The post Canon May Release a “$ 799 Full-Frame Camera” in 2022 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
A full-frame, RF-mount camera for the price of an entry-level, crop-sensor model. Could it be done?
It sounds outlandish, but according to Canon Rumors, such a camera may not be far off. As CR reported earlier this week, while Canon’s plans aren’t yet set in stone, the company “is aiming to release a full-frame, RF-mount camera for under $ 800 in 2022.”
Of course, Canon Rumors is all about, well, rumors, and any official confirmation from Canon is many months out. But this $ 799 camera tidbit comes from “a pretty solid source with a decent track record,” and CR notes that they “do believe there is something to this just by what [they] have been shown.”
And if the rumor is true and Canon does succeed in creating a full-frame mirrorless camera for $ 799 USD? It would be a revolutionary move, pushing the boundaries of affordable, entry-level models beyond anything done before.
At the time of writing, a significant divide exists between full-frame cameras on the one hand and APS-C cameras on the other. With few exceptions, APS-C cameras are aimed at the beginner-to-enthusiast crowd, as reflected in their prices, lens offerings, and other specifications; most of Canon’s APS-C cameras, for instance, debut for less than $ 1000, including recent mirrorless models such as the M50 Mark II and M6 Mark II (body only).
Full-frame cameras, on the other hand, start where APS-C cameras leave off. Canon’s cheapest full-frame mirrorless model to date, the EOS RP, clocked in at $ 1299 when released. And Canon’s cheapest full-frame DSLR, the Canon EOS 6D Mark II, currently goes for $ 1399, body only. For plenty of beginners and even many serious enthusiasts, these price points are prohibitive, especially when factoring in the cost of full-frame lenses.
Sure, the crop-sensor models of 2021 are powerful. And there are reasons to pick crop-sensor models over full-frame models, as cameras like the Canon 7D/7D Mark II show. But APS-C cameras struggle to compete with their full-frame counterparts in one key area, and it’s a big one:
Image quality.
Because that’s what this is all about: full-frame sensors are larger, which means (all else being equal) better high-ISO performance, improved dynamic range, and the opportunity for higher resolutions. If Canon could pack full-frame quality into an entry-level-priced body, it would open up the advantages of full-frame imaging to everyone, beginners and professionals alike.
As Canon Rumors points out, “Even launching a new full-frame camera at $ 999 would be quite welcomed…If Canon could get the camera and a kit lens for under $ 1000 USD, they’d have themselves a winner.”
2022 is a long way off, and plans can fail, but let’s hope that Canon forges ahead. Keep an eye out for more information, and in the meantime, share your thoughts in the comments below!
What do you think of a sub-$ 800 full-frame, RF-mount camera? Would it interest you? And if Canon is successful, would it be the beginning of the end of APS-C cameras?
The post Canon May Release a “$ 799 Full-Frame Camera” in 2022 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Venus Optics has announced the release of the Laowa 14mm F4 Zero-D lens for Canon and Nikon DSLR camera systems.
The lens is constructed of 13 elements in 10 elements, including two extra-low dispersion ale nets and two aspherical elements. Like other Laowa ‘Zero-D’ lenses, the lens features near-zero distortion, despite its wide angle of view.
It’s also the first lens to get what Venus Optics called a focusing scale adjustment system, which allows you to calibrate the infinity point of the lens to ensure it’s exactly at the infinity mark based on the specific camera model you’re using it on. Venus Optics has shared the below tutorial showing owners what the calibration process looks like:
The lens features an integrated CPU for electronic control of the aperture with Canon EF mount camera bodies and an aperture coupling for Nikon F mount camera bodies. Other features includ a minimum focusing distance of 14.5cm (5.7″), uses a five-blade aperture diaphragm and uses a 67mm front filter thread.
Below is a gallery of sample images, provided by Venus Optics from a range of photographers:
As for measurements, the lens comes in at 72.5mm (2.85″) in diameter for both the EF and F mount versions. The Canon EF mount version measures 75mm (2.95″) long while the Nikon F mount version is 73mm (2.87″) long, while weighing 320g (11.3oz) and 360g (12.7oz), respectively.
The lens is available to order on Venus Optics’ website for $ 499.
The post What Do the Numbers on Your Camera Lens Mean? appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.
Camera lenses include quite a few numbers – and many of these are often confusing or obscure, especially for beginners.
That’s why, in this article, I’m going to run through all the important camera lens numbers you’ll encounter. I’ll explain what the numbers actually mean, and I’ll also explain why they matter for your photography.
By the time you’re finished, you’ll be a lens number expert, and you’ll never find yourself confused by your lens markings again.
Let’s jump right in.
Common numbers on newer digital lenses
Depending on the age of your lens, you’ll run into different markings. In this section, I’ll discuss numbers frequently found on newer lenses (though note that many will apply to old lenses, as well!).
Focal length
Zoom lenses feature a zoom ring; twist it, and your lens will zoom in and out.
Next to this ring, you’ll generally find focal length numbers. For example, if your lens is a 70-200mm zoom like mine (below), you’ll see markings that span from 70mm to 200mm. I’m currently at around 100mm:
A lens will never display every focal length but will instead offer a few useful intervals, as you can see in the image above.
If you are using a prime or fixed lens, you won’t have a zoom ring. Your lens will simply indicate the focal length on its barrel, as you can see on my 85mm lens:
Maximum aperture
The maximum aperture is the largest aperture opening your lens is capable of achieving. Note that the larger the aperture opening, the smaller the f-number (so f/2.8 corresponds to a very wide aperture, while f/22 corresponds to a very small aperture).
Larger apertures like f/2.8 or even f/1.8 are highly desirable because they allow you to shoot in low-light conditions while maintaining a fast shutter speed. So the best lenses – and the most expensive lenses – tend to offer a very wide maximum aperture.
(Note that some zoom lenses have a variable maximum aperture, where the maximum aperture will change depending on the focal length; this is represented as a range of numbers, such as f/3.5-6.3.)
Now, pretty much every lens has the maximum aperture written somewhere on its body. You can usually find this information in one of two places (or perhaps even in both):
Right on the end of the lens barrel
On the front of the lens inside the filter ring area
In the photo below, you can see two different lenses: my Tamron 17-35mm and my Canon 85mm. On the Tamron, you should see “1:2.8-4,” and on the 85mm, you should see “1:1.8.”
What does this mean? It’s simple: the maximum aperture on the 85mm lens is f/1.8, and on the Tamron zoom, the maximum aperture changes from f/2.8 to f/4 as you zoom the lens. (At the lens’s widest, 17mm, I can open the aperture to f/2.8. But if I zoom all the way to 35mm, my maximum aperture becomes f/4.)
These variable maximum apertures are pretty common with kit lenses, and especially kit lenses with a large focal length range such as 28-300mm or 18-200mm.
Focusing range and distance scale
On some – but not all! – lenses, you will see a range of distances, usually marked in two scales, feet and meters. These lens numbers indicate the distance at which your lens is currently focused.
So at one end of the scale, you’ll find the infinity symbol, and at the other end, you’ll find the lens’s minimum focusing distance (i.e., the closest the lens can focus).
Check out the two lenses below. The distance scale on the 70-200mm (left) is under a cover, and you can see that the lens is focused somewhere between 10 meters and infinity. The distance scale on the 17-35mm (right) is on the lens’s focus ring, and you can see that the lens is focused quite close, at around 0.5 meters.
Note that, as you focus your lens, the distance scale will change to reflect your new point of focus.
Lens diameter (filter size)
Every lens has a diameter, the distance across the center of the lens. This diameter also corresponds to the filter size (if the filter’s diameter doesn’t match the lens diameter, it won’t properly screw onto the front of the lens).
You’ll find the lens diameter written on the end of your lens (often on the edge of the barrel), preceded by a symbol that looks like a zero with a strike through it:
So for the lens pictured above, the diameter is 77mm. And if I wanted to use a polarizing filter or a clear filter, I’d need to grab one with an equivalent diameter.
By the way, you can also find the lens diameter on the back of the lens cap, as displayed above.
Less common lens numbers (often seen on older, manual focus lenses)
Now that you’re familiar with all the common camera lens numbers, let’s take a look at some of the less common markings. These numbers are pretty rare on lenses designed for digital cameras, but you may come across them if you purchase older, manual focus glass.
Aperture ring
Most newer lenses set and control the aperture through the camera. But back in the days of film, you would set the shutter speed on your camera and the aperture on the lens (via an aperture ring).
So while newer lenses rarely include aperture rings, you’ll find them on plenty of older lenses. An aperture ring displays different aperture settings, like this:
And by rotating the ring, you widen or narrow the aperture.
Note that some modern lenses do include aperture rings; Fujifilm is known for this, as are other brands that offer manual focus lenses (e.g., Samyang).
Hyperfocal distance scale
A hyperfocal distance scale helps you determine the depth of fieldfor a scene, given a particular focal length, point of focus, and aperture.
Most zoom lenses don’t offer hyperfocal distance scales (because depth of field varies with focal length). But if you have a prime lens – especially an older model – you may see an extra ring of numbers on the barrel, such as in the image below:
Note that, in the image, you can see three sets of numbers:
the distance scale
the hyperfocal distance scale
the aperture ring that actually sets the lens aperture
And this is by design. The hyperfocal distance scale uses the distance scale to display the expected depth of field. Here’s how it works:
First, focus your lens and set your aperture. Then look at the hyperfocal distance scale and find your chosen aperture on either side of the red line. Finally, look at the focusing distances that correspond to the apertures – these will be your near and far depth of field limit.
Make sense?
Camera lens numbers: final words
Well, that’s it for lens numbers! Hopefully, you now feel much more confident (and much less confused) when looking at your lens.
And if there are any lens numbers I missed, don’t worry – just share pictures in the comments below, and I’ll see what I can do to help out!
The post What Do the Numbers on Your Camera Lens Mean? appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.
My last bucket list trip, taken right before joining DPReview in 2013, was a cruise around the bottom of South America, with several days spent in Antarctica, pictured here. Photos taken with the Canon EOS 7D.
Fourteen months ago I was supposed to be cruising around the Galapagos Islands onboard the National Geographic Endeavour II, seeing barren landscapes and animals you won’t find anywhere else (blue-footed boobies!). It was a trip high on my bucket list, and one that I’d been saving up for nearly two years; cruises to the Galapagos don’t come cheap.
But months before my scheduled departure, the first major outbreak of covid-19 in the U.S. tore through a nursing home five minutes from my house, killing nearly 40 people. Everyone knows what happened next.
I’m planning on buying my gear, rather than borrowing it from the cabinet in the DPReview office
Obviously, the trip was cancelled, but the nice folks at Lindblad Expeditions let me reschedule for 2021 (and why not, since they already had my money). As time went by I started to lose confidence about travel in 2021, so a few months later I pushed the trip back to 2022, just to be safe.
But I’m not writing this article to share my travel woes. With the trip looking like it will actually happen next year, I’ve returned to planning what gear to bring. Unlike the first time I performed this exercise, I’m planning on buying my gear, rather than borrowing it from the cabinet in the DPReview office.
And why am I doing this now, rather than closer to the trip? Simply put: the value of my current gear is only going to go down between now and then.
This iceberg was much, much, much larger than our ship – and that’s just on the surface.
My current gear
The EOS 5D Mark III with the 24-104mm F4L kit lens
For many years I’ve been the proud owner of a Canon EOS 5D Mark III. Even though I rarely use it due to all the new toys in the office, it still has a special place in my heart. It takes great photos, the ergonomics are close to perfect, it can take a beating and the optical viewfinder is large and bright.
As for lenses, I own Canon’s 70-200 F4L IS USM (the first one), 17-40mm F4L USM and the 24-105mm F4L that came in the box with the camera. While I could always buy more lenses, those three covered the bases, and well.
Camera requirements
The most important factor in my search for a new camera system is price. I’m looking for the value option, not the best camera on the market.
As for my camera system wishes, here are the main features I’m looking for on my 5D III replacement (the 5D already offers some of these things):
I want a more capable sensor; the 5D’s resolution is fine, but the dynamic range is behind the times.
I want a tilting or articulating screen so I don’t have to lay on the volcanic rock found on most of the islands.
I want 4K video. Of all places to take high quality video, the Galapagos is it.
I want in-body image stabilization. My hands have a mild tremor and I don’t want tmiss a shot.
I want something rugged enough to get wet or bashed into… something.
I want dual card slots; not taking any chances since this is likely a one-time trip
The display and EVF must pass the “polarized sunglasses test”. I need to be able to see what I’m looking at (in both landscape and portrait orientations) when shooting outdoors.
Some may be surprised that didn’t include amazing autofocus on the list. While I want something to focus quickly and accurately, having top-notch subject tracking isn’t a deal-breaker, since most of my subjects won’t be running around. (I’m also one of those focus and recompose people: probably the only one left in the DPReview office. That said, the switch to mirrorless may convert me to continuous autofocus with subject tracking.)
Next, I have a rough list of the kinds of lenses I’d like in my backpack, which happen to be very similar to what I already own. I would rent a longer super-tele lens, since I don’t need one in my personal collection. Here’s what I’m looking to buy:
Ultra-wide (16-35mm equiv.)
Standard (24-105mm equiv.)
Tele-zoom (70-200mm equiv.)
Ideally, these lenses would be in the F4 equivalent range, since I don’t need the very best, and my bank account is not overflowing with cash.
What’s my gear worth?
My Canon gear, all boxed up and ready to sell.
Not wanting to deal with craigslist, I went to KEH’s website to look into prices for my Canon gear (and don’t forget to check with your local camera store, who sometimes buy used equipment for trade or credit). Here’s what they were willing to offer on June 23, 2021:
Product
KEH condition
KEH trade-in estimate
EOS 5D Mark III body
Excellent
$ 809
EF 70-200 F4L IS USM
Excellent
$ 520
EF 24-105mm F4L IS USM
Excellent
$ 683
EF 17-40mm F4L USM
Excellent+
$ 365
Grand total
$ 2377
So I have almost $ 2400 to spend, but I still want to keep my cost as low as possible. What are my options?
Option 1: Get an EOS R6 and adapt my DSLR lenses
If I had an unlimited budget, I’d sell the whole 5D III kit and get myself an EOS R6 and a few RF lenses (14-35mm F2.8, 24-105mm F4, 70-200mm F4), which adds up to $ 6900. Unfortunately, I don’t.
The EOS R6 with an adapted EF 70-200 F4 L
I love the R6 because, being a Canon camera, it’s familiar to long-time owner of that brand. Image quality is great, it has really good in-body stabilization, a fully articulating screen, high-res viewfinder and 4K/60p video. And yes, its autofocus is really good too.
Downsides? Some rolling shutter in video, the small risk of overheating in video and so-so battery life (though I’m planning on bringing a small fleet of batteries, just to be safe.
In this scenario I would keep all three of my lenses and buy the R6 and Canon’s basic EF-to-RF adapter. That would add up to $ 2600 and, after taking the $ 809 I’d get for trading in my 5D III, I’d still owe almost $ 1800. Let’s try something else.
Option 2: Sell it all and start over
A more realistic plan may be to dump all of my current gear and start from scratch with a new system. There are an overwhelming amount of camera and lens options, though my camera requirements help narrow down the field a bit.
Cameras
After much soul-searching, here are the cameras on my short list, based on the requirements I mentioned earlier.
Camera
Pros
Cons
Cost (body)*
Canon EOS R6
Build, familiar controls, EVF, video, LCD type, great IBIS
Price, rolling shutter, small risk of overheating in video, battery life
$ 2500
Fujifilm X-T4
Design and controls, IBIS, JPEG quality, video, LCD type, battery life
Price, buffer size, too many dials
$ 1700
Nikon Z5
Price, design, image quality, IBIS, EVF, battery life
Slow burst, cropped 4K w/rolling shutter, no 70-200 F4, single card slot
$ 1000
Olympus E-M1 III
Build/durability, IBIS, fast burst, ‘live’ features, LCD type. battery life
Price, low res EVF, smaller sensor, menus, future of company
Unusual USB port, “fluttery” autofocus, smaller sensor, battery life
$ 1000
* All prices from B&H Photo
If I was just buying a body, the $ 2377 I’m getting for my 5D III kit makes all of these products very accessible. But I’m not.
Lenses
Now, for the other big purchase: lenses. As mentioned earlier, I’m looking for an ultra-wide, a standard zoom and a tele-zoom lens. Here’s where things get a little messy.
Camera
Lenses
Equiv. coverage
Cost (lenses)*
Canon EOS R6
14-35mm F4 24-105mm F4 70-200 F4
14-35mm F4 24-105mm F4 70-200 F4
$ 4400
Fujifilm X-T4
10-24mm F4 16-80mm F4 50-140mm F2.8
15-36mm F5.6 24-120mm F5.6 105-450mm F4.2
$ 3400
Nikon Z5
14-30mm F4 24-200mm F4-6.3
14-30mm F4 24-200 F4-6.3
$ 1900
Olympus E-M1 III
7-14mm F2.8 12-40mm F2.8 40-150mm F2.8
14-28mm F5.6 24-80mm F5.6 80-300mm F5.6
$ 3550
Panasonic G9
8-18mm F2.8-4 12-60mm F2.8-4 35-100mm F2.8
16-36mm F5.6-8 24-120mm F5.6-8 70-200mm F5.6
$ 2600
* Some of these lenses are available bundled with the camera body, which may save me some money. I’m not including those discounts above. All prices from B&H.
The Nikon kit comes out as the bargain but, as noted earlier, my kit only includes two lenses. While there is a 24-105 on the official roadmap, there’s no announcement date yet. Also, a 70-200 F4 isn’t even on the map – at least not yet. Sure, I could buy the FTZ adapter and use Nikon’s DSLR lenses, but I’d rather not. So, for now, I have to settle for the 24-200 F4-6.3 VR (along with the 14-30mm F4) to tide me over.
Nikon is yet to produce a 24-105mm F4 for Z-mount, leaving the 24-200mm F4-6.3 VR as the only alternative.
Right as I was wrapping up this article, Canon introduced its RF 14-35mm F4L IS USM lens, which fits my requirements. At $ 1700 it’s very expensive, but Canon offers all three types of lenses on my list.
The $ 2300 RF 15-35mm F2.8 is Canon’s only ultra-wide zoom that I could buy right now, though the 14-35mm F4 is arriving soon.
The only weather-resistant approximately 70-200mm equiv. that Fujifilm offers is its 50-140mm F2.8, which costs more than I’d like, but the 75-210mm equiv. range is nice and it’s still relatively fast. Since it’s still $ 700 less than the Nikon 70-200 F2.8, I’ll splurge and add the Fujifilm 50-140mm to my shopping list.
Being an F2.8 lens. it’s not surprise that the X-T4 with the 50-140mm is on the large side.
All of the lenses for Micro Four Thirds are have smaller equivalent apertures than the full-frame models, but they’re also more compact and generally lighter, which is one of the biggest selling points of the m4/3 system. Olympus makes some great lenses – and I like the idea of having a 80-300 equiv. – but they’re expensive, and that’s before I factor in the $ 1600 camera.
The Olympus E-M1 Mark III is remarkably compact with its 40-150mm F2.8 Pro lens attached
Two out of the three Panasonic’s have variable apertures, so they’re not as fast as the fixed aperture Olympus F2.8 lenses, but they hit my desired focal lengths.
So what’s it all going to cost?
I’ve gone through my two options – adapt my existing lenses, or just start all over – now let’s see how much all of these options will cost. Remember that KEH has valued my 5D III body at $ 809 and adding my lenses brings the total to $ 2377. This time I’m taking promotions into effect, since that’s how I’d actually buy the equipment.
Option
Cost*
KEH trade-in credit
Out of pocket cost
Canon EOS R6 + adapted current lenses
$ 2500
$ 809
$ 1691
Canon EOS R6 + 3 lenses
$ 6900
$ 2377
$ 4523
Fujifilm X-T4 + 3 lenses
$ 4800
$ 2377
$ 2423
Nikon Z5 + 2 lenses*
$ 2800
$ 2377
$ 423
Olympus E-M1 III + 3 lenses
$ 5150
$ 2377
$ 2773
Panasonic G9 + 3 lenses
$ 3400
$ 2377
$ 1023
* Cost includes camera + lens kits, which may decrease price. All prices from B&H.
The Nikon Z5 appears to be the big bargain here, but remember, I’d be getting one less lens, and and the 24-200mm lens gets slow quickly (it crosses F5.6 at 50mm and F6.3 at 105mm). The EOS R6 with three new lenses is expensive for obvious reasons, and both Fujifilm’s and Olympus’s higher-end cameras and lenses tend to be on the pricey side.
The final choice
On June 25th, I visited B&H’s website and ordered a Panasonic Lumix DC-G9, plus the 8-18mm F2.8-4, 12-60mm F2.8-4 and 35-100mm F2.8 lenses. Is the G9 the camera of my dreams? Nope. Rather, it’s the best one for my needs, in terms of both its lens collection and value. I’m still not sure if my trip will happen next year, but when it eventually happens, I’m confident that I made the right choice.
During my shopping process I considered what features I wanted, what cameras to consider, and how much it was going to cost. Price-wise, the two best values were the Nikon Z5 and the Panasonic DC-G9 (with the Z5 being about $ 700 more), so they were my finalists.
Ultimately, it was the system that sold me
The factor that drove my decision-making was not image quality, which was the first thing on my ‘must have’ list. I already know how that would turn out (the Nikon easily wins), and I didn’t even look at our studio scene comparison until after I’d ordered my new gear. Given the kind of shooting that I’ll do on the trip (and in life), it’ll be mostly outdoors, so the smaller m4/3 sensor performs well enough for me.
Ultimately, it was the system that sold me. The Micro Four Thirds system offers the lenses I want for my trip, and dozens more than I could buy or rent should the need arise. The lenses are smaller and lighter than those for APS-C or full-frame, which will make them easier to transport in the limited amount of space I’ll have.
Nikon makes some fantastic lenses for the Z system, but its collection of midrange full-frame options just isn’t there yet. I expect that to change, but I’m buying now and not later.
Homepage thumbnail photo of the Blue-footed Booby: PDolby via iStock
There are millions of old and outdated iPhones collecting dust. Researchers in Germany have found a way to turn some of those old iPhones, specifically an iPhone 5 camera module, into affordable microscopes for young students. Using LEGO, an iPhone 5 camera, LED lighting and a modern smartphone, students can build their own microscope.
Researchers Bart E. Vos, Emil Betz Blesa and Timo Betz from Georg August University Göttingen and Munster University in Germany set out to build a high-resolution microscope that wasn’t prohibitively expensive. Toy microscopes aren’t very effective, and specialized microscopes cost a lot of money, limiting their accessibility.
The researchers said, ‘Our aim is to introduce a microscope to individual students in a classroom setting, both as a scientific tool to access the micro-world and to facilitate the understanding of fundamental principles of the optical components of a microscope in a playful and motivating, yet precise approach. By basing the design on LEGO, we aim to make the microscope modular, cheap, and inspiring.’
‘Design of the LEGO microscope. (a, b) A photograph and a schematic representation of the microscope, (c) the LED that illuminates the sample from below, (d) the threaded system that adjusts the focus of the microscope by moving the objective, (e) 2 objectives containing a replacement smartphone lens with a 3.85-mm focal distance (left) and a glass lens with a 26.5-mm focal distance (right), (f) the second lens consisting of 2 acrylic lenses in its holder just below the eyepiece, (g) a smartphone used as a camera by adapting the eyepiece.’ Credit: Bart E. Vos, Emil Betz Blesa and Timo Betz
The researchers used an iPhone 5 camera module, smartphone and LEGO housing to craft a high-resolution microscope. Many people already have LEGO pieces around, and iPhone 5 lenses are quite cheap to come by. The researchers found one for under $ 5. The project’s full price, without including the cost of a modern smartphone, is €102 (about $ 120 USD). There’s a bit more to it, but it’s straightforward and inexpensive. Documentation for building your own microscope is available for free.
‘Schematic overview of the light path in the microscope. The object (here depicted as an arrow) forms an inverted intermediate image in the focus of the second lens. The second lens then sends collimated light to the observer.’ Credit: Bart E. Vos, Emil Betz Blesa and Timo Betz
The hope is that the LEGO microscope will make science more accessible to children worldwide. Every child deserves the opportunity to learn about our world, including the parts of it we can’t see with the naked eye. ‘An understanding of science is crucial for decision-making and brings many benefits in everyday life, such as problem-solving and creativity,’ said Professor Timo Betz, University of Göttingen. ‘Yet we find that many people, even politicians, feel excluded or do not have the opportunities to engage in scientific or critical thinking. We wanted to find a way to nurture natural curiosity, help people grasp fundamental principles and see the potential of science.’
‘Examples of experiments conducted with the LEGO microscope. (a) Image of a sodium chloride crystal. (b) Time lapse of an osmotic shock in red onion cells. After approximately 30 s, a 1 M NaCl solution is flowed in. Subsequently, water leaves the cells, causing the cell membranes to detach from the cell walls. After approximately 5 min, distilled water is flowed in, washing away the 1 M NaCl solution, and the cells return to their original volume. (c) Time lapse of the movement of an Artemia shrimp in water. (d) Time lapse of the movement of 2 water fleas in water. The scale bars in panels a, b, and d are 100 lm.’ Credit: Bart E. Vos, Emil Betz Blesa and Timo Betz
In addition to providing the plans for free, Vos, Blesa and Betz also published a paper about the microscope project.
The post Nikon Launches the Z fc, a Film-Inspired Mirrorless Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Nikon has announced its latest mirrorless camera, the Z fc, which combines top-notch APS-C mirrorless technology, Z-mount compatibility, and a beautiful, retro design.
While the Z fc is anchored firmly in the world of digital photography, the “heritage design,” as Nikon calls it, hearkens back to Nikon’s film cameras – specifically the FM2, an “iconic…SLR film camera released in 1982.”
Nikon explains, “The Z fc is the first Z-series camera to adopt a heritage design, while simultaneously supporting various advanced features. In addition to the enjoyment of shooting great stills and videos, it is designed with particular attention paid to delivering the pride and joy of ownership.”
This isn’t a first for Nikon; back in 2013, Nikon launched the Df, a high-end, full-frame DSLR with a film-inspired design. But unlike the Nikon Df, the Z fc isn’t aimed at advanced enthusiasts. Instead, the Z fc will slot into Nikon’s “entry-level” category, despite its impressive capabilities and a near-$ 1000 USD price tag.
In fact, the Nikon Z fc closely mirrors Nikon’s current (and only) entry-level mirrorless camera, the Z50. Like the Z50, the Z fc packs a 21 MP APS-C sensor, which strikes a nice balance between resolution and low-light shooting (the Z fc’s sensor likely comes straight from the Z50). The Z fc also features the Z50’s respectable 11 frames-per-second continuous shooting, a decent 2.36M-dot electronic viewfinder, and 4K/30p video.
But the Z fc and the Z50 differ in several important ways. For one, the Z fc includes a fully articulating screen – one that flips out to the side – while the Z50 screen tilts but doesn’t flip. This is a big deal for vloggers; you can mount the Z fc on a tripod, flip out the screen, and monitor the videoas you record.
There’s also the retro design, which promises Z fc users an engaged, down-to-earth shooting process. Instead of adjusting shutter speed, ISO, and exposure compensation via your camera’s LCD screen and back dials, you’ll be able to make adjustments via three dedicated top dials. No, it’s not for everyone, but if you’ve shot film and liked the feeling, or if you’re a fan of Fujifilm mirrorless cameras, then the Z fc is certainly worth a look.
The Z fc is remarkably compact, making it a perfect option for travel photography, casual walkaround photography, on-the-go photography, and more. At just 14 oz (390 g), you can carry it in a backpack, camera bag, or around your neck for hours on end – especially when used alongside Nikon’s just-announced kit lenses, the 16-50mm f/3.5-6.3 VR and the 28mm f/2.8.
So while the Z fc isn’t the most conventional camera on the market, it should certainly appeal to many photographers. If you’re after a lightweight, compact camera and you appreciate (or don’t mind) the retro design, check out the Z fc. You can currently preorder the body for around $ 950 USD; expect shipping to begin at the end of July.
Now over to you:
What do you think of the Nikon Z fc? Do you like it? Will you buy it? Were you hoping for a more groundbreaking new camera? Share your thoughts in the comments below!
The post Nikon Launches the Z fc, a Film-Inspired Mirrorless Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post Adobe Camera Raw vs Lightroom: Which Is Best in 2021? appeared first on Digital Photography School. It was authored by Ana Mireles.
Are you trying to decide between Adobe Camera Raw vs Lightroom but you keep getting confused? This used to happen to me, too – because to understand ACR and what it offers, you have to understand the program that hosts it (either Photoshop or Bridge).
That’s also why some people haven’t even heard of Adobe Camera Raw even though they’re using it; it’s the program designed by Adobe to develop RAW files, so it’s integrated into all Adobe photo-editing programs, including Lightroom.
As you read through this article, you’ll notice that ACR and Lightroom look very similar. Both of them allow you to process your photos and make adjustments to color and exposure. You can also correct perspective, fix lens distortions, and apply effects such as a vignette or split toning.
So what’s the difference? Keep reading to find out!
Whether you know Adobe Camera Raw or not and whether you shoot in RAW format or not (I hope you do!), this article can help you choose which editing program works best for you.
Adobe Camera Raw vs Lightroom: overview
Adobe Camera Raw was first launched in 2003 to develop RAW files. It can be supported by Photoshop, Photoshop Elements, Bridge, and After Effects.
Lightroom was based on Adobe Camera Raw and was initially released in 2007. As such, both programs share the same RAW processing technology. And in recent updates, Lightroom and ACR have started to look quite similar.
That said, if you want to use ACR, you need another software program to host it. Lightroom, on the other hand, is a one-program solution. It’s the reason why making a comparison between Lightroom and Camera Raw is so difficult – you’re comparing a plugin to a full-fledged software program.
Ultimately, there are two major comparisons you can make:
If you want to know which program to use for serious photo editing, you need to consider Lightroom vs Adobe Camera Raw in Photoshop.
If you want to know which program to use for file management and basic editing, the comparison is between Lightroom vs Adobe Camera Raw in Bridge.
That’s why, to avoid confusion, this article is structured in terms of features and workflows. Then I’ll wrap things up by telling you which program wins (in my opinion) considering the needs of different photographers.
Access and interface
Lightroom
The first big difference between Lightroom and Adobe Camera Raw is that Lightroom is a standalone program. You can get an Adobe subscription and have access to Lightroom, Lightroom Classic, and Lightroom Mobile.
The individual subscription only allows for Lightroom to be installed on two devices, and files can only be accessed by one person at a time.
The interface is very user-friendly and streamlined. As a result, Lightroom is easy to use and has a smaller learning curve than Camera Raw.
When handling RAW files, Lightroom uses the same technology as Camera Raw. The results should therefore be the same but with a different interface.
Adobe Camera Raw
You can’t download and use Adobe Camera Raw on its own – you always have to use it through another Adobe app. These can be Photoshop, Photoshop Elements, Bridge, or After Effects.
When you launch Adobe Camera Raw with these programs, you access the ACR interface. Since the most recent updates, ACR looks very similar to Lightroom. Because of this, the user experience is very similar. However, learning to use Bridge and Photoshop is more difficult than learning Lightroom.
Adobe Bridge can be installed on any number of computers and can be accessed by multiple contributors at a time. Photoshop, like Lightroom, can only be installed on two computers and can’t be used at the same time.
Files and formats
Adobe Camera Raw
Adobe Camera Raw was developed with the idea of opening and editing RAW files. It therefore supports most raw file formats (you can find a complete list of cameras supported by ACR on the Adobe website). And you can use ACR to process other file formats such as JPEG and TIFF.
ACR + Photoshop
When you open a RAW file with Photoshop, it will automatically launch Adobe Camera Raw. Camera Raw can also be launched midway through your workflow in Photoshop as a filter.
ACR + Bridge
Bridge supports all sorts of file formats because it’s meant to be an asset manager for all of the Adobe apps. So it handles PDF files, AI files, PSD files, etc.
When you open a RAW file from Bridge, it will automatically launch Adobe Camera Raw. If you want to use ACR with other photography formats (such as JPEG), you can just right-click on the image and choose Open>Camera Raw.
Lightroom
Lightroom might share some photo-editing capabilities with Camera Raw, but it wasn’t developed specifically for RAW files – it was created to satisfy the needs of all photographers. As a result, you can import any type of photo with the same process regardless of the format.
Lightroom supports most RAW formats (including DNG), HEIF, TIFF files in 8, 16, and 32 bits, JPEG, PSD, PSB, CMYK, PNG, and some video formats.
Image editing and batch editing
The photo editing tools in Lightroom and Camera Raw are quite similar. Both offer basic color and exposure adjustments.
You can also do selective edits, crop and rotate, remove spots, correct perspective and chromatic aberration, etc. But there are a few differences, as discussed below:
Lightroom
One of the best things about Lightroom is the ability to sync your edits across multiple photos. After you’ve edited a single photo, you can tell Lightroom to sync all the edits with other photos in the catalog (or you can select just a few adjustments to sync).
Another way to apply the same edits to multiple pictures is by using presets. You can save your edits as a preset, or you can download presets from other photographers (some are free, others are for sale). You can then preview the presets just by hovering over them, which makes it easier to browse different effects.
A great Lightroom feature is that it retains a photo’s editing history, even if you close it and come back to your image another time. That way, you can always revert to an earlier version if you’re unhappy with your recent edits.
Lightroom does support video files, though you can do very little video editing (you can apply some presets and use the Quick Edits in the Library module).
Adobe Camera Raw
In Camera Raw, you can batch edit only if you decide to do so from the beginning. You simply open several images in ACR and select them. Then every adjustment you make will be applied to all the selected images.
If you want, you can save your edits as a preset and apply them to multiple photos inside Adobe Camera Raw. It’s also possible to buy or download ACR presets from other creators; however, there aren’t as many available as there are for Lightroom.
To edit video, you can use Camera Raw as a filter inside Photoshop CC – all the tools are enabled as if you were editing a photograph. And Photoshop allows you to edit the duration of the video, add text, graphics, and so much more.
With Adobe Camera Raw, if you want to come back to a certain point in your editing process, you need to save Snapshots as you go. These Snapshots get stored in an XMP file, so they’ll be available anytime you want them – as long as you remember to create them. Otherwise, there’s no way to go back in your editing history if you close and later re-open the file.
File management
This is one of the biggest differences between Lightroom and Camera Raw; Lightroom is an image manipulation and organization software, while Camera Raw is only for image manipulation. Therefore, you simply cannot manage your files with ACR (no file management features exist!). That’s why I’ll compare the workflow of Bridge plus Adobe Camera Raw vs Lightroom.
Both workflows allow you to organize, tag, and rate your files before or after editing. Adding keywords is also available in both programs.
Adobe Camera Raw + Bridge
Bridge is a file browser that you can use to manage all the files – not just the photographic ones – on your hard drive. Therefore, you’re working directly with your original files.
Because you’re only browsing existing files, loading is faster than Lightroom’s import process, though it takes longer if you need to search with keywords or you want to make collections.
Since Bridge supports many file types and gives access to more than one person at a time, it’s great for collaborative work in big teams, whether people are working on the same or different projects.
From Bridge, you can access Adobe Camera Raw to process your images – RAW and otherwise. All the edits are saved in a sidecar file (ACR creates one for every photo). Having the edits in separate files is what makes the adjustments in ACR a non-destructive process. Separate files can also store presets.
Lightroom
Lightroom is a database program. When you import your images, you can access them even if they are offline, you can sync them across devices (if you use Lightroom CC), and you can keep your original files intact.
Importing your images can be a slow process, as Lightroom uploads the files and creates high-resolution previews (you have several options here). However, once the import process is complete, searching and organizing your files is faster than in Bridge.
Note that edits done in Lightroom and uploaded to the Cloud can be accessed from other devices that share the account, because all the files and edits are stored in one place. Edits can also be saved as presets for a more efficient workflow.
Adobe Camera Raw vs Lightroom: Which program is best in 2021?
As you’ve probably gathered, there’s not a clear answer to the Adobe Camera Raw vs Lightroom question. The program that’s best depends on your workflow and personal preferences.
If you’re a beginner photographer, Lightroom might be better for you, as it’s more user-friendly and has a smaller learning curve. Also, if you like using presets, you’ll find plenty of great options for Lightroom users. If you don’t plan to do advanced photo retouching, you can even get by without Photoshop.
For event photographers who need to cull, keyword, and batch-edit large amounts of pictures, Lightroom has better organizing tools. Also, most websites allow direct uploading from Lightroom, which allows you to share images with your clients in a more efficient way.
On the other hand, photographers who also need to edit videos or do graphic design will appreciate Adobe Camera Raw. That’s because Bridge and Photoshop support more file types and offer more tools for advanced editing.
In terms of cost, the two programs are essentially identical. For $ 10 USD per month, you can grab Adobe’s Lightroom Plan (which includes access to Lightroom Classic and Lightroom CC, plus 1 TB of cloud storage). Alternatively – and also for $ 10 USD per month – you can purchase Adobe’s Photography Plan, which includes Lightroom Classic, Lightroom CC, and Photoshop CC (with Adobe Camera Raw), though cloud storage is limited to 20 GB.
Of course, you can also use both Adobe Camera Raw and Lightroom according to the needs of each project – that’s what I do!
Now over to you:
What do you think of Adobe Camera Raw? How does it compare to Lightroom? Share your thoughts in the comments below!
Adobe Camera Raw vs Lightroom FAQs
Is Adobe Camera Raw free?
Not really. While you don’t pay for Adobe Camera Raw specifically, accessing the full program requires a Photoshop subscription.
How do I use Adobe Camera Raw with Lightroom?
Whenever you import a RAW file, Lightroom automatically uses ACR – you don’t have to do anything extra because ACR is built into Lightroom’s editing engine.
How do I use Adobe Camera Raw with Photoshop?
When you open a RAW file in Photoshop, it will automatically launch ACR. You can also use Adobe Camera Raw as a filter at any time while in Photoshop.
What is the difference between Adobe Camera Raw and Photoshop’s Camera Raw filter?
The Camera Raw filter has fewer tools than ACR. Also, you can use the filter to modify a layer in a document, but it cannot modify the document properties.
Can I use Adobe Camera Raw by itself?
No. ACR is a plugin that needs to be hosted by another program – you can use it with Photoshop, Photoshop Elements, Bridge, and After Effects.
The post Adobe Camera Raw vs Lightroom: Which Is Best in 2021? appeared first on Digital Photography School. It was authored by Ana Mireles.
The post Nikon to Announce the Zfc, a Retro Mirrorless Camera, This Summer appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
For months, we’ve had hints of a second Nikon Z-mount APS-C camera, frequently dubbed the “Z30” – and according to Nikon Rumors, that camera “is real and will be announced soon.”
But it will not be a standard, entry-level APS-C camera to match the Nikon Z50 or the Nikon D3500. Instead, the new Nikon mirrorless model, now referred to as the “Nikon Zfc,” will be a retro-stylecamera reminiscent of 20th-century film bodies as well as Nikon’s only retro DSLR, the Df:
The Nikon Df is a retro-style DSLR and likely bears a resemblance to the upcoming Nikon Zfc.
Here’s what you can expect in terms of design, based on Nikon Rumors reporting:
Mechanical dials (likely for ISO, shutter speed, and exposure compensation)
A fully-articulating screen
A “very thin camera body without a handgrip” and a “Nikon Df-inspired design”
“Shape and handling similar to old Nikon FM cameras”
Of course, any mirrorless model from Nikon will undoubtedly pack Nikon’s latest and greatest technology, from Eye AF and fast continuous shooting speeds to a powerful electronic viewfinder and an articulating touchscreen. And Nikon Rumors does claim the Zfc will offer capabilities similar to that of the Z50, a robust but well-priced APS-C camera featuring a respectable 21 MP sensor and an 11 frames-per-second burst mode.
But as film (and Fujifilm) shooters know, the photography experience on a retro-style body is wildly different from what you get on a standard DSLR or mirrorless camera. I’m a big fan of film-inspired designs, myself – the dials force you to slow down and really appreciate your settings, plus they make everything feel more real. And with the Zfc, you’ll get the best of both worlds: the tactile, mechanical ergonomics of a film camera, combined with the impressive speed and efficiency of a 2021 mirrorless camera.
While the Zfc is still only a rumored camera, and while the announcement and release date are technically unknown, Nikon Rumors is pushing a June 28th announcement date and expects the camera to begin shipping on July 31st.
The older Nikon Z50 currently sells for around $ 850 USD, body only, or $ 900 USD with a basic kit lens, and you can expect a slightly higher price for the Nikon Zfc; Nikon Rumors claims $ 999 USD (with a kit lens included).
So keep an eye out for the Nikon Zfc announcement later this month, especially if you like the sound of a reasonably priced, retro-style camera that can use Nikon Z lenses!
Now over to you:
Are you excited by the prospect of a retro-style camera from Nikon? Or would you have preferred a standard entry-level mirrorless camera? Share your thoughts in the comments below!
The post Nikon to Announce the Zfc, a Retro Mirrorless Camera, This Summer appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post 13 iPhone Camera Settings to Improve Your Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
There is an amazing array of iPhone camera settings you can tweak, customize, and configure to get just the right shots. Some of these settings are obvious, but others are buried beneath layers of buttons and menus and are easy to miss.
And while anyone can take great shots on an iPhone just by launching the camera and pressing the shutter button, learning a few of the custom options can truly take your iPhone photography to the next level.
Also, most of these iPhone tips and tricks are available no matter your iPhone model – so even if your iPhone is a few years old, you can still access some very helpful settings.
Are you ready to discover 13 highly useful iPhone settings?
Let’s dive right in.
A picture of a lake near the United States/Canada border (shot with my iPhone). When you know how to tweak your iPhone camera settings, you can get the shots you’re looking for.
1. Show and hide camera options
Nestled near the top of the iPhone camera is a thin strip (with the Flash icon on the left and the Live Photos icon on the right, as displayed below). Situated directly between these two icons is a small arrow pointing up, like the ^ caret above the number six on a keyboard:
Tap the ^ icon at the top of the camera interface to show/hide the camera options icons at the bottom.
Tap the caret at the top to show and hide a row of options near the bottom of the camera interface. As you can see in the screenshot above, this uncovers a handful of useful options, including filters and real-time cropping.
Another way to access these settings? Press your finger directly on the middle of your iPhone screen with the camera open, then swipe up or down. This yields the same result as tapping on the ^ icon, but some people find the press-and-swipe method to be a little more convenient. Either way, the hidden row of options puts some powerful tools right at your fingertips and can help you instantly take better photos.
One caveat: When you reveal this row of settings icons, your normal photo modes, such as Pano, Portrait, and Video, disappear. You can still access them by pressing on the middle of your phone and dragging your finger to the right or left, but it’s easy to get lost without seeing the name of the mode you are currently using.
I recommend you first set the photo mode (i.e. Portrait, Photo, etc.), and only then reveal the row of camera options icons.
2. Use the volume buttons as your camera shutter
When Steve Jobs introduced the iPhone in 2007, he proudly declared that it would not have a keyboard (much to the chagrin of smartphone users around the world!). Replacing the physical keys was a revolutionary touchscreen that could transform into whatever the developer wanted.
While the touchscreen was a brilliant move, it meant some common actions like snapping a picture became a little more tricky. It’s not always easy to hold your phone just right and press the shutter button at the same time.
Fortunately, there’s an easy fix for this common frustration:
Press the volume-up button to snap a picture.
This feature is enabled by default, but many users aren’t aware that it exists. Once you learn to use it, you won’t ever want to go back to awkwardly tapping the touchscreen to take pictures.
(Also, quick tip: When you press and hold the volume-up button, your phone will begin recording a movie. Release the button to stop recording.)
Many people don’t know this, but the volume buttons on any iPhone can be used to take a picture. You don’t have to change any settings to do it – it’s enabled by default.
3. Shoot in burst mode
An iPhone might not seem like the ideal device for action photography. After all, it can’t compare to a high-end DSLR or mirrorless camera that can fire off a burst of photos in rapid succession.
Or can it?
In fact, iPhones offer a burst mode – and with it, you can get action shots you never thought possible. You can shoot dozens of rapid-fire photos, then choose the best one from the batch.
Here’s how it works:
With the Camera app open, press and hold the shutter button, then quickly slide your finger all the way to the left. Burst mode will activate, you’ll start taking a series of images, and you’ll see a counter with the number of captured shots.
Use this during moments of fast action. You’ll always end up with those split-second, perfectly timed shots – without spending thousands of dollars on high-end camera equipment.
Press and drag the shutter button with your finger to take a burst of photos. The shutter button displays your photo count.
4. Press and hold the volume button for a photo burst
Burst mode is great, but what if you prefer using the camera volume buttons to snap pictures? If you press and hold the volume button, your phone starts recording a movie, not a burst – but did you know that you can force the volume buttons to shoot in burst mode when held down?
First, navigate to the Settings app. Then scroll down to Camera.
Next, look for the option that says Use Volume Up for Burst, and tap to enable it.
If you find the touch-and-drag method of taking burst photos inconvenient, you can set the volume-up button to take a burst of images.
That’s it! Now, if you hold the volume-up button, your iPhone will fire off a burst – and if you hold the volume-down button, you’ll record a movie. It’s the best of both worlds, and a setting I highly recommend. You never know whether you’ll need a burst or a movie, so it helps to have both options at your fingertips!
5. Use the built-in self-timer
Sometimes, you don’t want to take a photo the instant you press the shutter button. DSLRs and mirrorless cameras have a built-in self-timer; it lets you set a delay from the time you press the shutter to the time the camera actually takes a picture.
At first glance, this feature may seem missing from iPhones. But with a quick tap or swipe, you can activate the self-timer and start taking control of your photos.
Here’s what you do:
First, show the row of extra camera options by tapping the caret at the top of the screen (as described in Point 1 of this article).
Then press the Timer icon. Select either Off, 3s, or 10s:
To use the built-in self-timer, tap the Timer icon. Then specify whether to use the 3-second or 10-second delay.
Now, when you press the shutter button, you’ll get a delay before your iPhone snaps the photo.
It helps to have a tripod to hold your phone steady, but the timer works fine for selfie shots, too. That way, you can snap a picture without trying to position the phone and fire your iPhone shutter at the same time.
6. Real-time aspect-ratio cropping
As experienced users know, it’s easy to crop a photo on an iPhone. Just tap on the image, hit Edit, and then press the Crop button.
But while this process works well for cropping your photos after you take them, what if you want to start with a cropped display and frame your image accordingly?
Some high-end cameras allow you to select custom crops when you take photos, and the iPhone has this ability, too.
First, tap the caret at the top of the screen to reveal the hidden camera options. Then, tap the 4:3 button (which represents the 4:3 ratio in which iPhone photos are shot):
To use real-time cropping, access the hidden camera options and tap the 4:3 icon. Then specify what type of crop you want: Square, 4:3, or 16:9. Note that these options might be slightly different depending on your iPhone model.
Now you can choose whether to shoot in a 4:3, Square (1:1), or 16:9 aspect ratio – and you won’t have to go through the painstaking process of cropping your photos individually afterward.
Real-time cropping lets you see how your cropped photo will turn out (without any guesswork).
7. Portrait Lighting
In 2016, the iPhone 7 Plus was released with the first iteration of Portrait mode.
Portrait mode essentially mimics the blurry background effect you can get with a DSLR or mirrorless camera, but with Apple software algorithms. And the blur mimicry has gotten much better since those early incarnations, and now incorporates a feature called Portrait Lighting. This gives your Portrait mode images the appearance of being captured in various lighting conditions, and the result is so good it’s downright uncanny.
To access Portrait Lighting, first put your phone in Portrait mode (find it in the mode options just above the shutter button).
You should see a series of circles above the Portrait label; these are your different Portrait Lighting effects:
Enable Portrait mode, then touch and drag the icons above the shutter button to change the lighting effects. Your phone will show you a preview of the final result in real time!
The default lighting mode for portraits is “Natural Light” but this can be changed to “Studio Light,” “Stage Light,” “Contour Light,” and more. You actually see the effect in real time, so you know how the finished result will look, and you can change lighting modes as much as you want before you take a picture.
Portrait Lighting is a great way to punch up your portraits, and you can even go back and change the Portrait Lighting effect afterward when editing a Portrait mode image in the photo library.
8. Use filters as you shoot
Instagram and other social networks popularized the idea of filters, and now it’s almost strange to see photos without some kind of filter applied. The most common way of using filters is to snap a photo and then apply the filter afterward – but your iPhone camera has an option to use filters as you shoot.
With this, you can see what your edited pictures will look like before you even take them.
Filters can be applied as you shoot your images so you can see exactly what the final result will look like.
To use real-time filters, access the camera options by tapping the caret at the top of the screen. Then tap the icon with three intersecting circles.
The filter options will appear, and you’ll be able to choose from a variety of looks, including Vivid Warm, Dramatic Cool, Silvertone, and more. I find this method much more practical than applying filters after I take a photo, plus seeing your filters applied in real time can have a dramatic effect on your images!
9. Choose your preferred photo format (HEIF vs JPEG)
Until recently, the iPhone shot pictures in JPEG format. But while JPEGs are a good compromise between quality and file size, they’re ill-suited for today’s users, who want features like HDR imaging while still keeping file sizes small.
HEIF is a new file type designed to solve this problem, and it’s now the default format for iPhone photos.
Unfortunately, not everyone has a device that can load HEIF images, which makes sharing iPhone photos somewhat problematic – unless you know a handy iPhone settings solution.
Go to Settings, then Photos, and scroll all the way to the bottom to Transfer to Mac or PC. The Automatic setting will convert HEIF pictures to JPEG when sending them to a device that can’t read HEIF images. (Keep Originals will always send images as HEIFs).
You can also change the image format from HEIF to JPEG or JPEG to HEIF. Go to Settings, then Camera, and select Formats:
High Efficiency is a good option for saving space, but Most Compatible uses the more common JPEG format.
If you tap High Efficiency, your iPhone will shoot HEIFs – whereas selecting Most Compatible forces your camera to use JPEGs.
Generally, I recommend shooting photos in HEIF and leaving Transfer to Mac or PC on Automatic. But it’s always useful to know how to change these settings to your liking!
10. Optimize iPhone storage
If you take a lot of pictures on your iPhone, you might quickly find yourself running out of storage space. And while you can’t add more storage to your iPhone, there is a trick that lets you take tons of photos without worrying too much about using up space on your phone: storage optimization.
Go to Settings, then tap Photos. Look for the Optimize iPhone Storage option:
While you can’t add more storage space to your iPhone, you can take advantage of iCloud storage to help ease your photo storage burden.
This will automatically upload the photos to your iCloud account while keeping tiny, low-resolution thumbnails on your iPhone. Then, when you load a photo, the original is automatically downloaded from iCloud.
A caveat is that you need enough space on your iCloud account to accommodate your photos. Unlike your iPhone, you can add more iCloud storage, but you will have to pay. Prices range from one to ten dollars a month, and the one-dollar plan is plenty for most people.
So if you find yourself constantly running low on iPhone storage because of all your photos, don’t delete them! Just use the Optimize iPhone Storage option and let iCloud take care of the rest.
11. Show/hide the camera grid
Many DSLR and mirrorless cameras have grid overlays that help you compose your shots. They’re a great way to make sure your horizons are level, and you can use them to guide your rule-of-thirds compositions.
But did you know that your iPhone also has a grid?
All you have to do is select Settings, then Camera, and enable the Grid option.
Enable the Grid option in your Settings to display a grid overlay as you shoot pictures.
Now, when you take a photo, you will see a 3-by-3 grid, like this:
The grid overlay is a great way to make sure your photos are straight and well-composed!
12. Adjust the blur strength in Portrait mode
The iPhone camera has a fixed-aperture lens.
What does this mean? Well, unlike a DSLR or mirrorless camera, you can’t decide whether to shoot wide open or stopped down – and so you don’t have control over the background blur.
Except that, when shooting in Portrait mode, your iPhone does let you customize the level of blur. This effectively mimics aperture adjustments (through software trickery).
First, select Portrait mode from the mode options. Then tap the f icon in the top-right corner.
A slider should appear at the bottom of the camera screen; it approximates various f-stops of a camera lens:
Once in Portrait Mode, tap the f button in the top-right corner. Then drag the slider above the shutter button left and right to increase and decrease background blur.
Slide all the way to the left for f/1.4 and all the way to the right for f/16. You will see the blur change in real time as you adjust the slider. I often find that the default value selected by my iPhone (usually between f/2.8 and f/4.5) is great, but it’s nice to be able to customize.
You can adjust the blur level of your Portrait mode backgrounds (even on some lower-end iPhones with a single camera).
13. Preserve Settings
This final trick isn’t going to do anything for your photos, but it could save your sanity! If you find yourself frequently using a specific filter, adjustment, or Live Photos setting, you can tell your iPhone to preserve those settings – instead of forcing you to enable them one by one every time you take a picture.
Enabling the Preserve Settings option is simple:
Tap Settings > Camera > Preserve Settings:
The Preserve Settings option lets you keep all your favorite settings in place.
Here, you can specify the settings you want your iPhone to remember. Then, every time you open the Camera app, all your custom settings will remain just as you left them.
iPhone camera settings: final words
Well, I hope you found these tips helpful! Note that these are just some of the iPhone camera settings you can change to help customize your photography experience. There are dozens of other options to change and tweak, and with just a bit of practice, you will soon find yourself adjusting plenty of settings to suit your needs.
Also, don’t be afraid to poke around in the Camera app and Camera Settings menu. You just might find some new options you didn’t know existed!
iPhone camera settings FAQs
Do I need a high-end iPhone to use Portrait mode?
The first iPhones to do Portrait mode combined pictures from two separate cameras. Now, iPhones with only a single camera offer Portrait mode thanks to advanced software algorithms. Even the iPhone SE, the lowest-priced iPhone, can do it with the rear camera and the front-facing selfie camera.
How can I stop my iPhone pictures from looking blurry?
If your photos are blurry, your iPhone is probably having trouble focusing. Tap the screen to focus in one particular area, then give your phone a half-second to adjust focus. That should help keep your photos sharp.
Why can’t I use Night mode on my iPhone?
While all the settings in this article can be used on virtually every iPhone, Night mode requires special hardware and is therefore only available on certain models. If you try to take a photo in dimly lit conditions and your iPhone has Night mode, it will automatically show up as an option. If you don’t see Night Mode appear, then your iPhone probably does not have this feature.
What are the best settings for casual, everyday use?
If you’re feeling overwhelmed at all the iPhone camera settings, my advice is to just ignore everything and go take some pictures. The default values for your iPhone camera are just fine. You don’t have to change, tweak, or customize anything to get great photos.
The post 13 iPhone Camera Settings to Improve Your Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Can a camera lens go bad over a period of time? What is the life of a camera lens? These are the questions that linger in your mind if you have multiple lenses in your kit. If you are on a budget, you might be looking at buying used camera lenses. In this case you also need to know what Continue Reading Photodoto
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