection points.

This speed is necessary to enable the Mark II’s 20fps continuous shooting with autoexposure and autofocus. Dual-Pixel AF is embedded into the sensor and an additional 3D time-of-flight (ToF) sensor supports the system. Overall, the camera can use 247 phase detection points on the image sensor and 43,200 points from the ToF sensor to perform AF calculations.

The AF also uses data from a 3D time-of-flight sensor.

This is done by Sony’s BIONZ X branded image processor which performs 60 AE/AF calculations per second to keep subjects in focus and the image well exposed. The new phone also comes with the Eye AF feature that we already saw on the original Xperia 1. However, now it can lock on to animal eyes in addition to human eyes.

The ultra-wide and tele lenses of the triple-camera setup cannot quite keep up with the primary shooter in terms of read-out speed and processing, though. They both offer continuous shooting at 10fps with AE/AF enabled and AE/AF calculations are performed at a slower rate of 30 per second.

Sony says the triple-camera offers the same flexbility as a camera system with 16-35, 24-70 and 70-200mm lenses.

This said, with equivalent focal lengths of 74mm for the tele and 16mm for the ultra-wide, both cameras make nice additions to the primary camera’s 24mm-equivalent lens, covering a wide range of shooting situations. Sony goes as far as comparing the lenses in the Xperia 1 Mark II triple camera to a full-frame lens set including a 16-35mm wide-angle, a 24-70m standard zoom and a 70-200mm tele-zoom. Those lenses should have you prepared for almost anything, and according to the company the same is true for the phone’s triple-cam.

To make the new device even more attractive to serious photographers it comes with Sony’s new Photography Pro app, which features Shutter and Aperture priority modes in addition to a bunch of other manual controls you would find on the company’s mirrorless cameras. Most camera apps offer some sort of manual controls these days, usually in the shape of a separate ‘Pro mode’, but it looks like Sony is taking things a step further than most.

The Photography Pro app offers a range of manual modes and settings.

The Xperia 1 Mark II is also the first Sony smartphone to feature a ZEISS lens. ZEISS lenses can be found on many of Sony’s Cybershot compact cameras and are also available with an E-mount for Alpha cameras. ZEISS lenses featured on Nokia phones previously but the new Sony is the first to come with the German lens maker’s T* anti-reflective coating to reduce glare and ghosting effects.

It’s good to see Sony, which is the only current smartphone manufacturer that also runs a sizeable camera operation, creating more synergies and technology interchange between its mobile and Alpha divisions. Now we just need to wait for the device to appear in the market and see if the camera can compete with the best. According to rumors that could happen as soon as next week, starting in Taiwan.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: How to look good and sound great on videos (and video conferences) from home

02 Apr

Lots of people are suddenly working from home. For many, that means creating online videos for others to watch or logging time on video calls. We review some simple techniques to make your videos look and sound great, so you’ll look more professional.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Better audio
  • Coverage
  • Coverage example
  • Better video calls
  • Better live audio
  • Camera angle
  • Lighting
  • Conclusion

For more tips, watch Chris and Jordan’s earlier video about coverage on The Camera Store TV.

Articles: Digital Photography Review (dpreview.com)

 
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A behind-the-scenes look at filming a Bugatti Chiron at 250mph/400kph

01 Apr

Al Clark, an award-winning automotive filmmaker, captured a record-breaking event over 2 years ago. Professional race car driver Juan Pablo Montoya accelerated a Bugatti Chiron 1,500 PS super car from 0 to 400 km/h (250 mph), and back down to standstill, in less than 42 seconds. As of now, the impressive feat has been viewed over 40,000,000 times on YouTube and possibly up to 100,000,000, on other social media channels, according to Clark.

He recently created a behind-the-scenes feature explaining his inspiration for the clip along with how he managed to film that 0-400-0 km/h maneuver – which took place on parent company Volkswagen Group’s test track facility in Ehra-Lessien, Germany. Regarding the choice to use a helicopter for capturing aerial sections of the footage, Clark says ‘you would never be able to shoot this film with a drone. A drone would be not only too slow, but just not able to stay in the air long enough.’

Unlike a drone, a helicopter can stay in the air for up to an hour and more. This is what Clark needed to get the perfect aerial footage.

While a drone wasn’t deployed, DJI’s Zenmuse X5 camera, typically used on its Inspire models, played a key role in capturing the Chiron as it approached its highest speeds. The footage turned out to be so smooth that the team added in a bit of shaking during post-production to make it look more natural. While you’ll have to watch the video, above, to find out Clark managed to pull this stunt off, he insists that ‘it wasn’t a (Toyota) Supra.’ Viewers are encouraged to fast forward to the 7:11 minute mark if they can’t wait for the big reveal.

Due to popular demand, Clark plans on adding more behind-the-scenes stories to his YouTube channel. You can also follow him, and other key members involved in the shoot, on Instagram at @outrunfilms, @alclark, and @michaelrockperring.

Articles: Digital Photography Review (dpreview.com)

 
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Video: a BTS look at what goes into making a camera weather-resistant

17 Mar

Dave Etchells, founder and Editor-in-Chief of Imaging Resource, has shared a video and accompanying blog post that dives into the topic of weather-resistance in cameras. In both the video and blog post, Etchells shows off the bespoke system he’s built for testing the claims of manufacturers and chats with a leader at Olympus to get an inside look at what goes into the manufacturing process behind weathersealing a camera.

A close-up shot of the dripper used in Etchells’ current testing rig.

Etchells’ bespoke system, which he says it’s taken him ‘literally hundreds of hours’ to build over the past three years, was conceived after the weather-resistance of the Nikon D850 and Sony a7r III proved to be the tie-breaker for Imaging Resource’s 2017 Camera of the Year Award. In his own words, he wanted to build a ‘test system that would let me rigorously control all the variables, built around an array of timers, pumps, custom-made drippers (coming in what I’ve been calling version 1.5 of the system) and other components.’

His desire for all of this work is explained in two parts:

‘First, to give manufacturers a way to meaningfully market and compete with each other on the basis weather sealing. More than just that though, I want to push them to up their game across the board, making good weathersealing more common for consumers and pros alike.’

To see what goes into the process of weathersealing a camera, Etchells partnered up with Olympus and took a trip to Olympus’s R&D headquarters in Hachioji, Japan, where he met with Takao Takasu, the Imaging Product Development manager for Olympus Corp.’s Research and Development department.

A screenshot from a promotional video showing how Olympus tests its cameras for water-resistance.

After a brief intro, the 12-minute video starts with an interview with Takasu-san, who provides a history of weathersealing inside Olympus camera systems. After that, the video transitions into a walkthrough that shows nearly every weathersealing component inside Olympus cameras, from small gaskets around buttons and dials to protective meshing used throughout lenses.

Both the video and article are a wealth of knowledge on the matter and go to show the lengths to which Etchells will dive into the details to share his knowledge and the insight of his industry contacts with the photography community.

Articles: Digital Photography Review (dpreview.com)

 
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A Look at the Fujifilm X100V in Action for Street Photography (video)

14 Mar

The post A Look at the Fujifilm X100V in Action for Street Photography (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from Moment, Taylor takes the puts the new Fujifilm X100V in action on the streets to see how well it performs.

For street photography, the camera is the perfect size and weight to carry with you anywhere you go. The flip screen allows you to shoot from the hip – which is a great advantage when shooting street photography less obtrusively.

The fixed 23mm lens on an APS-C sensor is the equivalent of a 35mm lens on a full-frame camera.

Also, the famous Fujifilm film simulations are another great feature of this little camera.

So check out some of the images that come from this camera.

You may also like:

  • Your Guide to the Fujifilm JPG Film Simulations (with Sample Images)
  • 1 Year with the Fujifilm X-T3 – Was It Worth Buying?
  • Best Fujifilm X-Series Kit for Urban Portraits
  • The Fujifilm X-Pro 3: Marvellous or Mistake?
  • The Best Fujifilm X-Series Kits for Travel Photography
  • Fujifilm X-T3 versus Fujifilm X-H1: The Best Mirrorless Camera for You?
  • Street Portraits vs Street Photography: What is the Difference?
  • The dPS Top Street Photography Tips of 2018
  • How to Avoid Distracting Backgrounds in Street Photography

Have you got your hands on this camera yet? If so, share your thoughts with us in the comments.

The post A Look at the Fujifilm X100V in Action for Street Photography (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Video: BTS look at how Nissan turned its 2020 GT-R NISMO into the ultimate camera car

10 Feb

How do you film a high-speed performance car capable of reaching speeds up to 300kph (186mph)? You simply take another one and modify it to be used as a high-speed camera car itself.

In a press release, Nissan has shared how it captured promotional footage for its 2020 Nissan GT-R NISMO using another GT-R that had been modified to be a purpose-built camera car. To get the job done, Nissan enlisted the help of Mauro Calo, ‘a professional precision driver and automotive video expert known for his work on big-budget blockbuster movies and automotive TV shows.’

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After plenty of planning and prototyping, Nissan and Calo got to work ‘bespoke tubular structure that was welded to the chassis and able to hold the weight of the professional carbon-fiber gimbal camera mounting system.’ In addition to the camera rig, the car was covered with a matte black wrap and gained a new name of sorts—Godzilla Tracking Rig (GT-R).

‘Thanks to its low center of gravity, adjustable sports suspension and four-seater configuration, the GT-R is the perfect base car to accommodate a camera rig of this type,’ says Nissan in its press release.

Using a four-person team (with not much room to spare inside the coupe), Calo drove while a gimbal operator, focus puller and director captured the required footage for the promotional material. The above behind-the-scenes video is promotional in its own regards, but it still shows the incredible camera rig Calo and the Nissan team were able to develop.

Articles: Digital Photography Review (dpreview.com)

 
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6 Vital Things to Look for When Photographing Landscapes

03 Feb

The post 6 Vital Things to Look for When Photographing Landscapes appeared first on Digital Photography School. It was authored by Jeremy Flint.

vital-things-photographing-landscapes

Photographing landscapes is a hugely enjoyable pursuit that you can undertake all throughout the year. Landscapes are all around us, and being among them and capturing their beauty is a great way to immerse yourself in nature. Landscape photography can also be a fun way to practice your photography outdoors and learn about your camera in the fresh air. Here are six things to consider when photographing landscapes to elevate your images.

1. Dramatic light

One of the best times to be outdoors with the camera photographing landscapes is when the light is adding ambiance to the land.

Dramatic light can appear in all weathers.

You might expect dramatic light only to appear when the sun is shining. This is simply not the case. A predominantly overcast sky can yield impressive light for landscape photography. When the clouds disperse, the sun can unveil magical light as it paints and radiates the landscape.

It is often these fleeting moments of light that make the scenery more outstanding.

Another great moment for dramatic light is after a storm or rain shower when the bad weather clears and breathtaking light replaces it, or the final rays of light following a sunset.

vital-things-photographing-landscapes

Fujifilm Finepix F700, 12.9mm, 1/300 sec, f/3.6, ISO 200, Normal Program, Pattern Metering. © Jeremy Flint

2. Changes in the season

You can enjoy the beauty of the landscape throughout the year. Have you ever thought about how a local panorama changes with the seasons throughout the summer, autumn, winter, and spring? The changes each season brings can be brilliant for photographing landscapes. 

Next time you visit and capture your favorite local scenic view, re-visit during a different time of the year and see how the landscape transforms in an alternative season.

The beautiful vibrant greens of summer are usually followed by the crisp and golden leaves and foliage of autumn when a palette of colors unfolds from shades of red and orange to hues of yellow. 

In spring and summer, photographing landscapes can be a superb time to capture flowers in bloom or more minimalist looking images when the trees are bare and striking in winter. 

Also, consider using a wide-angle lens to capture a greater perspective.

vital-things-photographing-landscapes

Canon 5D Mk II, EF 17-40mm f4L USM, 19mm, 1/4 sec, f/11, ISO 100, Manual Mode, Pattern Metering. © Jeremy Flint

3. Changes in the landscape

Our dynamic landscapes continue to change due to human activity and natural processes, shaping our diverse and wonderful landscapes.

Farming has a big influence on our land and can be great for photography. Arable farming (the growing of crops and cereals) and pastoral farming (the rearing and production of animals such as pigs, sheep, beef and dairy cattle) can make great subjects for photography.

As fields get plowed, seeds also get planted. When different crops grow every year, including wheat and barley in the UK, for example, these changing landscapes provide wonderful photo opportunities.

You can also photograph grazing animals in the landscape.

4. Varying weathers

Changes in the weather can be unpredictable and can occur at a moment’s notice. One minute it can be sunny, and the next minute it can be raining. Although you cannot control the weather, you can alter what you shoot. So get creative when photographing landscapes in varying weathers and make the most of anything it throws at you.

Bad weather can provide exciting chances to improve your photos. For example, snow can transform a landscape into a striking minimalist scene.

If the skies are overcast or it is raining, either head to a river for your photography or venture into woodlands where there is more cover for taking pictures.

vital-things-photographing-landscapes

Canon 5DSr, 16-35mm f2.8L III USM, 18mm, 15 sec, f/11, ISO 100, Manual Mode, Pattern Metering. © Jeremy Flint

The weather can influence a landscape with its changing patterns of light. As the sun and clouds come and go, shoot the diversity of the scene as it develops.

5. Atmospheric conditions

Atmospheric conditions can really help to lift your landscape images. A hint of mist can make an uninteresting scene look moody and interesting. Mist swirling around a group of trees or encircling a building can look spectacular, especially in the right light.

You can use fog to create mystical-looking images too.

Image: © Jeremy Flint

© Jeremy Flint

6. Interesting elements

The final suggestion to shoot quality landscapes is to add an extra element of interest in your shots. You can go for a tree, water, people, or even parts of the landscape, such as a fence or gate.

Experiment with different compositions and come up with a view you like. The extra element will help give scale to your pictures and bring out another interesting side to the scenery.

Image: Canon 5DSr, 16-35mm f2.8L III USM, 18mm, 1/30 sec, f/11, ISO 100, Manual Mode, Pattern Meteri...

Canon 5DSr, 16-35mm f2.8L III USM, 18mm, 1/30 sec, f/11, ISO 100, Manual Mode, Pattern Metering. © Jeremy Flint

Conclusion

In summary, changes in the weather can be both subtle and extreme, creating incredible moments to capture the landscape. Consider things such as showers, sun, cloud cover or clear skies when photographing landscapes.

Also, look for the seasonal changes in crops and take advantage of dramatic light as it casts its rays over a magical view.

Mist and fog can be the icing on the cake for landscape photography as they add an element of drama and can lift your images from great to spectacular. Also, include a person or building in your landscape shots for interest and scale.

Do you have any other tips for photographing landscapes? Perhaps you’d like to share some of you landscape shots with us? If so, please do so in the comments!

 

The post 6 Vital Things to Look for When Photographing Landscapes appeared first on Digital Photography School. It was authored by Jeremy Flint.


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BTS: A look at the incredible planning, camera work and editing that went into the WWI film ‘1917’

22 Jan

Movies Insider has released a ten-minute behind-the-scenes look at the Golden Globe-winning film ‘1917,’ showing the incredible amount of thought, planning, camera work and editing that went into the World War I film that’s made to look as though it was captured in one, continuous shot.

The behind-the-scenes video shows how meticulously Cinematographer Roger Deakins (The Shawshank Redemption, Fargo, A Beautiful Mind, Skyfall and Sicario) and director Sam Mendes (American Beauty, Skyfall, Spectre) worked together to plan each and every shot, down to the second. From creating miniature dioramas to plan out the paths of the actors, cameras and lights to the vast array of gimbal and camera setups used, the video covers it all with great snippets of pre-production footage and interviews with the film’s creators.

Do yourself a favor and set some time aside to see the cinema magic that went into this Oscar-contender film.

Articles: Digital Photography Review (dpreview.com)

 
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First look at the Nikon D6

10 Jan

Nikon D6: First look

We don’t know much about Nikon’s forthcoming pro sports flagship camera, but CES 2020 did give us an opportunity to get a first look – albeit at a sample under glass. Click through this slideshow for a closer peek, and a digest of what (little) we know so far.

Nikon D6: First look

It’s no surprise to see that the D6 looks a lot like the D5. In fact, aside from the slightly more D850-inspired sculpting of the pentaprism you’d be hard pressed to tell the two bodies apart. As Nikon’s high-end DSLRs have matured, it’s pretty much inevitable that we’re not going to see major changes to body shape or control layout.

From the front you can see the D6’s deep vertical grip, which houses a high-capacity lithium-ion battery, and the heavy duty rubber covers which protect its remote control and flash sync ports from dust and moisture.

Nikon D6: First look

From the back, the D6 is again almost indistinguishable from the D5. There are in fact no noticeable changes to button layout at all compared to the previous model. While unconfirmed, the LCD looks to be the same or very similar to the D5, too. Assuming we’re right about that, it’ll be a 3.2″ panel. We fully expect the D6 to follow the D5 in offering back-lit controls for low-light shooting, too.

The D5 was among Nikon’s first DSLRs to offer 4K UHD video, and we expect the D6 to build on this feature set, perhaps also offering an enhanced video / live view autofocus experience of the kind we’ve seen in the new D780.

Nikon D6: First look

The D6 features the same unusual eyecup attachment method as the D5, with the cup screwed into a removable panel, which releases via a pair of catches to the lower left and right of the finder. This view shows off the D6’s large upper status LCD, which displays key exposure settings, battery level, etc.

It remains to be seen what kind of autofocus features the D6 will offer, but we still consider the D5 to be a gold standard for DSLRs, so any improvement on its excellent 153-point system will just make a great system even better. What we really want are improvements to live view autofocus, to bring the D6 more in line with what we’ve seen from the Z6 and Z7 (and now the D780). We’ll have to wait a while longer to see whether our wishes are fulfilled.

Nikon D6: First look

On the opposite side of the D6’s top plate is the main drive mode dial, which lets you quickly select from a range of advance options. No word yet on maximum framerate, but we’d expect a jump from the D5’s maximum shooting rate of 12fps. The trio of buttons which top this dial are MODE / BKT / metering pattern, and are unchanged from the D5.

Eagle-eyed readers will also notice the WiFi and Bluetooth symbols printed on the D6’s shoulder.

Nikon D6: First look

A view from the top shows off the D6’s fairly sparse upper controls, which will be very familiar to D5 and D850 shooters. While – again – unconfirmed, the seam in the pentaprism hump just in front of the hotshoe looks a lot like a polycarbonate ‘window’ for those previously-mentioned wireless connections and / or GPS.

And that’s it – for now. We’re hoping for more information on the D6 soon, ahead of its expected release before the Tokyo Olympics this summer. We’ll keep you posted!

Articles: Digital Photography Review (dpreview.com)

 
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RAW Photo Editing in Lightroom: How to Make Your Photos Look Real to Life

05 Jan

The post RAW Photo Editing in Lightroom: How to Make Your Photos Look Real to Life appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

dps-raw-photo-editing-in-lightroom

RAW photo editing in Lightroom is necessary to make your photos look realistic. Saving your photos as RAW files, they will not look like what you see with your eyes. Photos your camera captures look different than how we see. This is especially so in high-contrast lighting.

We can see more detail in highlights and shadows. This will change as camera technology advances.

RAW files are always flat and dull-looking before post-processing. RAW photo editing is necessary to balance the light and color to get your photos looking lifelike.

RAW Photo Editing Edited Beetle

Edited image made to look more vibrant and lifelike from the original RAW file. © Kevin Landwer-Johan

Don’t believe what you see

Chimping will rarely give you a true picture of the detail in your RAW images. What you see on your camera screen is a JPG photo that contains less information than the RAW file. This is different for each make and model of camera. You need to use your imagination and fill in where there appears to be no detail. You must also consult your histogram to keep your imagination in check.

You can extract more detail during RAW photo editing than is displayed on your camera’s monitor. Know your camera well and how the RAW files respond when you post-process them. Then you can have a better idea when you chimp your pictures.

What shows on your camera monitor after you take a photo may show loss of detail in the highlights or shadows. High contrast lighting exaggerates this. Learn to recognize the difference between what you are looking at and the way the pictures of it look. This will help you make better exposure choices.

Having presets active when you import photos to Lightroom will alter the images. Otherwise, images import as the camera recorded them. I prefer to have all my Lightroom settings at zero when I import. This means that when I start my RAW photo editing, I know precisely what I am dealing with.

RAW Photo Editing Zeroed Beetle

Original, unedited image showing all the Lightroom sliders zeroed. © Kevin Landwer-Johan

RAW photo editing from scratch

Lightroom has many presets. Some of them come with the software, others you can download and install. Many of them, when applied, will give your photos a somewhat surreal look. You can create:

  • Monotone images
  • Add a sepia look
  • Saturate or Desaturate
  • Colorize, Posterize and Solarize

Gimmicks abound. Sometimes applying a creative preset can enhance a photo. The ways you can transform your photos are endless.

RAW Photo Editing Cool Light Beetle

RAW image wit a ‘Cool Light’ preset applied. © Kevin Landwer-Johan

You can edit to make photos look however you want them to. It’s up to your creative ideas. But often you will want to edit your RAW photos to make them look realistic.

When you edit RAW photos for a natural-looking result, keep in mind how you saw what you photographed. How was the lighting? Was it high or low contrast? Did it have a warm or cold cast? Was it more neutral? What did the colors look like? If you consider the reality of a scene then you can recreate this during RAW photo editing.

Thinking about what you saw when you were taking your photos will help you edit them more realistically. It’s not always possible to remember clearly. This is when you need to think objectively and aim to find a balance in lighting, contrast, and color when you working on RAW photo editing.

Find a balance – what looks right?

Editing your photos so they look real to life means you must find the right balance. In Lightroom, the sliders I use most often to achieve this are (in no particular order):

  • White Balance Temp
  • Exposure
  • Highlights
  • Shadows
  • Blacks
RAW Photo Editing Edited Flower

Use the sliders on the Develop Module to make photos look life like. © Kevin Landwer-Johan

The other sliders in the Basic panel I will use less often. Their use depends on the lighting condition from when I took the photo. At times I will make alterations to individual colors using the Saturation and Luminance sliders. You can find these in the HSL/Color panel.

There are many ways to achieve similar results in Lightroom. The ones I mention here are the ones I find to give me the best results. If you prefer an alternative way of doing the same thing, please share it in the comments below.

Photos taken at different times of the day and night require editing to suit the lighting. Whether the light is high or low contrast will also make a difference. Photos taken on a sunny day require different editing to photos you take when it’s cloudy, or you’re indoors.

Don’t overdo any of the changes you make. Avoid pushing sliders to their extremes. This will help you keep a more realistic look to your photos. Once you start having to max out the sliders, you will find that image quality begins to deteriorate. Pixelation, banding, and other imperfections will begin to appear.

RAW Photo Editing Zeroed Farmer

Zeroed Settings

RAW Photo Editing Edited Farmer

Sliders adjusted to make the photo more realistic-looking. © Kevin Landwer-Johan

Contrast and exposure challenges

How well-exposed your photos are will affect the amount of effective RAW photo editing you can carry out. When you have to push sliders to their extremes, it’s usually a sign your photo was not well exposed. It can mean the contrast range in your composition is too broad for your sensor to capture detail in both the shadow areas and highlights.

RAW photo editing has its limits. You will not always be able to make a photo look like what you saw. This is most often true when contrast is high because camera sensors are still more limited than how we see.

Generally, aiming to bring down the highlights and draw up the detail in shadows will make a photo look more real to life. If an image was poorly exposed, in part or whole, it is more challenging to make it look how you remembered seeing it.

RAW Photo Editing Edited Orchid

Hard light with overexposed highlights. © Kevin Landwer-Johan

To avoid this, compose your photos so that the contrast range you capture is within the dynamic range of your camera. If there are very bright and dark areas in your composition, recompose. Aim to have the tone range narrower. This often means taking photos where there’s no bright lights or deep shadows in your frame.

If you can not do this, don’t be overly concerned about losing detail in the highlights, as this is not such a problem. In bright lighting conditions, our eyes will often not be able to see detail on light-colored or very reflective surfaces. We will still be able to see detail in the shadows.

Setting your exposure so you can capture shadow detail will make it easier to edit the RAW photos in Lightroom. This will help you get them looking realistic.

RAW Photo Editing Edited House

Edit each photo individually to get them looking most realistic. © Kevin Landwer-Johan

Think about Lightroom RAW photo editing when you take photos

When you take photos, consider the changes you can make to your RAW images later. The more photos you take and edit, the more naturally this will occur.

Thinking about what you can do in post-production might seem like cheating to some. I don’t see it that way. It’s a matter of working with the tools we have available to us. Modern digital technology gives us opportunities to make photos look more realistic.

When RAW photo editing well-exposed images, you can make them look real to life when this is your intention. Having well-exposed RAW files means you can balance light, contrast, and color.

Have a look back over some photos you have post-processed recently. Do they look how you remember seeing what you photographed? How could you alter them to make them look more real to life?

The post RAW Photo Editing in Lightroom: How to Make Your Photos Look Real to Life appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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