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Posts Tagged ‘2019’

The dPS Top Photography Tips of 2019

26 Dec

The post The dPS Top Photography Tips of 2019 appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

dPS Top All-round Photography Tips 2019

This week on dPS, we’re featuring some of the top articles in different categories that were published on the site throughout 2019. It’s always a bit tricky to gauge the overall popularity, as some were published earlier in the year and have had more time on the site than the ones posted more recently. But still, it gives you an idea!

To begin with, this one is all about the best all-round top photography tips of the year.

Here are the all-round top photography tips of 2019:

 

1. Three Mistakes That Kill Image Quality (and How to Avoid Them)

By Adam Welch

Three Mistakes That Kill Image Quality (and How to Avoid Them)

2. 15 Common Portrait Mistakes to Avoid

By Kevin Landwer-Johan

15 Common Portrait Mistakes to Avoid

3. 5 Reasons to Consider Aperture Priority Over Manual Mode

By John McIntire

5 Reasons to Consider Aperture Priority Over Manual Mode

4. Back to Basics: Understanding the “Sunny 16 Rule” in Photography

By Adam Welch

Back to Basics: Understanding the “Sunny 16 Rule” in Photography

5. 5 Portrait Photography Rules You Should Probably Ignore

By John McIntire

5 Portrait Photography Rules You Should Probably Ignore

6. Street Photographer Attacked on Social Media for Taking Photos in Public

By Jaymes Dempsey

Street Photographer Attacked on Social Media for Taking Photos in Public

7. 6 Ways to Easily Improve Your Landscape Photography

By Jeremy Flint

6 Ways to Easily Improve Your Landscape Photography

8. Four Signs it’s NOT Time to Upgrade Your Camera

By Adam Welch

Four Signs it’s NOT Time to Upgrade Your Camera

9. 100 Things to Photograph When You’re Out of Ideas

By Mat Coker

100 Things to Photograph When You’re Out of Ideas

10. 7 Photography Exercises to Take Your Nature Photos to the Next Level

By Jaymes Dempsey

7 Photography Exercises to Take Your Nature Photos to the Next Level

11. How to Turn Your Living Room into a Photo Studio

By Jackie Lamas

How to Turn Your Living Room into a Photo Studio

12. The Absolute Beginners Guide to Camera Settings

By Mat Coker

The Absolute Beginners Guide to Camera Settings

13. 7 Tips for Stunning Black and White Photography (Comprehensive Guide)

By Jaymes Dempsey

7 Tips for Stunning Black and White Photography (Comprehensive Guide)

14. Is Photography Becoming too Easy?

By Carl Spring

Is Photography Becoming too Easy?

15. How to Make Well Exposed Photos Every Time. Part 1 – Seeing the Light

By Kevin Landwer-Johan

How to Make Well Exposed Photos Every Time. Part 1 – Seeing the Light

16. The 5 Most Overused Photography Techniques (video)

By Caz Nowaczyk

The 5 Most Overused Photography Techniques

17. 3 Things Aperture Mode is Perfect For in Photography

By Mat Coker

3 Things Aperture Mode is Perfect For in Photography

18. An Easy Hack for Shooting into the Sun and Processing the Images

By Adam Welch

An Easy Hack for Shooting into the Sun and Processing the Images

19. How to Photograph Against the Sun for Stunning Images

By Simon Bond

How to Photograph Against the Sun for Stunning Images

20. Lens Hoods: What Are They Really For, and Do You Need Them?

By Simon Ringsmuth

Lens Hoods: What Are They Really For, and Do You Need Them?

If you enjoyed these top photography tips of 2019, stay tuned for tomorrow, where we share the top gear photography tips of 2019!

The post The dPS Top Photography Tips of 2019 appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Happy Holidays 2019 from the dPS Team

25 Dec

The post Happy Holidays 2019 from the dPS Team appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

 

happy-holidays-2019

Wow! 2019 is almost over! Where has the year gone?

We’d like to wish you a big Merry Christmas from the dPS Team!

In the land “down under,” Australia, where many of the dPS team is based, it’s Christmas day already. So, we are likely already celebrating and basking (or melting) in the Australian heat.

Wherever you are based, thank you for being a regular reader and fan of dPS. Thanks for helping us to continue to provide quality photography education for you and other photography enthusiasts. It’s what we love to do, and we are glad that it helps you to learn and expand your photography skillset.

However you decide to celebrate this holiday season, we hope you make the most of it and thoroughly enjoy your Christmas and Holiday Season.

Moreover, we look forward to continuing on our photographic journey together in 2020!

Cheers!

And, for a bit of fun, tell us where you will be spending your holiday season in our poll!

 

Note: There is a poll embedded within this post, please visit the site to participate in this post’s poll.

The post Happy Holidays 2019 from the dPS Team appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Gear of the Year 2019 – Rishi’s choice: Sony FE 135mm F1.8 GM

23 Dec
Photo: Dan Bracaglia

I love shooting wide. No, really: I made a whole video about how I even shoot portraits with wide-angle lenses. Wide-angles provide a sense of depth, dramatic perspectives, a glimpse into the subject’s surroundings and even provide an intimacy to portraits by giving the perspective of an observer standing very close to the subject. So you may be surprised by my choice of Gear of the Year: the Sony FE 135mm F1.8 GM.

Perhaps it’s just that I needed something different. Spice up my life, venture beyond 35mm, you know, my favorite ‘telephoto’ lens. Or, maybe Sony just made an amazing lens in the 135mm GM. Perhaps it’s a bit of both.

135mm F1.8 allowed me to focus on my backlit subject, and nothing else. Look at that creamy background.

I took the Sony FE 135mm with me on a recent trip with family and friends, enjoying time together at a cabin and celebrating three years of keeping our daughter alive.

135mm really allows you to isolate your subject, and make it about nothing else, even if some of the environment is included. Rather than jumping around the frame from one point of interest to another, the viewer’s eye can just focus on one story which, below, is a simple one of one sibling looking up to another.

The ‘tunnel vision’ a long focal length paired with a fast aperture provides allows you to create simplistic images that tell just one story, like the love shared between these siblings.

That’s not to say that 135mm doesn’t allow you to portray your subject against its surroundings, it’s just that things are a bit different compared to a wide angle composition. Rather than include an expansive view of your subject’s surroundings with an enhanced sense of depth, the longer focal length allows you to compress your subject against only an isolated – and magnified – portion of its environment.

Take the image below: A wide-angle lens would have included the foliage, the sky, the ground, and other potentially distracting elements, all situated at different depths. This creates a more complex image with an enhanced sense of, well, depth. That can certainly be nice, but sometimes I like the simplicity of the subject and the background essentially appearing at just two different focal planes.

The 135mm focal length allowed me to ‘compress’ the scene, bringing the trees in the background closer to my subject(s), and allowing me to frame my subjects against the green foliage. The long focal length allowed me to magnify only a small portion of the background, allowing me to exclude distracting elements like the sky above or the ground below my subjects.

Technically, the FE 135mm GM lens is superb. Optically, the lens is literally the sharpest lens our friend Roger Cicala at LensRentals has ever tested. That’s at least in part due to the XA (extreme aspherical) element designed to minimize spherical aberration.

The Super ED and ED glass used in the elements in the front group replace traditional large and heavy negative elements commonly used to suppress longitudinal spherical aberration. The result is very little, if any, longitudinal chromatic aberration, commonly seen as purple and green fringing in front of, and behind, the focal plane, respectively.

The 135mm focal length allowed me to easily isolate my subject in this otherwise small and busy indoor space. And thanks to the excellent optics, there’s no distracting green fringing in the high contrast ‘Title’ text behind our subject, despite the fast aperture.

Sony’s 10 nanometer mold precision and other recent improvements ensure smooth aspherical surfaces, meaning that onion-ring bokeh is non-existent. An 11-blade aperture ensures circular out-of-focus highlights, and generally smoother bokeh, even when shooting stopped down. Sure, there’s some mechanical vignetting that leads to a ‘cat’s eye’ effect, but that’s to be expected of a lens of this type, and isn’t severe enough to result in swirly bokeh in the family portrait above.

Just as important as optical quality is the focus performance: especially for candid portraiture. And here the FE 135mm GM is industry leading: focus is lightning fast thanks in part to its four XD (‘extreme dynamic’) linear induction motors. These motors are far faster than the previous piezoelectric design of Sony’s ‘Direct Drive SSM’ system, and are capable of moving larger, heavier elements.

Paired with the excellent autofocus system of Sony’s recent cameras such as the a7R Mark IV, focus is fast enough that I could easily nail focus on the eyes of erratically running toddlers, even with the aperture wide open at F1.8:

This boy was running through a wading pool and momentarily smiled at the camera. Real-time tracking (with Eye AF) coupled with the extremely fast autofocus speeds of this lens allowed me to nail this moment effortlessly.

I’ll admit I’d rarely shot with 135mm primes in the past, typically sticking to a trio of primes (24, 35, and 85) for weddings, or 70-200mm F2.8 lenses for engagement and portrait shoots. I’ve found the 135mm F1.8 to be a different beast, requiring me to think and shoot differently, while often finding myself running further and further backward to get enough space in between my camera and my subject.

The results were, to me, very rewarding. The ‘tunnel vision’ effect of stepping back and using a longer focal length to isolate your subject and compress it against a small portion of its surroundings yields a unique look, particularly when paired with a fast enough aperture so that the background is pleasingly blurred and not distracting. Below, you’ll see my daughter surrounded by others in a park, but by herself in the wading pool happily marching to her own beat.

I couldn’t sum her up any better.

Marching to her own beat.

Note the exceedingly low magenta fringing (longitudinal chromatic aberration) around the water droplets splashing about in front of our subject, despite the magnifying glass the high resolution 60MP sensor of the a7R IV holds up to any lens’ optical aberrations.

Sony FE 135mm F1.8 GM sample gallery

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* Of course I kid: my wedding kit always includes an 85mm, and I happily use 200mm for compression when I want to isolate my subject amidst its surroundings.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals breaks down its most-rented photo and video gear of 2019

21 Dec

As it’s done for the past few years, Lensrentals has rounded up its most-rented photo and video gear of the year, breaking down the most popular cameras, lenses and accessories in rotation.

The data Lensrentals provides isn’t necessarily valuable for judging the photography industry as a whole, but as noted by a Lensrentals spokesperson in an email to DPReview, it is ‘the largest inventory of photography and cinematography equipment for online rental in the U.S. [and its] annual list has become somewhat of a barometer of the equipment creatives are creating or experimenting with.’

The full collection of data is available to peruse on Lensrentals’ website, but we’ve rounded up a few key insights worth pointing out.

First up, these are the top overall rental products for the 2019 year:

  1. Canon 24-70mm f/2.8L II
  2. Canon 5D Mark IV
  3. Canon 70-200mm f/2.8L IS II
  4. Sony Alpha a7 III
  5. Canon 70-200mm f/2.8L IS III
  6. DJI Ronin-S 3-Axis Gimbal Stabilizer
  7. Canon 35mm f/1.4L II
  8. Sony FE 70-200mm f/2.8 GM OSS
  9. Sony FE 24-70mm f/2.8 GM
  10. Canon 50mm f/1.2L

Year over year, not much has changed. In fact, Canon’s 50mm F1.2L lens, released in 2007, is still in the top ten list more than a decade later and the top three products remain unchanged from last year (although the Canon 5D Mark IV and 70-200mm F2.8L IS II did swap spots). Additionally, the 5D Mark III still remains in the top 25 most rented products, despite being over seven years old.

As for whether DSLR or mirrorless cameras proved more popular, it turns out it was almost split down the middle. According to Lensrentals, mirrorless and DSLR cameras accounted for 49.78% and 50.22% of rented cameras, respectively. This is a dramatic increase (21%) for mirrorless cameras compared to last year, where mirrorless cameras accounted for just 29% of rentals.

On the topic of mirrorless, Sony’s E-mount still rules the roost, with 26% of total rentals. Canon’s RF and Nikon’s Z systems remain dramatically behind at 4.91% and 2.26%, respectively, but year-over-year the RF and Z systems have increased rental volume by 600%.

Below are a few more breakdowns, provided to us by Lensrentals:

Top five lens rentals by system 2019

1. Canon EF 45.5% (up 1.5%)
2. Sony E 23.9% (up 18%)
3. Nikon F 14% (down 1.5)
4. Micro Four Thirds 7% (up 9.8%)
5. Fujifilm X 3.5% (up 14%)

Top camera rentals by system 2019

1. Canon EF 36.3% (down 7.5%)
2. Sony E 27.1% (up 7.4%)
3. Nikon F 13% (down 8%)
4. Micro Four Thirds 9.23% (down 7%)
5. Fujifilm X 4.3% (up 16.7%)

Top lens rentals by brand 2019

1. Canon 35.84% (up 5.5%)
2. Sony 15.4% (up 14%)
3. Sigma 13.9% (up 17%)
4. Nikon 8.8% (up 12%)
5. Tamron 4.3% (up 21.8%)

Top camera rentals by brand 2019

1. Canon 36.2% (up 1%)
2. Sony 26.2% (up 8%)
3. Nikon 9.7% (up 6.1%)
4. Panasonic 7.66% (up 2.8%)
5. BlackMagic 4.8% (up 130%)

Top five NEW products 2019

  1. GoPro HERO7 Black
  2. Blackmagic pocket cinema camera 4K (the 6K made the top 20 list)
  3. Sony FE 24mm f1.4 GM
  4. Sony Alpha 6400
  5. Nikon Z6

Overall, things remain mostly consistent, aside from movement within the full-frame mirrorless market, which is still in its infancy for both Canon and Nikon. You can dig deeper into all the information over on Lensrentals’ blog post and check out the 2018, 2017 and 2016 posts as well.

Articles: Digital Photography Review (dpreview.com)

 
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Gear of the Year 2019 – Dale’s choice: Laowa 15mm Zero-D

20 Dec
Photo: Dan Bracaglia

I feel like I’m stretching the rules a wee bit for my 2019 gear of the year by choosing a lens that was technically launched a couple years ago. However, Venus Optics released the Laowa 15mm F2 Zero-D in Nikon Z-mount and Canon RF-mount this year, and since I’ve been using the Nikon version I’m going to call it a 2019 product.

Before you protest, let me review the rules for our gear of the year selections:

  1. The gear you enjoyed using most this year.
  2. If there’s any ambiguity, refer to rule #1.

OK, with that out of the way let’s do this.

If you’ve been visiting the site for a while you may have noticed that over the past few years I’ve become a keen aurora borealis photographer. No matter how many times I see the northern lights I never get tired of them. It’s addictive, and I mean that in a good way. In the process I’ve experimented with a lot of different gear in an effort to find my ideal kit, and I’m really loving this Laowa lens.

Processed to taste in Adobe Lightroom.
ISO 10,000 | 2 sec | F2

I should clarify what ‘ideal’ means in this context. What it doesn’t mean is absolute technical perfection. I know there are hardcore astrophotographers who care very much about technical perfection, and for good reason, but that’s not me. My goal isn’t to create technically perfect images. It’s to create art, to tell a story, to share a unique experience with others.

Yes, I want good technical quality, but I also care about factors like weight, cost and my enjoyment when using the equipment. Why? Because like everyone else I have a budget. Also, when I photograph aurora I often carry three cameras (‘carry’ being the operative word), but that means I have to carry three lenses, three tripods, yada yada yada… It starts to add up pretty quickly, so keeping things on the small side is really helpful. My back appreciates it more every year.

Processed to taste in Adobe Lightroom.
ISO 5,000 | 6 sec | F2

One of the advantage of mirrorless cameras with short flange distances is the ability to create smaller lenses at wide focal lengths, and the Laowa leverages this fact. My other favorite lens for this type of work, the Sigma 14mm F1.8, is both larger and heavier.

In terms of absolute image quality, I think the Sigma 14mm F1.8 – which I picked as my gear of the year a couple years ago – is a bit better. It’s also slightly brighter. The downside? It’s pretty freakin’ big. Three of them in my pack would be noticeably heavier and more crowded than three Laowas; enough so that it matters to me.

The Laowa 15mm F2 (left) is significantly less bulky than the Sigma 14mm F1.8 (right).

Another thing I love about this lens is its build quality. I would describe it as feeling dense; despite its all metal construction and small size it’s still a bit heavier than it looks. It reminds me a lot of my old manual focus Nikkors, including the very nicely damped focus ring.

Speaking of which, it’s entirely manual focus, but I’m shooting the night sky and it’s not like the stars are running an AF test on a bike. (I’m not suggesting Richard Butler isn’t a star in his own right, but you know what I mean.)

Is it perfect? No. There’s definitely vignetting wide open, and even for a couple stops beyond, but the lens profile in Lightroom does an admirable job of correcting it. If I really needed perfection corner-to-corner that would bother me, but I don’t.

Processed to taste in Adobe Lightroom.
ISO 5,000 | 2 sec | F2

Similarly, there are some minor ‘angel wings’ on stars in the corners due to coma, but all things considered it’s not bad. Fortunately, most people aren’t focused on the stars in my photos, but rather the lights.

I’ll admit there’s one thing that drives me bat**** crazy. The metal lens hood doesn’t lock into position securely enough, and the slightest bump knocks it out of alignment, which is easy to miss in the dark. This results in some occlusion of the image in a couple corners. I did it by accident a couple times at first, but I’ve trained myself to be ever vigilant.

Processed to taste in Adobe Lightroom.
ISO 5,000 | 4 sec | F2

Some will argue that the wide angle Rokinons are better and even more affordable. Maybe they are, but in my experience it depends a lot on the particular copy you get. For what it’s worth I own two of them, and neither is as good in the corners as the two Laowas I’ve used.

Is it the best wide angle lens I’ve ever used? No. Do I love using it? Yes. It’s not the right lens for everyone, but it’s certainly a great lens for me, and that’s why it’s my gear of the year.

Articles: Digital Photography Review (dpreview.com)

 
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Best cameras for Instagram in 2019

20 Dec

Although smartphones are the default choice, a lot of the most attractive lifestyle photographs on platforms such as Instagram are shot using ‘traditional’ cameras.

We’ve chosen a selection of models that make it easier to shoot high-quality, compelling lifestyle images, whatever you intend to use them for. We’ve considered the need to offer a pleasant degree of background blur, the availability of wide-angle lenses and the ease with which they’ll focus on people.


The experienced photographer: Fujifilm X-T3

The X-T3 makes an excellent camera for attractive lifestyle photography. Fujifilm offers an array of relatively affordable prime lenses that let you shoot high-quality lifestyle photos. The X-T3’s ‘Film Simulation’ color modes then make it easy to make these shots look as engaging as possible without requiring a ton of editing. The camera’s face and eye detection isn’t the best, but it’s sufficiently good that you can concentrate on your composition and conveying the almost-too-good-to-be-true life moment, rather than worrying about focus.

For the beginner: Canon EOS M50

The EOS M50 can’t match the Fujifilm for lens choice but both Canon and Sigma offer a couple of keenly priced prime lenses that can give that slight background blur that helps your subject stand out. Its main advantage is a simple, primarily touchscreen-based interface that lets you get great shots without having to play with lots of dials.


We considered the cameras below when picking our winner, and even though we think the Fujifilm X-T3 and Canon EOS M50 are the best choices, the other cameras on our shortlist are also worthy contenders.

  • Our pick: Fujifilm X-T3
  • Our pick: Canon EOS M50

Also consider:

  • Canon EOS RP
  • Canon PowerShot G5 X II
  • Fujifilm X100F
  • Nikon Z6
  • Panasonic Lumix DC-LX100 II
  • Sony a7 III

Articles: Digital Photography Review (dpreview.com)

 
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Gear of the Year 2019 – Dan’s choice: DJI Mavic Mini

18 Dec

A lot of awesome gear arrived on the scene in 2019 including plenty of ground-breaking and impressive cameras, lenses and accessories. But of all the releases, there was only one piece of gear I purchased for myself to enjoy outside of work: The DJI Mavic Mini.

Back in 2016 I picked the original DJI Mavic Pro as my gear of the year because I felt it represented a turning point in the drone market. It was the first mid-level unit that seemed to offer everything I wanted: a folding design, good stills/video, a user-friendly interface and a reasonably affordable price. It was a product I threw down my own money for and one that opened my eyes to a new way of creating stills and video.

There was only one piece of gear I purchased for myself this year: The DJI Mavic Mini

But three years on and my Mavic Pro is starting to seem, well, old. While the folding design was unique at launch, the drone itself now feels hefty in comparison to many newer models. This has made me less likely to take it along on trips or adventures, unless I’m certain I’ll be using it. And though the image quality from its 1/2.3″ sensor is still largely good enough for my needs, I find the JPEG profiles unappealing and the Raw files lack malleability. It also doesn’t help that several ‘oh crap’ moments have now led the camera’s lens to become de-centered. Oops.

Image quality from the Mavic Mini won’t knock your socks off, but it’s more than good enough for social sharing and Web viewing, especially if you take a little time to tweak the JPEGs.
Processed to taste in Adobe Lightroom.
ISO 100 | 1/40 sec | F2.8

Even before the Mavic Mini was launched this Fall, I’d put together a wish list in my mind for my next drone: It would have to be small enough and light enough for me to bring it with me wherever, without a second thought. It would have to offer similar or better image quality to my Mavic Pro (either with better out-of-camera JPEGs or more workable Raw files), it would hopefully be quieter/less intrusive to others, all while offering similar battery life and a just as easy-to-fly interface.

There’s no Raw capture on the Mini, so I pull the JPEG files into Lightroom and tweak them slightly, with good results

The Mavic Mini checks off all the boxes (which is why I purchased one shortly after its launch, sight unseen). It’s nearly a quarter of the weight of the Mavic Pro and about half the size. It uses the same-sized, 1/2.3″ sensor (essentially, a smartphone-sized sensor) but the JPEG output, including color and tone, looks significantly more natural and pleasing (to me at least). There’s no Raw capture on the Mini, but that doesn’t really bother me: I pull the JPEG files into Lightroom and tweak them slightly, with good results.

The Mini also sounds less like an angry swarm of bees compared to my Pro, which will hopefully lead to fewer angry glares out in the Pacific Northwest wilderness from all those passive aggressive Seattlites I encounter. And at $ 400 for the unit, controller and battery, the Mavic Mini is significantly less investment than the current Mavic Pro offerings (The Pro Platinum is $ 1150 at the time of writing). The lower price also leads to less anxiety about potentially losing it (though that’d still majorly suck).

Processed to taste in Adobe Lightroom.
ISO 100 | 1/40 sec |F2.8

I’ve only been flying the Mavic Mini for several weeks now, but after a few adventures – including one in Oregon wine country – I’m hooked. The impossibly small size is hands-down its greatest feature. Getting it into my 16L Lowepro bag without displacing other necessities is no problem at all. Which means this little sky camera can come with me everywhere I go.

The impossibly small size is hands-down its greatest feature – this little sky camera can come with me everywhere I go

It’s also oh-so-easy to operate. DJI further simplified the flying experience for the Mini: It uses the new DJI Fly app, which is a pared-down and more user-friendly version of the standard DJI Go app (used by most of the brand’s other consumer drones). This is a change I welcome given the intended user is likely someone who is a beginner or intermediate drone flyer. Cleaning up the settings and options means there are less things to distract you while flying, but the experience is in no way dumbed-down. And perhaps most importantly, users still have full manual control over the camera’s settings.

Processed to taste in Adobe Lightroom.
ISO 100 | 1/60 sec |F2.8

I did have to give up some features by stepping down from the Mid-level Mavic Pro-series to the more beginner-oriented Mini, above and beyond Raw capture. One such feature is video quality: the max video resolution is 2.7K/30p compared to 4K/30p on my Mavic Pro (not a deal-breaker for my needs as a primarily stills shooter). The maximum flight range is also less than that of the original Mavic, a limitation I’ve yet to encounter, but I’ll report back if I do.

There is, however, one feature I wish the Mini had: Rear and front accident avoidance cameras. My Mavic Pro has a front avoidance camera and who would’ve guessed, all my crashes with it have been while going in reverse. But hopefully their absence will lead me to become a safer, more competent flyer (knocks on wood).

Access to a go-everywhere flying smartphone camera has put a big smile on my face

Ultimately, if you’re a photographer who’s been curious about drone capture and trying to decide when to pull the trigger and on which model, the time is now and the model is the Mavic Mini. At $ 400, it’s cheaper than a lot of other cameras accessories you can purchase. But it’s one that’ll likely change your perspective more than anything else you could put that money toward. Moreover, access to what is essentially a go-everywhere flying smartphone camera has put a big smile on my face, which is why the DJI Mavic Mini is my gear of the year.

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Articles: Digital Photography Review (dpreview.com)

 
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Blog Project: Your Best Photos From 2019

18 Dec

It is time to kick off the 13th annual best photos of the year blog project! I’m proud to say over the years that hundreds of photographers have taken part (see Best Photos of 2018, 2017, 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008 and 2007).  It’s great to see the community of photographers that have developed around this blog project. As always I hope the exercise of picking your best photos helps improve your photography (10 Ways to Top Your Best 20xx Photographs).

So without any further delay here is how you take part to submit your best photos of 2019.

How to Participate (Read Carefully)

  1. Review & select your best photos from 2019.
    Note: Photo edit carefully narrowing down your results to your best 10 or 5 photos. Reference Pro Tips: Photo Editing with Gary Crabbe for pointers.
  2. Create a blog post on your website or a Flickr set containing your best photos from 2019.
  3. Complete the form below by Sunday JANUARY 5th at 11:59PM PST to take part. The following Tuesday, or thereabout, I’ll post a link to all submitted sites and photos on my blog. Throughout the week I’ll also share the results across all my social media accounts.

Spread the Word!
Feel free to spread the word of this project on Twitter, Facebook, Instagram, photo forums you frequent and/or your blogs. All who are interested in taking part are invited.


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JMG-Galleries – Landscape, Nature & Travel Photography

 
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The results are in! Best gear of 2019 – winners and runners-up

17 Dec

Winners and runners-up: Best gear of 2019

For the past few weeks, our readers have been voting on their favorite photographic gear in three categories: Best camera, best zoom lens and best prime lens. Now that the first round of voting is over, it’s time to reveal the winners.

Remember, it isn’t over just yet! It’s time now to pick an overall winner.

Don’t miss this rare opportunity to exercise your democratic right to vote for something that doesn’t matter in the slightest! Cast your ballot now!

Best prime lens – Runner-up: Nikon Nikkor Z 58mm F0.95 S Noct

Essentially a demonstration of just what the ultra-wide Z mount is capable of, the Nikon 58mm F0.95 is a reimagining of the classic ‘Noct Nikkor’ for the 21st Century. The first thing that most people notice about this manual-focus lens is its sheer size, and substantial weight. Nikon didn’t cut any corners with the Noct, and it shows.

Although we haven’t yet been able to properly test it, our early samples suggest that while clearly a very specialized product the new Noct is capable of doing things that other lenses simply can’t. Clearly you agree, since it took a close runner-up position in our poll.

Best prime lens – Joint-winner: Canon RF 85mm F1.2L USM

We know you hate joint-winners, but when two products are separated by only 0.2% of the vote, what are we meant to do? Competition in this category was intense this year, and the first of our two joint-winners is the Canon RF 85mm F1.2L USM – a reference prime for portrait photography fans and a superb option for Canon RF shooters.

Best prime lens – Joint-winner: Sony FE 135mm F1.8 GM

Tied for the winning position was another superb prime lens – Sony’s FE 135mm F1.8 GM, taking 11% of the total vote.

Practically flawless in terms of common optical aberrations, and capable of beautiful rendering wide-open, this is another excellent option for a7-series and a9 photographers, especially those who are interested in portraiture. We really like this lens, and clearly you do too.

Best zoom lens – Runner-up: Nikon Z 24-70mm F2.8 S

Nikon has spent the year consolidating its Z-mount lens lineup, and the Z 24-70mm F2.8 S is one of the most impressive offerings yet, featuring a highly advanced optical construction including Nikon’s new ‘Arneo’ coating.

Fast and sharp, and capable of very good close focus image quality, the Z 24-70mm F2.8 S is exactly what a standard zoom lens should be: a reliable and versatile tool capable of everything from landscapes to portraiture.

Best zoom lens – winner: Canon RF 70-200mm F2.8L IS USM

Topping the poll this year for best zoom by a comfortable margin was a very different kind of lens, but designed for a similar kind of photographer. The Canon RF 70-200mm F2.8L IS USM is a high-performance fast telezoom aimed at professionals and high-end users, which offers stunning performance.

Its combination of excellent sharpness, very effective optical image stabilization and a compact form-factor (at 70mm) make this a winning zoom, in more ways than one. But was it the best product of 2019? Let us know by casting a vote in the final poll.

Best camera – runner-up: Fujifilm GFX 100

Fujifilm’s GF-series of medium-format mirrorless cameras continues to evolve and with the GFX 100, the company really pulled out all of the stops. The first medium-format camera to offer IBIS, the 100MP GFX 100 is a supremely capable product for both stills and video.

While its $ 10,000 asking price puts it out of reach of most non-professional photographers, there’s no denying that it’s an incredible impressive piece of technology, which garnered 12% of the total vote in our poll for best camera of the year.

Best camera – winner: Sony a7R IV

With 21% of the total vote, Sony’s a7R IV was the clear victor in our readers’ poll. The a7R IV also won our DPReview Award for best product of 2019, and apparently our readers like it just as much as we do.

Offering 60MP resolution, advanced autofocus and excellent 4K video features, the a7R IV is Sony’s most versatile mirrorless camera yet, and one of the most competitive in the entire market. Was it the best product of the year? Let us know by casting your vote.

Have your say

You helped determine the winners in these individual categories, so now’s the time to cast your vote in one last poll! Choose up to three favorites from this list of winners and runners-up between now and December 29th 2020 at midnight PT when the final poll closes. Watch for an announcement of the winners soon after.

As always, thanks for casting your votes and being a part of our community throughout the year.

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Have your say

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Have your say: Best gear of 2019
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Canon RF 70-200mm F2.8L IS USM

Canon RF 85mm F1.2L USM

Fujifilm GFX 100

Nikon Nikkor Z 24-70mm F2.8 S

Nikon Nikkor Z 58mm F0.95 S Noct

Sony FE 135mm F1.8 GM

Sony a7R IV

Voting is easy – you pick your favorite products by dragging and dropping. You can pick up to three, and rank them in order of priority.

Articles: Digital Photography Review (dpreview.com)

 
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Gear of the year 2019: Barney’s choice (part 2) Nikon Z 50mm F1.8 S

16 Dec
Photo: Dan Bracaglia

We’ve been writing these articles for a few years now, and when it comes time to think about what I would pick as my ‘Gear of the Year’, I tend to go by two main criteria: What (if any) gear in the past 12 months did I actually spend my own money on, and what did I most enjoy using? And if those two criteria happen to be met by a single product, then there’s my answer. No further consideration required.

This year, two products met both of those criteria. The Ricoh GR III (which I wrote about here) and the Nikon Z 50mm F1.8 S. Clearly they’re very different things. One is an APS-C compact camera and the other is a lens for full-frame mirrorless cameras. But both have been in my camera bag almost every time I’ve gone out shooting in 2019.

Of the thousands of frames I’ve shot with the Z 50mm this year, the vast majority have been taken at F1.8

Why do I love the Nikon Z 50mm F1.8 S so much? The boring answer is that it’s just really really good. Historically I’ve not been not a big 50mm fan in general, and I will admit to being a bit of a snob about F1.8 lenses in the past. But the Z 50mm F1.8 S is so good – and so good at F1.8 – that it has changed my perspective on what a ‘nifty fifty’ can be.

I would estimate that of the thousands of frames I’ve shot with the Z 50mm this year, the vast majority have been taken at F1.8. With most of the standard lenses I’ve used during my career, that would not be a particularly smart move. Generally speaking, lenses of this type are at their best when stopped down slightly. But the Z 50mm F1.8 is almost as sharp wide open as it is stopped down, and at all apertures it’s largely free from common aberrations like longitudinal chromatic aberration.

Nikkor Z 50mm F1.8 S | ISO 100 | 1/800 sec | F1.8

There are plenty of 50mm lenses that give a more interesting rendering than the Z 50mm F1.8 S, but few which provide its biting cross-frame sharpness and virtually coma-free images at wide apertures. And it just so happens that those qualities ended up being crucial to me this year, when working on a long-term project down on Washington’s coast, during twilight clam digs. The combination of the Nikon Z7’s resolution and in-body stabilization and the Z 50mm’s sharpness and clean rendering at F1.8 proved invaluable, allowing me to get sharp, hand-held images in near-darkness that I could never have captured with a DSLR.

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The fact that the weather-sealed Z7 and Z 50mm F1.8 S continued to work reliably and accurately for hours in heavy rain and strong winds is another major point in both their favor.

I’ve also come to really appreciate the Z 50mm F1.8 S for portraiture, despite its relatively short focal length, which discourages very tight framing. Bokeh isn’t the smoothest at wide apertures, but it’s smooth enough, and virtually free from colored fringing.

Nikkor Z 50mm F1.8 S | ISO 64 | 1/80 sec | F1.8

Of course, I’m lucky. Like almost all professional photography reviewers I get to try all kinds of different equipment, at no cost. When I do spend my own money on something, it’s because I’ve used it, probably quite extensively, and I’m very confident in my investment.

That means that I have to be careful to stay grounded when talking to our readers, especially when it comes to making value judgements about the cost of new gear. Personally, having used a lot of lenses, I think that the Z 50mm F1.8 S’s price of around $ 600 is exceptionally good value, but I understand the complaints from some of you that $ 600 is a lot to pay for a 50mm F1.8. And a large-ish one, at that, by traditional (if not current) standards.

The point I would make (and which I hope I made in this article) is that $ 600 spent now, on a modern lens designed for mirrorless, buys you greater performance than $ 600 ever has before. We are very lucky, as photographers, to be on the cusp of a new era in optics, where some of the old paradigms are being overturned. In the case of this particular lens, it’s probably the only 50mm I’ll ever need for my Z7. Not bad for $ 600.

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Articles: Digital Photography Review (dpreview.com)

 
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