What if you were swimming in gold and could buy any camera that you wanted? Chris and Jordan sat down to talk about what cameras they would buy if money was no object. Some special guests chime-in to share what they’d pick, as well.
What’s your dream camera? Tell us in the comments below.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
On July 1st, the Federal Trade Commission (FTC) issued a new rule that will penalize companies making false or misleading claims about where their products are manufactured. As a result, marketing departments slapping the ‘Made in USA’ label on their products, and advertising them as so, will need to prove that they are ‘all or virtually all’ made in the United States.
This change could affect certain brands in the photography world, including drone manufacturer Autel, who proudly claims certain drones of theirs are ‘Made in the USA, with foreign and domestic parts and labor’ – many of those components being manufactured in Shenzen, China, the same region where DJI, who has received criticism and even been blacklisted for its ties to the Chinese government, produces its popular UAVs.
Even if this new ruling prevents Autel from saying its products are ‘Made in the USA’ on any level, their CEO Randall Warnas told us ‘this has not been something that [Autel has] needed for [its] success, and will be fine however the ruling turns out.’
Autel’s Evo II Dual drone, which it claims is ‘Made in the USA, with foreign and domestic parts and labor.’
There’s an important distinction to be made when labeling a product ‘assembled in America’ as opposed to ‘made in America,’ as this thorough article written by Jeremiah Karpowicz of Commercial UAV Expo explains. Historically, the FTC has struggled to uphold its standards, without being able to dole out consequences. But this latest ruling could change that.
In light of the ruling, we contacted both Autel and DJI for comment. DJI chose not to comment on the matter, but Warnas said:
‘The FTC is doing the right thing by making “Made in USA” mean something, and more clarity on how this can be accomplished is appreciated. Globalization over the past few decades has been accelerated with the Internet and cell phones that keep information at our fingertips at all times. As the world shrinks, we will surely encounter more blurring of these lines that the FTC is trying to address.’
The North American Free Trade Agreement (NAFTA) initially took effect in 1994. Congress had given the FTC authority to penalize fraudulent ‘Made in the USA’ claims but it would take effect after the Commission issued an official rule. That last part never came to fruition as it turned out to be a bipartisan issue – some in Congress thought those making these fraudulent claims shouldn’t be fined.
‘The final rule provides substantial benefits to the public by protecting businesses from losing sales to dishonest competitors and protecting purchasers seeking to purchase American-made goods,’ said Commissioner Chopra.
The FTC released a notice of proposed rulemaking on June 20th and received over 700 comments—most of them in favor of of the FTC enforcing their ‘Made in the USA’ standards. Commissioners Rohit Chopra and Rebecca Kelly Slaughter, joined by Chair Lina Khan, issued a statement outlining the implications of this new rule. Small businesses, who otherwise may not be able to afford legal recourse from imitators who manufacture products outside the U.S., but claim that they’re ‘Made in the USA,’ will have an advantage now that the Commission can seek civil penalties up to $ 43,280 per violation.
‘The final rule provides substantial benefits to the public by protecting businesses from losing sales to dishonest competitors and protecting purchasers seeking to purchase American-made goods,’ said Commissioner Chopra. ‘More broadly, this long-overdue rule is an important reminder that the Commission must do more to use the authorities explicitly authorized by Congress to protect market participants from fraud and abuse.’
In order to legally display a ‘Made in the USA’ label on a product, businesses must adhere to the following three components:
Final assembly or processing of the product occurs in the United States,
All significant processing that goes into the product occurs in the United States and
All or virtually all ingredients or components of the product are made and sourced in the United States.
It’s unclear whether these new guidelines would prevent Autel from continuing to claim its products are ‘Made in the USA.’ Autel didn’t confirm whether or not this will change any of its plans going forward, but it will undoubtedly make Autel and others think more critically about applying the ‘Made in USA’ label going forward when global parts are used to manufacture the hardware, considering there’s now a financial penalty hanging over their heads.
The Made in the USA Labeling Rule, which will be published in the Federal Register, can be viewed here.
Facebook has announced a new rights management feature designed to give creators more control over their images. On Monday, Facebook product manager of the creator and publisher experience Dave Axelgard said, ‘We want to ensure Facebook is a safe and valuable place for creators to share their content.’ Key to that goal is the newly announced Rights Manager for Images.
Instagram is the dominant image-based social network at the moment, making it a valuable platform for creators…but it’s not without its controversy in the industry. Parent company Facebook is taking steps to address some of the criticism with its new Rights Manager for Images, which builds upon the existing Rights Manager to give photographers control over where their images appear on the social platform.
Rights Manager is a customizable tool found within the Facebook Creator Studio platform, which is built for creators to give them an element of control over their content across both Facebook and Instagram. The tool works by enabling users to add their content, after which Facebook will scan the two social platforms to find the content if it is posted on either.
Reposted content found on another user’s Page or profile can be removed or, in cases where it may be beneficial to the creator, the owner can either add an ownership link to the content or simply monitor the repost going forward. Creators have the option of adding exemptions for partners who have permission to share the content so that it isn’t flagged by the Rights Manager tool.
The newly announced Rights Manager for Images is described by Axelgard as a new version of the tool that is designed to offer management of photos ‘at scale.’ As with the original version of Rights Manager, Facebook requires creators to submit an application to get access to the tool.
The application includes selecting which Pages the user may want to protect, what type of rights owner they are (individual, publisher, etc.), the type of content that needs protected and similar details.
Facebook notes that this Rights Manager tool exists in addition to a number of other options creators have, including what it refers to as a ‘fast and effective’ intellectual property reporting system, as well as a policy for dealing with repeat copyright offenders and more. The tool ultimately gives creators the ability to prevent unauthorized sharing of copyrighted content, potentially bringing an end to reposts on Instagram.
It’s unclear how many creators have access to the Rights Manager, which addresses only one aspect of copyright issues on social media. Facebook has been criticized for failing to give Instagram users the ability to limit the sharing of public posts, something that was recently brought to public attention due to a couple of lawsuits earlier this year.
Facebook indicated earlier this summer that it may give Instagram users the ability to disable sharing or embedding posts, which would, for example, prevent media companies from embedding images to get around paying the photographer a licensing fee. The social media company complicated the matter in June when it clarified that its terms of service does not include sublicensing embedded content.
Though this may give creators more control over where their images are embedded, critics have said that it still places the burden on creators to find and police the use of their images due to Instagram’s readily available sharing and embedding tools. As well, the presence of these tools implies to users that they are allowed to embed public content on other websites without getting permission from the photographer first, potentially putting them at risk of unwittingly violating a photographer’s copyright.
Instagram told Ars Technica back in June that it was ‘exploring the possibility’ of offering users the option of disabling the embed tool. Such a feature remains unavailable at this time, however, meaning that Instagram users must make their images private if they don’t want users to have the option of sharing them.
The United States Library of Congress (LOC) is seeking COVID-19 pandemic-related images from photographers based in the United States, it has announced through the photo-sharing website Flickr. The LOC has teamed with Flickr to launch a new group dedicated to these images; anyone can add their images of pandemic life in the US to this group, which will be evaluated by Library curators. Some images will become part of permanent collections.
The opportunity to submit images is open to all photographers — both pro and amateur — located in the US or its territories, according to Flickr, which is home to the new ‘COVID-19 American Experiences’ group. Flickr users must join this group in order to submit their images for the LOC’s consideration.
Library curators will decide which images get added to the Flickr group photo pool and which go on to become preserved in permanent collections. Photographers seeking this distinction should assign a Creative Commons license to their images that will allow the LOC to display the photos on its website if selected, Flickr notes.
Participants are allowed to submit up to five ‘graphic artworks’ or photographs for consideration. The curators are looking for content specifically related to the COVID-19 pandemic, with Flickr noting that photographers can submit ‘photos that depict your experiences of the pandemic’ on a variety of topics, including things like street scenes, panic buying, elder care and similar things.
The photos can also depict emotions in relation to the pandemic, such as sorrow, grief or joy. There are a couple of big requirements, however, including that the images must be appropriate for viewers of all ages and that they must meet Flickr’s ‘safe’ guidelines, which means ‘acceptable to a global, public audience.’
The LOC explains that its goal is to expand how much documentation it has on the current pandemic, doing so by tapping the wider public community spanning many more aspects and parts of the US than the photographers and artists already higher for special projects.
As of September 10, the COVID-19 photo group has around 160 images featuring a variety of subjects, including pandemic-inspired graffiti, images of masks for sale, empty parks and restaurants, protesters, close theaters, people wearing masks, medical workers and more.
The Library of Congress is home to vast photo archives, including a large number of photos showing the last major pandemic to impact the world: the 1918 flu that claimed around 50 million lives. The public can view the Library of Congress photo archives on its digital collections website. The photos are joined by collections ranging from archived websites to old newspapers, audio recordings and maps.
Setsuya Kataoka, VP of Global Strategy, Olympus Imaging Division, pictured holding the forthcoming M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO.
These are difficult times for the photo industry, and even before the COVID-19 pandemic, economic stresses and falling sales had been presenting headwinds to camera and lens manufacturers. Following the recent announcement that Olympus is planning to sell its Imaging Division, we caught up with Setsuya Kataoka, 29-year veteran of the company and current VP of Global Strategy. In this interview, Mr. Kataoka gave us his thoughts on the sale, what it means for fans of the brand, and what’s next for Olympus-branded cameras and lenses.
This interview was conducted through and interpreter and has been edited for clarity and flow.
What immediate impact will there be from the sale of the Imaging Division?
First, I would like to stress that the sale of the Imaging Division does not mean that we will withdraw from the imaging business. We will continue to offer unique and exciting products. Of course there will be some changes in management, and transformation of the organizational structure after the transfer, but these changes are to stabilize the business and strengthen the organization and our operations. We think the transfer of the Imaging Division will have a positive effect on our imaging business.
Based on our current timeline, if everything goes smoothly, we’ll have a Definitive Agreement in place in September, and the new company will be established in January 2021.
Was the sale of the Imaging Division being discussed before the COVID-19 pandemic, or did it come about as a result of the challenging market conditions this year?
The COVID-19 pandemic has had an impact on the imaging business, but it is not directly related to this decision.
The OM-D E-M5 Mark III is a genuinely small, lightweight ILC. It’s aimed at enthusiasts and designed to appeal to travel and everyday photographers who don’t want to be weighed down by a DSLR or full-frame alternative.
After the establishment of the new company, will camera and lens production continue at the same pace and in the same factories?
The production system is still under consideration, so I can’t provide any details right now, but please be reassured that there will be no problem with production, whatever happens. Production of existing models will continue.
How long have you worked at the Imaging Division inside Olympus?
Since 1991, so 29 years.
Was the announcement of the sale of the Imaging Division a sad day for you, or are you optimistic about the future?
I don’t think that this is a sad day for us, at all. This transfer means that the Imaging Division will be carved out from Olympus but I see this as an opportunity for our imaging business to grow further in future. This may not be well-known, but JIP – Japan Industrial Partners – is a business investment fund, and their vision is to revitalize and grow businesses by supporting long-term business management. This is why we believe JIP is an optimal partner.
We believe that this transfer is the best step to preserve our technologies, our products, our services and the legacy of the Olympus brand. We are very confident that we’ll be able to continue to offer products that will satisfy our customers under the new arrangement. I don’t expect that anything will happen that will not be good for our users. In all of our conversations about the transfer, ‘user first’ has been the bottom line.
Do you think that your product lineup will get smaller?
We will focus on the high-end market more than ever. High-end cameras and lenses in the ILC lineup. There may be some changes in the product lineup for strategic reasons, but we don’t plan simply to reduce the number of products.
Could an increased focus on high-end products spell the end for the entry-level PEN E-PL models?
How will the sale of the Imaging Division affect warranty and service support for existing Olympus customers?
Please be reassured that there will be no effect. I want our customers to be confident that their products will continue to be supported in future.
Do you think there will be a time when cameras will no longer be made under the ‘Olympus’ brand?
The question of Olympus branding is still under consideration, but there’s no plan to stop using the Olympus brand immediately after the transfer. Camera naming, such as OM-D, PEN and Zuiko will continue to be used.
We will continue to develop the Micro Four Thirds system [and focus on] areas where we can leverage the uniqueness of our products
Do you think that the OM-D lineup will evolve to be a more high-end system?
We believe that our OM-D lineup offers unique benefits that other camera manufacturers cannot. Not only the compactness and light weight of the system, but many technologies that competitors cannot match, such as high-resolution lenses, strong stabilization and outstanding dust-proofing and weather-sealing. I can’t say for sure how these technologies will evolve, but we will continue to develop the Micro Four Thirds system [and focus on] areas where we can leverage the uniqueness of our products, for example in the fields of nature and outdoor photography.
The last time I spoke to Aki Murata, in late 2019, he expressed a hope that the E-M1X would attract photographers who were ‘switching’ from DSLRs. Has that happened?
The E-M1X was developed for professional photographers, in order to withstand use in harsh environments. The development of this product was very important for us. We wanted to meet the demands of professional photographers, and also to accumulate know-how around improved reliability, which we could then apply to other models.
Although the E-M1X does not sell in the same volume as the E-M1 and E-M5 series, it has been accepted by many professional photographers. We are currently developing an intelligent subject detection autofocus update for bird photography for the E-M1X. That firmware is scheduled to be released this winter. Together with the M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO lens, we’re confident that we can make many professional photographers very satisfied.
Olympus’ flagship ILC (the OM-D E-M1X, left) is far from small or light, but Mr. Kataoka believes that when professionals and enthusiast bird and wildlife photographers see what it can do in combination with the upcoming 150-500mm lens, some of them will want to make the switch away from their current cameras.
How important is that particular lens to your professional strategy?
We believe that this lens will be a very special option, not only for wildlife and sports photographers but for all kinds of customers who need a telephoto zoom. This lens symbolizes the superiority of our system, and we might even call it a flagship. You can shoot handheld at 1000mm [equiv.], and it’s packed with innovative technology. This will be a significant lens, and [representative] of a new chapter in our imaging business.
Do you think that Olympus-branded cameras will ever compete against full-frame professional options, for sports and photojournalism?
We believe that our camera system has the potential to be accepted in the professional marketplace. In fact, many professional photographers are using our system, especially sports and wildlife photographers, following the launch of the E-M1 Mark II. We will continue to gather feedback from these photographers, particularly when it comes to the benefits which full-frame cameras cannot offer.
Given the challenging market situation, where do you see the biggest opportunities for Olympus-branded cameras and lenses?
We are proud to offer unique products that other brands cannot. Especially when it comes to the compactness and light weight of our system. This provides clear benefits to our customers when it comes to mobility. Although the market has contracted recently due to the effects of the COVID-19 pandemic, once people are able to start traveling again, and get outdoors, we’re confident that our products will satisfy users, and allow them to enjoy their photography.
Do you anticipate any job losses after the sale?
As a result of the transfer process, the reformulation of the organizational structure is obviously something that will be discussed. But I cannot give any detail at this point.
Do you think that Olympus as a photographic brand will be in a stronger position in one year’s time than it is today?
I really believe so. I think our position will be stronger in a year. Our manufacturing team, our R&D team, as well as sales and marketing – all of our teams are working hard to make that happen.
We are extremely grateful to all of our customers for their loyalty and support
I would like to take this opportunity to say thank you, for the many supportive messages and comments that we have received since the news of the transfer. We are extremely grateful to all of our customers for their loyalty and support. To demonstrate our continued commitment to our customers, we recently disclosed our lens roadmap, and the development of our 150-400mm PRO lens is well underway. There are no plans to change any product launches coming in 2020. We remain focused on the release of new products, so please stay tuned for news about more exciting future developments.
While the transfer may bring changes to some operations, one thing that will not change is that everyone on the imaging team will continue to work hard on innovative initiatives for our customers.
Editor’s note: Barnaby Britton
The last time we spoke to Mr. Kataoka was in 2015, following the launch of the OM-D E-M5 Mark II. Back then, he was extolling the virtues of that camera’s high-res shot mode, and predicting improved – handheld – iterations of the technology coming in future models. This prediction came true in the E-M1X and E-M1 Mark III, but neither we nor Mr. Kataoka could have predicted that in 2020 – almost a decade after the financial scandal which rocked the company in 2011 – we’d be discussing (again) the future of the entire Olympus Imaging business. But these are strange times.
In the short term, we’re told, nothing will change. The product roadmap (at least through 2020) is fixed, products will continue to be released – and sold – and warrantee service and post-sale support for existing customers will continue as before. While the future of the ‘Olympus’ brand is unclear, OM-D, PEN and Zuiko-branded products will continue to be manufactured and sold.
According to Mr. Kataoka, we’ll see more of a focus on high-end gear going forward, of the kind that he hopes will appeal to professionals. That’s where products like the long-anticipated 150-400mm come in: ‘a significant lens, and [representative] of a new chapter in our imaging business’.
The basic strategy behind Olympus’s development of high-end imaging products seems to be unchanged
Of course, this lens on its own is unlikely to persuade a significant number of professionals to pick up an E-M1 Mark III or E-M1X, but that was never the point. It seems as if the strategy behind Olympus’s development of high-end imaging products is the same now as it has been the last several times I’ve spoken to senior executives: aim high, focus on the differentiators, (i.e., the professed benefits of M43 such as lower size and weight, excellent in-body stabilization, and relatively small telephoto lenses), and court professionals with high-end tele optics, rugged build quality and excellent weather-sealing.
The challenge is that few of these things are (or need to be, or in some cases ever have been) unique to Micro Four Thirds. That said, Olympus has a good track record when it comes to maximizing the advantages of a smaller sensor, and trying to minimize the performance gap using technology.
The handheld high-res shot mode in the E-M1 Mark III and E-1MX is one good example of a technological solution to the small sensor ‘problem’, which provides the option of increased resolution, and somewhat improved high-ISO image quality compared to conventional single-exposure capture from a small 20MP sensor.
We know that new products are coming, and Mr. Kataoka tells us that his team remains focused on delivering high-quality, ‘innovative’ solutions. If things go to plan, according to Mr. Kataoka, a final agreement with presumptive new owners Japan Industrial Partners (JIP) will be in place in September, and a new company will be formed in early 2021. Longer-term, things are less clear, but it’s safe to assume that JIP has done its homework, and believes that Olympus cameras and lenses have a future. As for exactly what that future looks like, we’ll just have to wait and see.
Following in the footsteps of Canon, Panasonic has released an additional version of its USB tethering software that allows compatible Lumix cameras to be used for streaming to social media and video conferencing applications. Lumix Tether for Streaming (Beta) works in the same way as the standard version of Lumix Tether, but it includes a button that clears the AF box graphics and the control panel from the Live View pane so can be used for broadcasting.
A third-party broadcasting application, such as OBS, is needed to capture the Live View window as the camera’s feed isn’t detected by the computer. An external microphone built-in or plugged-in to the computer is also needed as the camera’s audio isn’t captured via this beta version of Lumix Tether for Streaming.
With Live View quality set to Fine, the feed to the window has a resolution of 1280 pixels on the longest edge, and the Lumix Tether control panels allow users to access many of the camera’s features to control the way the image looks.
The idea of the software, as we have seen recently from other manufacturers, is to offer a free way of streaming for Lumix users, and to allow them to improve the quality of their streaming video beyond that which is usually offered by built-in webcams. The idea will have been sparked by the rise in the number of people using video streaming for work and keeping on contact with family during the coronavirus pandemic.
Like the original version of Lumix Tether, this new beta streaming application is compatible with Lumix G9, GH5, GH5s and Lumix S cameras, but this time Windows 10 is required – there’s no Mac version. Lumix Tether for Streaming can be downloaded from the Panasonic support pages.
Press release:
Panasonic releases ‘LUMIX Tether for Streaming (Beta)’ software program for PC integrating new LIVE VIEW mode for live streaming purpose
Panasonic has today released a ‘LUMIX Tether for Streaming’ beta software program for Windows, following the conventional ‘LUMIX Tether’ (Version.1.7). The new beta program includes a new display option designed for live-streaming, and makes it easy for the user to self-stream.
Originally, the ‘LUMIX Tether’ software program was designed for tethered shooting and therefore its GUIs, such as the focus area mark or control panels, are displayed with live view images on the PC monitor during USB tethering. However, in response to feedback from customers that these graphic items become a hindrance when the software is used to capture camera view for live streaming, LIVE VIEW mode has been added on ‘LUMIX Tether for Streaming (Beta)’. This update enables the display of camera-view only, making it easy for the separate streaming software read. Users can now choose to show or hide these graphic items during USB tethering according to the usage purpose.
‘LUMIX Tether for Streaming (Beta)’ is provided as a pre-release version that is currently still under development. Please note that this software is not eligible for operation warranty and customer support.
Things photographers can do for their business during isolation
The COVID-19 pandemic has wreaked havoc on a lot of creative industries, including professional photography. For the past 7 years, I’ve been a self-employed photographer shooting mainly corporate events and restaurants. Just a month ago, my business was starting to pick up, and I was excited for a packed year of photography gigs. But COVID-19 started to spread and in less than 2 weeks, all of my photoshoots for the year were canceled or postponed indefinitely. It was a blow that I genuinely did not see coming.
Today, I have been self-quarantining at home for nearly a month, looking for any excuse to flex my creative muscles. In doing so, I’ve come up with 9 things that professional photographers can do while in isolation at home.
Evaluate your camera gear
Use this time to take inventory of your camera gear and accessories. Thoroughly clean your camera sensor and lenses (if you don’t know how now’s a good time to learn). If you find any gear that needs to be repaired, make a note of it, but don’t send it in to the manufacturer as many servicing facilities have closed down recently.
Make a list of all of your gear with details such as serial numbers for your own records and for insurance purposes. There are mobile apps for this, such as MyGearVault or Zither (iOS only) but a Google Docs spreadsheet will also work just fine. Speaking of insurance, make sure all of your gear is properly insured to give you peace of mind if you happen to damage or lose your gear.
Finally, take note of your camera inventory and evaluate what you really need. If you’re low on funds and really need the money, selling camera gear is one way to help make ends meet.
Rework your photography contracts
Before you perform any photography service in exchange for money, it is wise to have your client sign a photography contract. There are a number of reasons why photography contracts are important, but there’s one reason in particular that stands out right now. A good photography contract will have a section detailing what happens if a photoshoot needs to be canceled. This is important during times of economic prosperity (ie. what happens if you, the photographer, gets sick and can’t shoot?). But it is more important than ever now that nearly every type of photoshoot has been put on hold or canceled.
I am not a legal professional and cannot provide specific guidance, but here are a few things to consider spelling out in your photography contracts:
If a deposit is paid to secure your services, under what terms (if any) is that deposit refundable?
What happens if the client needs to postpone or cancel the photoshoot?
When it comes to enforcing the contract terms, it depends on your relationship with the client, but it doesn’t hurt to have some flexibility, especially since everyone is suffering right now. I’ve had a number of relatively positive outcomes including clients who credit the deposit toward a future photoshoot, some who decided not to collect the deposit back even though they had every right to, and many who have promised to rehire me for the photoshoot when they are able to reschedule it.
Back up your photos
If you don’t already have a solid backup system for your photography content, now is a great time to start one. There are a lot of backup options out there including NAS and RAID systems, cloud storage, and simply using physical hard drives. According to the 3-21- backup strategy, you should have at least 3 copies of your data, 2 copies that are on different devices (think 2 different hard drives), and 1 copy offsite (think cloud storage).
The great news about backups is that the cost of physical hard drives has dropped dramatically. Western Digital 10TB hard drives are under $ 200 right now, and Costco likely has not sold out of hard drives yet. My backup strategy uses a combination of physical hard drives, and cloud backups to both Backblaze and SmugMug.
Update your portfolio
While you’re backing up your photo archives, take time to comb through your library of images for work that can be used to update your photography portfolio. Add new work to existing albums, and consider making new categories. A section for Personal Projects is always great for showcasing creativity.
If you don’t have a photography portfolio or are considering switching platforms, now is a great time to look into different website options. Today, photographers are using everything from WordPress, Squarespace, SmugMug, and Instagram to showcase their work. Some sites are free and others are paid; many paid sites are offering discounts or extended trials right now, so consider taking advantage of them.
Also, don’t forget to update your LinkedIn profile. Although photography resumes are rarely needed, LinkedIn is a great place to keep a digital resume and professional presence. It can also help you generate new photography leads if you use the platform regularly.
Experiment with different photography techniques
It takes about 10,000 hours to master a skill, and it’s still possible to keep taking photos even if you’re stuck inside. Play with different photography concepts such as natural lighting and artificial lighting, macro photography – you get the picture. Explore these concepts in-depth and consider participating in or setting up a daily photography challenge for motivation. You may end up new skills that you can use in the future, or a new section in your portfolio.
One particular photography genre worth exploring is product photography. Online sales everywhere are up even during this pandemic which means that product photography is more important than ever before. Product photography requires proficiency in lighting and composition, and many of these skills are transferable to other types of photography including headshots and stock photography. You can also make a makeshift product photography “studio” in your home without buying expensive gear.
Consider selling stock photos
Stock photography doesn’t always have a positive reputation because payouts can be small and you typically have to upload a large number of photos over a long period of time to see results. However, this is a good time to consider stock photography because 1) we have a lot of time on our hands, and 2) any long-term passive income payment is better than nothing.
If you’re curious about stock photography, there are a number of websites out there where you can sign up and start uploading almost immediately. Shutterstock is my favorite since it is relatively quick and easy to upload and keyword content, and I have consistently made sales there since I started uploading two years ago. Just sign up for an account, read the fine print that details what quality standards they require and start learning about how to keyword your images since keywording is ultimately what will help you sell more images.
But before you start uploading, make sure that the images you want to sell are not prohibited for re-sale if you shot them for a client (refer to your contract), or a unique image that you might want to sell for yourself at a higher value down the road.
Diversify your income
This point may be hard to act on right now as many industries are not hiring, but start thinking of ways to diversify your income outside of taking photos. The reality is that outside of a pandemic, there are many reasons why you may not be able to perform your job (ie. prolonged illness, personal situations). In times like this, it’s important to have other streams of income or jobs that you can do that don’t require you physically picking up a camera.
Think editing photos for other photographers, being an image quality reviewer for stock photography websites, teaching photography classes, etc.
Prioritize your spending
This is probably a no-brainer if your business has ground to a halt as mine has, but it bears repeating. Now is the time to save your money as much as possible. We don’t know how long this pandemic will be around or how long it will be before business is back up and running. Realistically, not all of our clients’ businesses may make it, and budgets for photography may shrink or dry up after all of this is over. So count your pennies now and do what you can to make your money stretch.
And if you don’t already have one, consider starting an emergency saving account that you chip in to on a regular basis. This may not be possible to start right now, but this pandemic is a good reminder of why it is essential to have emergency savings on hand in the future.
Take up a new hobby
Even though it’s important to keep practicing photography right now, it’s also worth taking a break from it. Taking some time away from photography is great for inspiring different types of creativity. We have so much time on our hands right now, that you can make the most out of it by learning a new skill or taking up new hobbies. Is there a language you always wanted to learn? Or a recipe you want to perfect? Think of a time when you’ve said, “If only I had more time, I would do ___” and start doing it.
You’re working on some text in Photoshop for your photo. Things are going along great…until you realize that your text is horribly pixelated! Why? You may have even created this exact type of file before and not had this problem. Why is the text pixelated now? There are a few things that can cause pixelated text in Photoshop. The good Continue Reading
The post 6 Causes of Pixelated Text in Photoshop and Their Fixes appeared first on Photodoto.
The post Everything a Beginner Should Know to Improve Their Street Photography appeared first on Digital Photography School. It was authored by James Maher.
Street photography may seem simple on the surface, just a lot of waiting around looking for an interesting moment to happen. However, the reality is that it is one of the most difficult forms of photography. Particularly at the beginning, it can be very hard to improve in street photography.
The best moments don’t occur very often, and when they do, you have to be aware enough to see it quickly. You have to be brave enough to capture it, and your camera has to be set right.
A lot has to go right, but when it does, that’s when the magic happens. There is a specific set of tips that are important to learn early on that will make all of this much easier and, eventually, second nature.
Fear and timidness
1/150th at F8, ISO 1600
Fear and timidness are two of the toughest obstacles to overcome for new street photographers. If you don’t feel this way, then skip to the next tip! But most people have a lot of difficulty with this aspect at first. It takes time to overcome, but the less timid you can become, the faster you will be at capturing the best moments.
No matter how tasteful your photography is, street photography is a little creepy! We’re kind of stalking people on the street a bit. But it’s important to know that we’re doing this for a reason. We like people and we want to create interesting photos of our society.
The fear aspect will get better with time – the more you shoot, the easier it will get. But it can help early on to capture some street portraits to get you comfortable. You will quickly realize how many people will be flattered by what you are doing.
Another important thing to know is how to deal with a situation if you are caught.
I just like to smile and be honest. I tell the person that I was photographing the area and the people and culture, and I thought they looked great! Flattery can get you a long way.
If the person seems uncomfortable after you speak to them, offer to delete the shot. You don’t have to, of course, but it’s the right thing to do.
And always be careful about who you photograph. Sometimes, a photograph is just not worth the chance of getting yourself in trouble.
General camera settings
1/350th at F5.6, ISO 1600
I typically prefer to shoot on Aperture or Shutter Priority settings. Since you are usually going back and forth between different levels of light, this allows you to focus on the scene itself instead of going back and forth on your camera settings. In steady lighting conditions, Manual Mode works very well, though.
Raise your ISO up! I typically use ISO 400 if I am in pure sunlight, ISO 800 in light shade, ISO 1600 in dark shade, and ISO 3200-6400 for dusk into night.
Raising the ISO allows you to have a faster shutter speed to freeze motion. It also gives you more depth of field to make sure you capture the focus correctly, or if you have multiple subjects at different depths.
On Aperture Priority, f/8 is usually my ideal setting whenever possible. It allows enough depth of field but also enough light to enter the camera. And as it gets darker, I will go down with the aperture.
Finally, I always try to keep my shutter speed above 1/250th of a second to freeze motion in people. The key on Aperture Priority is to pay attention to your shutter speed as the lighting gets darker, to make sure that it does not dip too far below 1/250th.
Prime lenses
Prime lenses are made for street photography. They are smaller, lighter, and less noticeable. Also, the act of using a single focal length will make you much faster and more intuitive with the camera. Using one is a key way to improve your street photography.
Zooming constantly will just slow you down and keep you off balance when a moment occurs. With a prime, you are ready when something happens.
I prefer a 35mm and 50mm focal length depending on what I am shooting. Both are wide enough to capture complicated shots that mix foreground and background, and they allow you to get close and intimate with your subjects.
Acting
When some people think of street photographers, they think of the photographers that jump out in people’s faces to take a photograph. It just does not have to be done in that way to get great, candid, close shots. I find the opposite approach to work much better.
I prefer to act like I am just looking around at something above or behind the subject I want to capture, and I carefully get myself in position. They just think I’m probably a tourist looking around, and while they notice me, they continue in their own world without realizing I’m photographing them.
I also take very quick shots where nobody notices. That way, you don’t have to do any acting in these situations. But, acting comes in handy very often.
Finally, you don’t always have to walk around while photographing. Pick an area with foot traffic and wait around. Doing this allows your subjects to enter your personal space instead of entering their space. It also allows you to get very close and nuanced photographs with much less chance of people noticing what you are doing.
Emotion and gesture
One of the keys to creating interesting street photography is showing emotion and feeling in your images. One of the best ways to do that is to capture those emotions and feelings in your subjects.
Pay attention to the looks in peoples’ eyes or the gestures in their bodies. Try to see who is walking around wearing their emotions on their sleeves, so to speak.
I would rather photograph a non-descript person with incredible emotion over the flashiest person just walking down the street emotionless.
Getting closer
This is a general tip for improving most photography, but it is especially difficult for street photography. The closer you get, the more intimate your moments will feel.
But you don’t have to put so much pressure on yourself at first. Start from further back and over time, work to get closer and closer. This is a process that can take a little time to get comfortable with.
Spontaneity and intuition
1/250th at F9, ISO 3200
At some point, you need to become fast with your camera to capture some of those split-second moments. Embrace your intuition and work to become spontaneous and fast with the camera.
You will miss a lot of photographs this way and come back with a lot of bad ones (why editing is so important), but the special photographs will be special.
If you feel that there is the potential for a great photograph in your gut, just stop thinking and go for it. The worst that can happen is you will delete the photograph later on.
Imperfection
Unlike some other forms of photography, perfection is not celebrated as much in street photography. We’re looking for real and unplanned moments, and these moments are not perfect.
Sometimes the best way to improve your street photography is to just loosen up.
What matters is that the photograph is interesting and it looks good. Everything else is gravy. If the photograph has those qualities, who cares if it’s skewed, a little blurry, highlights are blown out, or if there’s an element in the way. That’s the real world.
Sometimes these aspects will ruin your photograph, of course, but just as often they’ll ground the moment in reality.
Photograph in busy and quiet places
As you are learning and getting comfortable, it’s very important to practice in busy places with a lot of foot traffic. This gives you many chances for great photographs and it’s easier to work in a candid way as well. This is how to work out the kinks and develop your technical skills and overall awareness.
But it is equally important to photograph in slower and quieter areas too.
These areas can be just as interesting and even more so than the busiest areas. It can take some time to get used to photographing here and figuring out what makes a good photograph, but you will be much better off for trying.
Conclusion – take photos for yourself
Street photography is about taking something that is internal, capturing it in the real world, and then showing those ideas in your work.
It’s not worth taking photographs that you think other people will find interesting. Ultimately, your work can only become so good that way.
Shoot what you think is the most interesting and forget about everyone else. Over time this is how you will develop a strong and distinct voice.
And most importantly, get out there and shoot as often as you can. That is the real way to improve your street photography.
Do you have any other tips to improve street photography that you’d like to share? Please do so in the comments, along with any street photos you’d like to share.
The post Everything a Beginner Should Know to Improve Their Street Photography appeared first on Digital Photography School. It was authored by James Maher.
A newly launched NASA project called Satellite Streak Watcher aims to assess the night sky light pollution caused by low-Earth orbit satellites using images captured by the public. On its SciStarter project page, NASA asks anyone interested in participating to ‘Photographically record satellite streaks across the night sky to monitor this form of sky pollution.’
The space agency explains its concerns related to the satellites, stating, ‘As more satellites are placed into orbit, they will become an increasing problem to astronomers on the ground.’ Participants can use the Heavens-Above website to determine when and where satellites will pass over their local sky; images are uploaded and shared on the project’s website.
The new public science project follows announcements from a number of companies that have launched — or plan to launch — large numbers of small satellites into low-Earth orbit.
The most notable example of this comes from SpaceX, which has spent the past few years working on its Starlink mission. The private space company expects to ultimately launch thousands of small satellites into very-low Earth orbit (VLEO) in order to provide Internet access around the world. As of March 1, 2020, the company has delivered 302 of these satellites into space with plans to launch more throughout the year.
Critics have expressed concerns that Starlink and other projects like it will have a negative impact on the night sky, introducing light pollution that will disrupt astronomy. These satellites also impact astrophotography by adding thin, bright streaks of light to long-exposure images, prompting complaints from photographers who increasingly struggle to deal with light pollution.
DPReview reader Guido Forrier shared the below image in our Astrophotography forum, showing a series of fifteen Starlink satellites flying across the sky in one of his night sky photographs. When we asked what his thoughts on the matter, he said ‘I am surprised and incensed that apart from the already high light pollution, those satellites [have] also come to disturb. [There’s] a lot of rubbish is already flying in space and I see it regularly burning in the atmosphere.’
Photograph by Guido Forrier, shared with permission.
Until now, most efforts to combat light pollution have focused on the ground, not the sky. Light produced by street lamps, billboards, parking lot lights and more is reflected in the night sky, making it hard to see and photograph stars, particularly in regions close to big cities. The problem has spurred the creation of a number of Dark Sky Reserves throughout the world; these are regions of public and private land with ample natural darkness and starkly visible stars.
However, experts have expressed concerns over light pollution that results from satellites launched into low-Earth orbit, as well as more ridiculous future concepts like an artificial moon and space billboards. Because this type of light pollution comes from the sky rather than the planet’s surface, traveling to Dark Sky Reserves won’t help photographers avoid the issue.
According to Astronomy.com, the Starlink satellites are particularly disruptive to the night sky due to their shallow orbit, which is necessary for delivering Internet service to people on Earth. More than 40,000 of these small satellites may eventually be launched under the Starlink mission, and though SpaceX is experimenting with anti-reflective coating on the satellites, it is unclear whether that will be sufficient for reducing the disruption caused by the spacecraft.
MIT Technology Review points out that satellites depend on their reflective nature to help keep them cool; the experimental anti-reflective coating may cause thermal issues for the Starlink satellites. SpaceX applied the coating to the bottom of one of the 60 satellites it launched in December 2019 in order to test its potential impact on performance.
Harvard-Smithsonian Center for Astrophysics astronomer Jonathan McDowell had told Technology Review at the time that while the reflective coating is ‘worth a try,’ he fears it ‘will be offset by the fact that they are moving the constellation to a lower orbit.’
NASA anticipates its Satellite Streak Watcher operating as a long-term project in order to gather data on satellite light pollution over time. The project currently has 136 members and 20 images, which include shots ranging from bright dots on the night sky to several long streaks of light bunched together. Though NASA says citizen scientists can use a basic tripod and most newer smartphones to capture the images, astrophotographers who have more capable camera systems are also welcomed to share their images.
You must be logged in to post a comment.