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Posts Tagged ‘Mistake’

Opinion: Fujifilm’s decision to omit the headphone jack on the X-T4 is a mistake

28 Feb
Want to monitor audio while shooting video on the Fujifilm X-T4? You’ll need a dongle.

Just a quick warning: I’m going to clobber Fujifilm a bit in this column. But not until I praise Fujifilm.

A few short years ago, Fujifilm was the last camera company I associated with great video. At a time when competitors’ cameras were capturing serviceable 1080p footage, Fujifilm’s models slotted in somewhere between the Fisher Price Elmo video camera and the iPhone 4 in terms of video quality.

A ‘worst to first’ story?

My, how times have changed.

Today, Fujifilm is a shining example of what’s possible when a traditional camera company decides to tackle the challenge of video. There’s no complacency here, and in recent years the company has not only caught up with, but surpassed, many of its competitors in key areas. Recent models deliver beautiful 4K video, 10-bit color and support the H.265 codec up to 400 Mbps. F-Log gamma provides post-processing flexibility, and the gorgeous Eterna film simulation delivers beautiful cinematic footage.

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Fujifilm’s early efforts at video were less than spectacular. In recent years, however, the company stepped up its game and is a top contender in the mirrorless arena.

With the X-T4, Fujifilm dials it up a few more notches. In-body image stabilization, separate menus for stills and video, F-Log view assist for visualizing a LUT in-camera, 240 fps recording, a dedicated Q-menu for video and much more show that Fujifilm is serious about appealing to video shooters.

That’s why its decision to omit a headphone jack from the X-T4 is simply mind boggling, especially considering that the X-T3 includes one. Here’s the problem: being serious about adding features that people want and recognizing how customers actually use your product are two different things.

Being serious about adding features that people want and recognizing how customers actually use your product are two different things

For all the great improvements – and they are great – the X-T4’s design overlooks one of the most basic principles a video shooter cares about in the field: a reliable workflow with as few points of failure as possible. Every time you introduce something like an adapter between connectors you increase the risk of something going wrong. Some things will always go wrong in the field, but there are certain key things that just can’t go wrong, and the ability to monitor audio is one of them.

I’ve been here before

I was an early adopter of mirrorless cameras for video work and embraced models like the Panasonic GH2. There was a LOT of room for improvement in that camera, but I found reasonable workarounds for most things.

However, it had a big Achilles heel, and it’s almost the same one as the X-T4: it used a non-standard 2.5mm microphone jack that was incompatible with the standard 3.5mm plug on most hot shoe microphones (like the Rode VideoMic series).

I ordered a couple adapters and threw them into my bag, but adapters and dongles have a habit of disappearing or failing without warning. As a result, I subsequently ran into several situations where I couldn’t connect a microphone due to a missing or, in at least one case, a defective adapter. Was it the end of the world? No, but it was very disruptive and frustrating, particularly since the camera included a jack – just a non-standard one.

Requiring an adapter to monitor audio on the X-T4 is reminiscent of Panasonic’s decision to use a non-standard 2.5mm microphone jack on the GH1 (above) and GH2 – something that wasn’t popular among videographers.

When this happened, it didn’t matter how capable the GH2 was when it came to video quality. The fact that it introduced a point of failure to one of the most fundamental parts of my workflow did. Where will you be when you discover you’re missing the USB adapter for the X-T4? I don’t know, but the things I do know are 1) it’ll be precisely when you most need it, and 2) USB to 3.5mm adapters aren’t the easiest thing to replace quickly, unless you’re lucky enough to be close to a big box or electronics store.

If fairness to Fujifilm, there’s one way to get a headphone jack on the X-T4: you can use the battery grip. This may appeal to some people, but unless you need the grip it’s basically a really big dongle. The headphone jack should really be an integral part of the camera.

Why Fujifilm needs to get this right

Some may argue that the X-T4 isn’t a ‘real’ video camera, and therefore omitting a headphone jack isn’t a big deal. You’re right: it’s not a C200 or an FS7 or anything else in that class. It doesn’t have XLR inputs, SDI connectors or any number of other things. Also, one could fairly argue that the Fujifilm X-H1—a camera we praised for its video capabilities—had the same limitation, so why complain?

Because the basic definition of what a video camera is has evolved, particularly in the prosumer market; whether for size, budget or just familiarity, many creators—including enthusiasts exploring the world of video—are now using mirrorless cameras to produce content that would have required a pro video camera in the past.

Fujifilm, if you want to appeal to videographers please don’t introduce a potential point of failure to a critical part of the workflow.

I’m convinced that Fujifilm is trying to appeal to these users, and it’s certainly getting their attention with a product like the X-T4. Not only can it shoot beautiful video, but it’s a pretty self-contained, stand-alone solution thanks to all the tech packed into it.

Which is why removing a feature that’s so critical to the video production workflow, and which was included on the camera’s predecessor, is simply baffling. It suggests that while Fujifilm has done an amazing job of adding features that videographers will love, it still doesn’t quite understand how they work.

Despite what I’ve written here, I’m really looking forward to using the Fujifilm X-T4 to shoot video. It’s an exciting camera and I already know I’m going to love it, but I’ll have several USB to 3.5mm adapters in my possession before I commit to using it for anything serious.

Articles: Digital Photography Review (dpreview.com)

 
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How to Avoid This Travel Photography Mistake: Taking Snapshots

10 Dec

The post How to Avoid This Travel Photography Mistake: Taking Snapshots appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

avoid-taking-snapshots-in-photography

When I teach travel photography workshops, I am always quick to encourage people not to rely on interesting subjects. An interesting subject does not always make a good photo. A good photographer does. So, in this article, you’ll learn to avoid just taking snapshots.

avoid-taking-snapshots-in-photography

© Kevin Landwer-Johan

Travel snapshots

Taking snapshots when you travel is so easy. You find yourself in different, stimulating environments. They’re packed with exotic, compelling subjects provoking you to squeeze a quick photo as you rush by. Thinking the impressive subject is enough to create an appealing photograph is a mistake.

Pay attention to lighting, timing, and exposure. Taking snapshots without this care rarely hold anyone’s interest. You might find the most fascinating subject and not do it justice due to a lack of attention or time given to it.

Also, be careful of misconceptions about camera equipment. There are two main ones I notice.

‘I have a professional camera, so I take professional photographs’.

Just as a good subject does not make the photograph, nor does a good camera. A good photographer makes good photographs. Don’t rely on your camera to be creative. It cannot be. It is smart, that’s for sure. The artificial intelligence in modern cameras is phenomenal, but they are not creative. You are.

avoid-taking-snapshots-in-photography

© Kevin Landwer-Johan

‘I only have my phone or compact camera so I can’t take good enough photos’.

You don’t need to stick to taking snapshots with a compact camera or phone. Don’t limit your creative expression because of the equipment you use. Sure, there are limitations with that kind of camera. You can still creatively capture interesting subjects when you put your mind to it.

Take your time

Slow down a little and think about how to make whatever it is that’s interesting into a great photo. Don’t rely on the subject alone. Every place you go, from Thailand to Turkey, you’ll find compelling subjects.

Something iconic needs to be treated with more imagination because everyone photographs it. To capture a photo of a monk in Chiang Mai or the Istiklal tram in Istanbul, you need to think outside the box. Everyone who’s been there has snapshots of these subjects.

Take your time when you find something engaging to photograph. Think about the lighting. Consider the best angle to photograph it from. Check out the background and make sure it’s relevant. Look at it for a while and ask yourself why you want to take a photo of it.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Don’t take only one photo

The first composition you make will not always be the best. Often it will be the most clichéd. The one everyone else takes.

Experiment with different angles and lens focal lengths. Make horizontal and vertical compositions. Try a dutch angle or two.

Always think about filling your frame. What’s within the edges of your viewfinder or monitor? Is everything you can see relevant and supporting your main subject? If not, do something about it. Change your angle, aperture or lens. Or wait. Sometimes you have to pause for people or traffic to move out of the background space. This will help your subject will stand out.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Be in control of your camera

Relying on an auto exposure mode and averaged metering gives you predictable results. Your camera is programmed to make even exposures. It’s not going to choose to expose for the highlights and let what’s in the shadows fall into blackness. Nor is it going to selectively slow down your shutter speed and purposefully allow motion blur to happen. You have to do these things.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Knowing your camera and how to control it will help you intuitively see when you can incorporate creative techniques. This will diversify the photographs you take. If you’re happy to use your camera like a point-and-shoot, then snapshots will fill your travel photo albums.

Taking your camera off the auto settings can force you to slow down (until you become more familiar with it). You can then think about all aspects of picture-taking at a more relaxed pace. Great photos are rarely quick.

Even most of the best street and travel photos are not taken on the spur of the moment. They are planned. They are preconceived. They are anticipated before the action happens, or the light becomes perfect.

When you do see something amazing happening and must react quickly, flick your camera back to auto. Take a few photos, and then, if you still have time, pop it back onto manual mode. Now you can get creative with your aperture and shutter speed.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Take a travel photography workshop rather than a tour

Many people use their camera predominantly when they travel. People have more time to take photos of interesting subjects when they travel. The problem is remembering all those settings. How can you get the most out of your equipment when you seldom use it?

Taking a travel photography workshop at the start of your vacation or journey will kickstart your creative process. You can learn to be more confident with your camera when you have a better understanding of how it works.

Picking up your camera and being stressed because you’re uncertain if it’s going to do what you want is not fun. A good tutor will walk you through the essentials of using your camera and build your confidence to do so.

A workshop will also give you hands-on experience on location. You’ll learn how to see the most interesting subjects and what to do with them. On a photo tour, all you usually get is a guide showing you interesting things to point your camera at. A workshop will equip you to take great photos wherever you go because you’ll learn how to use your camera in a multitude of different situations.

avoid-taking-snapshots-in-photography

© Pansa Landwer-Johan

Avoid photographic clichés

It’s not difficult to avoid photographic clichés when you stop and think about it – even with iconic subjects. Slow down and enjoy the moment. Create a beautiful memory of it by thoughtfully composing your photos instead of taking snapshots.

Diversify your research. Don’t rely on Instagram to show you where the best photo opportunities are to be found. These are the places everyone will go and take the same boring pictures.

Think outside the box. Infuse your photos with creativity by looking for alternatives. Even if your subject is iconic, make it fresh and new in the way you choose to photograph it.

Do you have any other tips on how to avoid taking snapshots when doing travel photography? Do you have any stories to share? Please do so in the comments section.

The post How to Avoid This Travel Photography Mistake: Taking Snapshots appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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The Fujifilm X-Pro 3: Marvellous or Mistake?

29 Sep

The post The Fujifilm X-Pro 3: Marvellous or Mistake? appeared first on Digital Photography School. It was authored by Carl Spring.

Image: A marvelous innovation or a stupid mistake? Whatever your opinion, the new Fuji X-Pro 3 defin...

A marvelous innovation or a stupid mistake? Whatever your opinion, the new Fuji X-Pro 3 definitely has people talking.

Cameras are pretty similar these days. We all want the same things. Better dynamic range, better high ISO performance, and better autofocus. 

Really, if you look at the majority of cameras out there at the moment, there are few things that set them apart. That was until Fuji dropped the X-Pro 3. 

They did what with the screen?

In an incredibly bold move (or stupid, depending on which blogs you read), Fuji has done away with the standard rear LCD screen of the camera. They’ve replaced it with a much smaller screen.

It simply displays the key exposure information, or in a nod to the film cameras of days gone by, an image of the film simulation you are using.

The rear screen is not entirely gone though (although they apparently considered it). Instead, it is hidden from view and accessed via flipping it down from the rear of the camera.

Fuji claim this is to stop photographers spending time “chimping” and spending more time with the viewfinder to their eye instead, concentrating on making images.

Pure photography

Fuji launched the camera at the recent Fuji Summit where the Fujifilm X-Pro 3 was announced with a theory of Pure Photography.

The 3 elements of pure photography are:

Carry and access

You need to carry the camera and access the subject. This stated the camera has to be small, light and discreet. They state the camera should be an extension of your eye. This is then followed by talking about the durability of cameras.

Find and frame

You need to find the subject and frame it to get the best composition. Fuji stated that the viewfinder is the most important part of finding your composition.

Shoot to express

This is simply pressing the shutter and capturing the photograph. You don’t need to check a rear screen or distract yourself, you simply need to press the shutter. 

This concept is definitely summed up in the Fujifilm X-Pro 3. Personally, the idea of removing distraction is appealing, and I’m sure I’m not alone. However, whether this camera has mass-market appeal remains to be seen. Fuji’s X-Pro line (including the x-Pro 1 and X-Pro 2) has always been a favorite of street photographers, and this is how Fujifilm are marketing the camera and the pure photography concept. They are marketing to those who want discretion and to focus purely on making the image.

I can imagine many wedding photographers loving this camera too. Not only for the discretion it offers when shooting, but for the fact that you will be thankful for the lack of a screen every time a tipsy relative asks, “give us a look.” It may even suit travel photographers.

OK, they killed the screen, but what else?

The Fujifilm X-Pro 3 had a couple of other things that are worth mentioning – starting with the choice of materials.

The use of titanium is something that Fuji has surprised many with. Titanium is more durable and lighter than the alloys seen in most modern cameras. Titanium is also notoriously hard material to work with, so we should applaud Fuji by the use of this in the X-Pro 3.

This means that the XPro 3 should stand up to the beating a working professional will give it.

Not only is it made of titanium, but it gives you three color options. You can get the X-Pro 3 in black, DURA black and DURA silver. DURA is a special type of coating that is ten times stronger than stainless steel in terms of scratch resistance.

It feels like Fuji built this camera for war zones.

Image: Available in 3 different finishes, two of which are designed to make the titanium body even m...

Available in 3 different finishes, two of which are designed to make the titanium body even more resistant to wear and tear.

The X-Pro 3 has Fuji’s hybrid viewfinder system. Fuji has upgraded this for the new model. It is set to be clearer, with a wider field of view and less distortion than previous models. The electronic viewfinder is also upgraded (as you would expect) to offer a higher frame rate, higher contrast, and a wider color space – finally, a set of specs that fit into the traditional camera upgrade.

The lack of a screen is something that differentiates the X-Pro 3 in Fuji’s camera lineup. In fact, this differentiates them from the camera market as a whole right now. Fuji has aimed this camera at a specific type of photographer. It remains to be seen whether there are enough of their market to allow this camera success.

If you want to watch the whole of the XSummit announcement, you can view it below. If you’re just interested in the X-Pro 3, skip to about 1:10 or so.

What are your thoughts on the Fujifilm X-Pro 3? Is it something that you are intrigued by? Or, did Fuji just make one hell of a mistake? Let me know in the comments below.

fujifilm-x-pro-3

The post The Fujifilm X-Pro 3: Marvellous or Mistake? appeared first on Digital Photography School. It was authored by Carl Spring.


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6 Mistake to Avoid When You’re Starting Out in Photography

15 Jan

Like most hobbies or professions, every photographer started out somewhere. This usually means they also made mistakes along the way from which they have learned.

The thing to remember is that everyone makes mistakes – even seasoned pros might on the odd occasion get things wrong, but the key is to learn from your mistakes and move on. As you become more experienced the mistakes will get less and less, but in the meantime, here are six mistakes to avoid when you’re just starting out in photography.

6 Mistake to Avoid When You're Starting Out in Photography

#1 – Avoid Skipping Over the Camera Manual

I often get asked if I have any advice for people starting out in photography and my first tip is to read the camera manual cover to cover. Even now, whenever I upgrade my camera I always read the manual a couple of times. Besides the fact that your camera is the tool you need to use to capture photos so you need to understand how to use it, the manual also has a wealth of information about photography.

Set yourself a task of reading each part over and over again until you understand it, then practice it using your camera until it becomes second nature to you. In an instant, you should be able to change settings, focus points, review images, and so on.

Cameras these days offer so many possibilities and you can only use your camera to its full potential if you know and understand everything about it.

6 Mistake to Avoid When You're Starting Out in Photography

#2 – Avoid Blaming Your Gear

Every new photographer has probably at some point early on in their photography journey said the words, “If only I had a better camera I could take better photos”. While better cameras allow you to take better photos by giving you more control, bigger image sizes, less noise, etc., that alone will not make you a better photographer and thus make you capture better photos.

A good photograph requires that many elements come together and regardless of the camera that you have, a boring or uninspiring subject will still be boring and uninspiring even shot with the latest high-end camera.

If you really want to improve your photography, first you need to improve the creative and visual elements. Things like being able to light the scene or subject nicely, compose/frame your image correctly and actually find interesting opportunities to photograph. Once you have mastered these parts, your photos will look better regardless of the camera you are using.

6 Mistake to Avoid When You're Starting Out in Photography

#3 – Avoid Skipping the Theory Parts of Learning

Like most things, the more you practice photography the better you will become. It’s easy to forget that there is actually some science and theory behind photography.

Now while you don’t need to understand every intricate part of the theory (unless you want to) and be able to recite color temperatures off by heart, it still does help if you know some of the basics. It can help you in your photography, but also it can give you an indication of the limitations of modern day DSLRs.

The great thing is that there is tons of information about photography online these days and you can learn as much or as little as you want to, at your own pace, in your own time.

6 Mistake to Avoid When You're Starting Out in Photography

#4 – Avoid Comparing Yourself to Others

When you are starting out in photography there will always be a part of you that looks at your work and compares it to other people’s. While you should always look at other photographer’s work and be influenced by those who you admire, trying to compare yourself to others is not only a pointless exercise but it might actually be detrimental to your long-term success.

You will find yourself trying to copy other people rather than developing your own style which is what can help you and your photos stand out from the crowd. So don’t get consumed by comparing your work to others, view other people’s work with admiration but never envy.

6 Mistake to Avoid When You're Starting Out in Photography

#5 – Not Being True to Yourself

One of the great things about photography is that you could send a brief to multiple photographers and they will all likely come back with different work. Whether it’s in their interpretation, their vision or their style – the key is that their work will all probably look different even if that difference is subtle. It’s this uniqueness that makes photography such a wonderful art form to be involved in. But all of those photographers have one thing in common and that is that they stay true to their own way of working.

Sure, at times you’ll have to adapt when working for clients on a brief, but when photographing for yourself, there should always be a synergy in your work. If you want a test to see if you have developed your own style, lay out a whole load of your photos on a table. You should immediately see a connection between them. If you don’t, then ask yourself why and try to understand what is different.

6 Mistake to Avoid When You're Starting Out in Photography

#6 – Not Doing What You Love

Most photographers will tell you that they absolutely love what they do, and they wouldn’t want to be doing anything else.

If photography is a hobby for you, why would you want to photograph something you don’t enjoy? Most people get into photography with a part of it that they really enjoy. For some, it’s travel images, for others, it might be food or weddings. Some people like shooting wildlife photos and others like sports photography.

Whatever your passion is, you’ll be far better off focusing on the things you love photographing rather than things you don’t enjoy as that passion will likely be shown in the quality of your work.

6 Mistake to Avoid When You're Starting Out in Photography

Conclusion

While this may seem like an obvious list, it’s incredible how often people still fall into these pitfalls. If you want a few more mistakes to avoid – go here.

Photography for many people is a hobby, and as such should be like any other hobby, an enjoyable activity. Avoid these beginner pitfalls and you’ll be sure to enjoy your photography even more and it will show in your work.

The post 6 Mistake to Avoid When You’re Starting Out in Photography by Kav Dadfar appeared first on Digital Photography School.


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Switching from LEE to NiSi Filters: Was it a Mistake?

17 Mar

Filters are rapidly becoming an essential piece of equipment in most photographer’s camera bag. However, as the demand grows so does the number of suppliers; Lee, NiSi, Formatt-Hitech, Wine Country Camera, and more.

Switching from LEE to NiSi Filters: Was it a Mistake?

Choosing the right filters isn’t as easy as it sounds. High-quality filters are rarely cheap and many of us can’t afford to spend hundreds of dollars on a product that doesn’t meet our expectations. The price of ND Filters varies from $ 10-200+ which means that you don’t need to buy the most expensive (even though the price in many cases does also reflect the quality).

About one year ago I was contacted by a Chinese brand named NiSi and invited to test their products. Initially, I was a bit skeptical as I knew little about them and I haven’t had a great experience with Chinese equipment previously (unfortunately). This is my experience with their filter system and filters one year later.

First Impression

The NiSi Filter System provides a positive impression straight out of the box. The filter holder is contained in a beautiful leather box, just like the filter pouch.

I won’t spend too much time talking about the packaging, as I believe the filter quality is more important. Still, it is worth mentioning that the presentation is beautiful and it looks exclusive right away. The only drawback to these beautiful leather boxes is that they are a bit large and they take up a lot of space in your backpack compared to smaller pouches such as LEE’s. However, if it takes too much space you can just remove the holder and leave the box at home.

NiSi Filters

The NiSi Filter Holder and Circular Polarizer Box

The Filter Holder

During the first couple of weeks using the NiSi Filters, I wasn’t quite sure whether I preferred their filter holder or the one made by LEE (which I had been using for more than two years). The NiSi holder is made of metal compared to LEE’s which is made of plastic, but it also seemed slightly less stable. Since the clips are so small I was afraid that the filter holder would fall off the adapter.

After having used the system for nearly one year, however, I’m no longer in any doubt that the NiSi holder is better. I’ve had no problems with neither the V5 Holder (standard for most lenses) or the larger holder for my Nikon 14-24mm.

NiSi Filters

NiSi Filters on my Nikon 16-35mm f/4

Also, the NiSi Filter Holder has one of my all-time favorite features. It has the possibility of having a Circular Polarizer behind the Graduated Neutral Density (GND) or ND Filters, and it is easily adjustable using a small wheel.

I’ve always found it hard to combine a Polarizer and Graduated or regular ND Filters. Either you need to screw the Polarizer on the lens and attach the holder outside, which usually results in vignetting. Or you need to purchase an adapter and a huge Polarizer to place in front of the lens (which also often leads to vignetting). NiSi has completely removed this problem and it’s never been easier to combine these filters. I’ll come back to the NiSi CPL in a bit.

It’s also worth mentioning that you are able to use other brands’ filters in the NiSi holder. I’ve tested with both Singh-Ray and LEE filters and it works perfectly fine, though it can be a little tight to insert them.

The Filters (ND, GND, CPL)

So, the filter holder proved to be of high quality but what about the actual filters?

NiSi filters

NiSi 6-Stop Neutral Density Filter on the Nikon 14-24mm Holder

When I evaluate filters there are two main things I look for; colorcast and quality of the glass. This was my biggest worry in the beginning since, as I mentioned, I was already pleased with my current system.

NiSi Neutral Density Filters

One of my biggest frustrations with the majority of filters I’ve tested so far is the color cast. Worst of them all, despite being a great filter otherwise, is LEE Filters. I had used LEE Filters for years and had gotten used to the heavy blue color cast. Even though it’s fairly quick to fix in Adobe Lightroom or Camera RAW, it feels unnecessary to repeat this step each time you bring out a six or 10-stop ND filter.

NiSi filter 10-stop ND

To the left: No filter – to the right: NiSi 10-stop ND filter.

Even though I initially had no intent of switching from LEE. But I would consider it if I found the color cast to be significantly less and the quality of the glass to be no less. My biggest surprise when taking the first image with my new NiSi 10-Stop ND Filter was that there was absolutely no color cast. Nothing. Nada. I honestly had to rub my eyes a few times to make sure I saw it correctly. No heavy blue color cast, no bright yellow. Nothing.

This is a big reason why today, more or less, I only have NiSi Filters in my camera bag.

Another benefit of the NiSi filters is that the filters are of glass, not resin. This makes them more durable, harder to scratch and (most importantly…) easier to clean! All the ND Filters (regardless of strength) have a soft foam/sponge on the back to avoid any light leaks. This is similar to LEE’s Big Stopper and Little Stopper but NiSi also has it on their lighter ND Filters.

NiSi Graduated Neutral Density Filters

The NiSi Graduated Neutral Density Filters have a slightly warmer color cast compared to LEE. However, the color cast is so little that it’s hardly worth mentioning. The same goes for LEE; the GND color cast is hardly noticeable at all.

Again, the NiSi filters are glass, not resin, which makes them harder to scratch and damage. This is great for outdoor photographers who often find themselves in less than ideal situations. After a year of using these filters regularly, I still haven’t got any scratches besides the few on the edges as a result of being placed in and out of the filter holder. These scratches aren’t visible on images, though, and are completely normal for any brand.

While I do like the NiSi GND Filters, my only issue is that the color cast of the 175mm (for my Nikon 14-24mm) is more visible than on the V5 holder. I only recently received this filter so I haven’t been able to do extensive tests on it yet. But at the first glance, it was a yellowish cast in the upper part of the filter.

NiSi Circular Polarizer

As I mentioned in the introduction, the NiSi Filter Holder has one of my all-time favorite features of a filter system; the possibility of placing a Circular Polarizer inside the holder.

Compared to most other brands, NiSi’s Circular Polarizer is extremely slim. I was actually surprised by how thin it was when I first saw it and, honestly, that gave me a negative first impression.

NiSi filters

NiSi Polariser inside the V5 Holder

Being able to insert the CPL within the holder and adjust it by turning a tiny wheel is a brilliant solution, though. Despite the fact that I felt like the filter was a bit too thin and perhaps not as high-quality as the other filters, it’s a more convenient solution than stacking a huge CPL outside of the other filters (and a more affordable option as well).

After testing the CPL for a while I concluded that the quality is in fact as good as my current B+W CPL and the color cast is, again, not a problem.

The biggest drawback is that you’re not able to use only the CPL without the Filter Holder. Since the CPL is placed in a special thread inside the holder you can’t place it on the lens without the holder. I often prefer to keep my CPL on the lens when walking around a city or going on a hike. This isn’t a good option with the NiSi CPL, unfortunately, so I still bring my B+W filter with me.

Besides the fact that it’s not as portable as other options the quality meets my demands. Therefore, I hope that they make an extra option where it’s easy to leave it on the lens at any given time.

Was it a mistake switching from LEE? 

It’s been almost a year since I got my first NiSi Filters now and every week I’m asked what I think about their filters and if it’s worth switching systems.

I think it’s important to state that I never considered switching from LEE and I was very satisfied with their filters and I still believe that they are among the best available on the market. However, I do not regret switching and I love using filters that have little-to-none color cast, while still being of a high quality.

The post Switching from LEE to NiSi Filters: Was it a Mistake? by Christian Hoiberg appeared first on Digital Photography School.


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The Biggest Legal Mistake Photographers Make

11 May

Whether photography is your bread and butter, or something that you’ve started out doing casually with machinations of eventually picking up a few paid gigs, you’ll want to acquaint yourself with a sexy little document we lawyers like to call, the Client Service Agreement (or CSA, for short).

Lucas

By Lucas

CSAs are, as their name suggests, agreements that you, as a photographer, make with anyone who wants to pay you for your photography. Again, we’re not just talking to the professionals here. We’re also talking to those of you with your entry-level DSLRs shooting your friends’ weddings or head-shots on the occasional weekend. Food, selfies, and your niece’s birthday party might be the only things in front of your lens at the moment, but as your skills improve, so will recognition for your photography. It might not be long before folks start offering you money here and there for your work. When that moment comes, you want to be prepared to accept the gigs offered to you, while presenting yourself as a professional, and covering your rump in case things go wrong. How do you do that? You guessed it – with a CSA. It is a huge legal mistake photographers make not having a formal agreement or contract.

Why we all need CSAs. Yes, even you, part-timer.

Before we get into what a CSA should contain, let’s first take a brief trip down scenario lane so you get a good idea of what we mean about covering your tuckus in case things go wrong. If we lawyers know anything (and we don’t know much), it’s that everything’s all smiles and giggles until somebody’s wedding photos get lost in the cloud storage ether, or someone else demands a full refund because the head-shots you spent three hours shooting and imaging “just don’t look right.” Take it from us, whenever somebody is paying somebody else for a service, especially a service like photography where the outcome can be pretty subjective, things can get all Judge Judy real fast. People have certain expectations about the outcomes of products and services that they pay for (as they should), and unfortunately, sometimes those expectations are unreasonable. If you have your policies clearly set forth in a CSA, you’ll have something concrete to point to when someone comes complaining about the work that you produced, making unreasonable demands.

But, CSAs aren’t just for governing complaints from unreasonable clients. CSAs also exist to inform your clients – at the get-go – of how your engagement as their photographer will proceed, and what they should expect from the relationship. By having a CSA in place, your client has some peace of mind in knowing when, how, and at what cost you will perform your services and deliver your product. Likewise, you have peace of mind knowing that you have a legal document to lean on if their payment is late, or you make a mistake, or a seagull makes off with your lens during a beach wedding shoot.

Mirsasha

By mirsasha

Okay fine. We all need CSAs. But how do I make that happen?

Now that we’ve scared you into getting a CSA (we lawyers feed on fear and gummy-bears, as you probably know), here’s a list of what a decent CSA should contain, so you can draft it yourself if need be. This is just a general list of the most important points, there may be other things relevant to you that aren’t included here. At a minimum, make sure you include this stuff. Because, as important as CSAs are, a crappy CSA can really cramp your style.

  • What happens when a client fails to show up at their appointment?
  • How many calls/emails/meetings with you can the client expect?
  • When and how will the photos be delivered?
  • When and how will the client pay you?
  • What happens if payment is late?
  • Will you provide hair and makeup?
  • What rights to the photos is the client purchasing?
  • What are the terms of the client’s license to use the photos?

But what about all that legal gibberish?

You know when you are asked to sign a contract, or some kind of release, and you skim through the top bits, then you get to the bottom part, where the words get long and tiny and sound like they were written four hundred years ago, so you just stop reading and sign the damn thing already? Well, all of that stuff – the stuff you never read – that’s called “boilerplate” and it’s actually a really important part of your CSA. The boilerplate bit is the bit that controls what happens when the parties to the agreement (that’s you and your client) disagree.

Judit Klein

By Judit Klein

Important examples of boilerplate clauses include:

  • Limitation of Liability Clause, which limits the amount of liability you could have if an issue arises with your client. In other words, this is the bit that might keep you from having to pay crazy amounts of money if you lose a lawsuit.
  • Recovery of Litigation Expenses (aka Attorney’s Fees), which usually allows the winning party of a lawsuit to recover their attorney’s fees and other costs incurred to bring the lawsuit to enforce the agreement. In other words, as long as the judge is cool with it, the winner of the suit has their attorney’s fees paid by the loser. Which is awesome, because attorneys aren’t always cheap.
  • No Guarantees Clause, which states that you can’t guarantee a particular outcome (for those, “these photos just don’t look right” moments).
  • Transfer of Intellectual Property, which states how, and under what circumstances, the intellectual property is transferred from the service provider to the client (i.e. who owns the photos). This one is really important for photographers. Typically, you want to maintain ownership of your photos and merely grant your client a license to use the photos in limited ways (like display them in their home or on their website).
  • Entire Agreement; Modifications; and Waiver. This clause states that what is written in the contract is the entire agreement between the parties. So, whatever else you agreed with the client outside of the contract via email, in conversation, etc., doesn’t apply. This section also requires that any modifications to the agreement be done in writing.

One other thing

The terms of your CSA should be reasonable, and the way you deal with clients is an important part of building your reputation and your business. So, try to strike a balance between protecting yourself and respecting your time, and pleasing somewhat picky clients. It’s okay to go above and beyond what you’ve promised in your CSA from time to time (so long as it isn’t to the client’s detriment).

P.S. What to do when you forget to bring a pen

24oranges.nl

By 24oranges.nl

Here’s one last tip to make this CSA thing super easy: use HelloSign or a similar app to have all of your clients electronically sign your CSA. Electronic signatures are totally legit and they’ll help you get your agreements signed quickly by every single client.

Now, go get your Client Service Agreement together. Your conscience (and your bank account) will thank you.

Rachel Rodgers is a New Yorker, wife, mama to 2 toddlers and IP lawyer (not necessarily in that order) who works with creative professionals in her online-based law practice, Rachel Rodgers Law Office P.C. Rachel co-authored Legal Nunchucks: For Photographers, THE resource for making sure your photography business is protected, legit, and overflowing with moola. Download her FREE cheat sheet on the 10 most common legal mistakes that photographers make.

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The Worst Mistake a Travel Photographer Can Make

31 Mar

As a travel photographer and photography teacher, I meet a lot of photographers on a daily basis. Whether they’re amateur or pro, newbie or experienced, first-timers or old-timers, they often have one thing in common: too much gear.

The pro shooters who join me on my photography tours in Southeast Asia tend to look more like pack mules than people: they’re loaded with lenses, lights, filters, and a veritable menagerie of photographic accoutrement – you know, the kind of gear that makes you look like you know what you’re doing.

Travel photography mistakes 02

Being comfortable with your equipment allows you to compose your images better and faster.

The problem? None of them ever use any of the gear they’ve broken their backs to bring!

Ok, fine, there might have been one guy, one time, who made it a point to use every single lens he’d brought with him. But normally I see people sticking to one or two lenses per shooting session, never giving the extra gear a second thought. This is actually a really good thing, and all the more reason to ditch the extra baggage, and rely on one or two lenses alone.

Why am I so anti-gear?

1. Gear is heavy!

How are you going to move your feet, get down low, and capture your subject during the millisecond when the light is just right?

The first thing I teach beginning photographers is to get moving – move quickly, get close to your subject, and don’t be a lazy photographer. When you’re weighed down with kilos (pounds) of heavy gear, you’re not free to respond as each moment arises.

Travel photography mistakes 01

Having less gear allows for freedom of movement and enjoying interaction with the locals.

2. Gear is expensive!

I don’t mean you shouldn’t buy it because it’s expensive; I mean you shouldn’t bring it because it’s expensive.

As a travel photographer, I’m often in remote parts of the world where getting your gear stolen or damaged is a very real possibility. You can’t focus on the photo you’re taking, if you’re constantly worrying about your stuff getting jacked.

3. Gear is distracting!

If you have one or two lenses with you at any given time, your choice in a shooting situation is simple – A or B. If you’re hauling around 12 different lenses, you’ll not only face a major crisis every time you want to take a photo; you’ll feel the need to constantly switch lenses precisely because you brought so many lenses in the first place.

You’re also much more likely to use the wrong lens, in the wrong situation, just because it’s there. Bring less gear and eliminate the chance of making silly mistakes by 300%.

Travel photography mistakes 04

Keeping the same lens allows to react faster and more flexibility.

4. Gear makes you lazy!

I think of gear like a crutch. Instead of improving your skills, you become a slave to the latest and greatest gadget, thinking it will improve your craft. The thing about gear is that it takes years, even decades, to learn how to use a single piece of equipment masterfully. After 20 years of shooting with a certain lens, your brain begins to think in terms of its focal length. You effectively merge with the lens, become it.

That’s basically a hippy-dippy way of saying you should be a gear monogamist. Sure, you might play the field every once in a while, experimenting with a 35mm or 100mm lens, but you should remain faithful to your main squeeze in order to truly master her.

My main squeeze for the past three years has been a 50mm lens. Once in awhile I also use my 35mm and 100mm lenses, and it’s this trio that I plan to focus on for at least another decade in order to fully master their potential.

Travel photography mistakes 03

Knowing your equipment allows you more anticipation for better results in your composition.

A true travel photographer, or any photographer for that matter, is one who can capture a moment and communicate with his or her audience without the burden of a crap ton of gear. You’re much better off choosing one or two lenses and mastering them than you are having 17 lenses you can only sort of use.

All the photos in this article were taken during my photography tours in South East Asia.

How much gear do you bring with you on a shoot? Which lens can’t you live without?

Share your thoughts in the comments below.

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My Most Common Portrait Mistake

05 May
Here, I managed to avoid making the mistake, by having my subject keep both eyes on the same plane.  The look is striking, in that the depth of field drops off immediately and the image softens dramatically after the area of sharp focus around the eyes.

Here, I managed to avoid making the mistake, even though I shot the lens wide open at f/1.2,  by having my subject keep both eyes on the same plane. The look is striking, in that the depth of field drops off immediately and the image softens dramatically after the area of sharp focus around the eyes.  Exposure was 1/6400, f/1.2, ISO 200. Camera was EOS-1Ds Mark III, with EF 85mm f/1.2.

 

We all make mistakes.  Even the best photographers I know make a mistake now and then. And usually, we all have one we can’t get seem to stop making. For me, it’s a different mistake for each type of photography, whether it’s a portrait, a landscape, or some other type of photography.  The secret to getting better as a photographer is overcoming these mistakes and to stop making them.

When shooting portraits, my biggest problem isn’t lighting, or posing.  My problem is with my own settings, especially when using my favorite portrait lens. That would be the Canon EF 85mm f1.2L II.  This is a lens with incredibly smooth bokeh, and a unique look, especially when shot wide open. And I do love to shoot it wide open.  But it does require some extra care when doing so, which leads to my most common mistake.

When shooting the 85mm f/1.2 wide open (or even close to wide open), and close up, your depth of field is paper thin. If you were to focus on an eyelash, the eye itself would be out of focus. It’s that unforgiving. When done right, it creates a beautiful image, where the eyes are the sole focus. When done wrong, it ruins the image beyond repair.  The mistake is easily fixed; it just requires that you pay attention as the pose shifts, adjusting the aperture to give you the proper depth of field. In addition, if that paper-thin depth of field is what you want, simply adjust the pose so that it works for the shot.

This is probably my least favorite mistake, in that it’s not something that can be fixed in post.  Sometimes things happen quickly and it’s not possible to turn the dial that quickly. But sometimes taking a deep breath, and mentally running through the settings, is a good way to ensure you get the shot you want.  Is my shutter speed fast enough? Or slow enough? Do I have enough depth of field? Or too much? Is my ISO too high for the lighting conditions?  Or not high enough? It’s a mental checklist that can take only a second, but can ensure that you get the image you want.

In this image, also shot at f/1.2, because the model's eyes are not on the plane, the right eye drops out of focus.  The effect is disconcerting, and a mistake I make more than I'd like. It would be so easy to turn the aperture dial and stop down enough to give me the proper depth of field. I just need to remember to do that.

In this image, also shot at f/1.2, because the model’s eyes are not on the plane, the right eye drops out of focus. The effect is disconcerting, and a mistake I make more than I’d like. It would be so easy to turn the aperture dial and stop down enough to give me the proper depth of field. I just need to remember to do that.  Exposure was 1/4000, f/1.2, ISO 100. Camera was the EOS-1D X, with EF 85mm f/1.2L II lens.

For this image, I stopped the lens down to f/5.6. This game me enough depth of field to keep both eyes sharp, while the background remained out of focus.

For this image, I stopped the lens down to f/5.6. This game me enough depth of field to keep both eyes sharp, while the background remained out of focus. Exposure for this one is 1/100, f/5.6, ISO 100. EOs-1D X with EF 85mm f/1.2L II.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

My Most Common Portrait Mistake


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WARNING! MAJOR CELEBRITY MAKEUP MISTAKE!

25 Nov

www.styleite.com In make up for ever’s defence this was designed for HD filming and not photography so they never said “looks amazing in photographs” but clearly the proof is in the pudding and this stuff doesn’t look good. Remember that i used a LARGE amount, so when a small amount is used – as the company states – this result does not happen. Does this mean that this powder is not good? No. It’s a great powder but one that you should be careful of when you use for flash photography if used to heavily. I used the same amount of product (ish) with both the HD powder and the Super Matte Loose Powder. The Super Matte Loose left no powder residue at all, just normal looking skin and I used a very light (nearly white) shade. So, what d’ya think? Do you feel let down? Do you love this stuff? Tell me your thoughts. NOTE: I applied this to Mandy and friends on many many occasions and they all loved it. So I guess, to each his/her own. Some pictures where taken and no white marks were visible – but remember i applied a very small amount. No heavy application like in this video. Sometimes the most beautiful makeup doesn’t last as long and i think accepting this rather than trying to fight it goes a long long way to getting great results! ps – How unflattering was that photo! Still wanna marry me now? Ha! double note: I have been asked this now too many times so i’ll answer on here. MAC’s Prep and Prime powder does not leave the same tell tell sign behind as HD powder. I tested it
Video Rating: 4 / 5

 
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Rayman Origins – Part 26: Moody Clouds – Mecha No Mistake!

22 Oct

[1st playthrough – 720p HD] This level will stay alone so I could fit everything important in a solo video. End is almost near.
Video Rating: 5 / 5

 
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