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Posts Tagged ‘Experience’

Kraken Experience Bitcoin Erfarenheter

14 Oct

Att välja Kraken Experience Bitcoin de bästa kryptosystem som finns på marknaden är en mycket viktig aspekt av handeln. Om du inte är medveten om detta kan det sluta med att du förlorar mycket pengar i det långa loppet. Om du vill göra mest vinst på kortast möjliga tid måste du göra din hemläxa väl. Här är några av de grunder som du bör känna till innan du väljer de bästa mynten att handla på marknaden med.

Kraken Experience Bitcoin

En av de första sakerna du måste titta efter i de bästa valutorna som finns på marknaden är deras inflationsgrad. För att förstå detta måste du först förstå vad inflation är. Inflation är helt enkelt en ökning av priserna utan att varor och tjänster minskar. Till exempel är en enårig dollar värd mycket mer om några månader, eller hur? Så om du väljer att investera i de bästa råvarorna för det här århundradet vore det klokt att hålla utkik efter de valutor som enligt prognoserna kommer att uppleva den högsta inflationen under de kommande tio åren.

Ett annat grundläggande övervägande när det gäller att investera i de bästa valutorna är deras historik när det gäller handel och gruvdrift. Man kan inte bara välja vilket gammalt system som helst att investera i idag. Det finns hundratusentals valutor som handlas på marknaden och endast ett fåtal utvalda är lönsamma. Därför är det nödvändigt att du forskar väl om de olika systemen som finns tillgängliga för att veta vilket av de tillgängliga kryptosystemen som är det bästa att investera i.

Ett av de enklaste sätten att avgöra vilken av de bästa valutorna att investera i är genom att titta på den underliggande tillgångens egenskaper. Detta kallas tillgångens egenskaper och de är kända som Ripples. Låt oss ta en titt på två exempel på de bästa valutorna att investera i under det kommande decenniet. Den första typen av tillgång är aktier. Ett index som följer värdet av olika typer av företag kallas aktier. Så om vi tittar på de tio främsta valutorna som kommer att styra aktiemarknadens värde i framtiden är det troligt att dollarn kommer att fortsätta sin uppgång eftersom värdet på aktier i USA och Europa förväntas stiga.

Den andra typen av tillgångar är guld. Det finns en stor sannolikhet för att guldpriset kommer att stiga under det kommande decenniet. Om du håller på med handel och inte har teknisk kunskap om vilken av de bästa valutorna du ska investera i bör du prova de bästa kryptovalutorna som sannolikt kommer att öka i värde under detta årtionde. Bland de möjliga valutorna att investera i Kraken Experience Bitcoin finns euron, den japanska yenen, den australiska dollarn, schweiziska francen, den kanadensiska dollarn och det brittiska pundet. Var och en av dessa valutor har sina egna för- och nackdelar och du bör noggrant studera dem innan du investerar i dem.

Även om det är lätt att bli lockad av de dåliga nyheterna om att investera i kryptovalutor finns det ingen dålig investering när det gäller mynt. Anledningen till detta är att de flesta investerare som är nya i den här branschen slutar med att förlora sina pengar eftersom de inte har rätt kunskap om vilka av de bästa valutorna de ska investera i. Så när du letar efter de bästa valutorna att investera i är det viktigt att du blir bekant med alla dessa. Detta beror på att endast genom att bli en registrerad användare av en onlinehandelsplats kan du få tillgång till alla de bästa kryptovalutorna som finns tillgängliga i världen idag.

Det finns många fördelar som är förknippade med att investera i de bästa kryptokurvorna, bland annat det faktum att de handlas på den globala marknaden. Därför är det lätt att handla med de bästa valutorna och du kan också förvänta dig god avkastning. Att investera i de bästa valutorna kräver dock att du lär dig hur systemet fungerar, grunderna i ekonomi och företagsledning. Om du till exempel är en investerare som är ny på att investera på altcoin-marknaden, är det bättre om du får hjälp av professionella personer som experter och handlare.

Det finns många fördelar som du kan njuta av när du investerar i de bästa valutorna i världen. En av dessa är att när du väljer de bästa kryptosurferna kan du vara säker på att värdet på din investering alltid kommer att vara stabilt. Eftersom värdet på varje mynt varierar beroende på utbud och efterfrågan är det viktigt att du investerar i de bästa valutorna och sedan handlar med dem enligt dina behov. När värdet på en valuta fluktuerar kan du alltså enkelt sälja dina tillgångar och investera i de nya.

Det bästa sättet att investera i de bästa kryptosurfarna är att se till att du är välinformerad om de olika faktorer som påverkar värdet på ett visst mynt och du har också en expert som kan lära dig hur du väljer de bästa valutorna att investera i. När du vill göra vinster från handeln med den bästa kryptosurf bör du alltså se till att du utbildar dig om marknadens ekonomi och affärsmodeller. Här är nästa intressanta blogginlägg: Vad är den minsta insatsen när du köper Bitcoin?.

The post Kraken Experience Bitcoin Erfarenheter first appeared on Hur man använder kryptovalutor på rätt sätt.


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Cinema5D’s real-world experience raises concerns about EOS R6 overheating

25 Jul

Canon has made it known that heating issues place limitations on video recording with its new EOS R5 and R6. However, as Johnnie Behiri of Cinema5D has pointed out in his new ‘First Look’ video, the practical impact is ‘completely different’ than you might expect, from seeing an estimated capture time on paper.

To test out his pre-production EOS R6 camera, Behiri shot a mini-documentary in Japan titled ‘Never Say No.’ While the mini-doc, which is sandwiched inside the ‘First Look’ video, looks fantastic, capturing it wasn’t nearly as great an experience as Behiri was hoping.

A screenshot from the video showing what the camera’s display looks like after the unit overheats.

Behiri starts the video by saying that he had hoped to report back on the in-body image stabilization (IBIS) and autofocus capabilities of the EOS R6, but that those features ended up taking a backseat to the limitations created by overheating while shooting.

‘When you see [the time limitations] on paper and experience it in the field, it’s completely different,’ says Behiri. While he shot most of the mini-doc at 4K/24p, he at times had to resort to shooting footage at 1080/24p so he could get the footage he needed after his EOS R6 unit overheated. He even went so far as having to use fans and bags of ice to cool his camera down.

A still image Behiri shares in the video showing his attempt to cool off the camera using a household fan.

Wrapping up his experience with the pre-production EOS R6, Behiri says ’It’s a tool [and] on one hand it has a lot of useful features and really nice features [but] on the other hand, [those features are] a bit meaningless because you can’t work with the camera and execute what you want.’ He effectively summarizes his experience with the camera saying that ‘instead of controlling the camera […] the camera controls you.’ He says ‘it will overheat badly and you don’t know how long it will be until you can shoot again.’

‘Instead of controlling the camera […] the camera controls you.’

Behiri shared an accompanying blog post on Cinema5D that further dives into his experience with the camera. While he was happy to report that its autofocus ‘worked like a treat’ most of the time and he appreciated the camera’s articulating screen, that’s where the positives end. He notes rolling shutter was ‘horrendous’ during his time filming and ultimately concludes that the camera is ‘not working for [him].’

Even a bag of ice (which we don’t suggest you use on your unit) failed to keep the camera shooting, even at 4K/24p.

While this was a pre-production unit, Behiri notes Canon representatives told him it was ‘almost final.’ He was also shooting pretty much the exact type of assignment you’d expect the EOS R6 to be perfect for and the weather in Japan, although warm at around 82 degrees F, was far from extreme.

Articles: Digital Photography Review (dpreview.com)

 
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Video: How to build a custom Raspberry Pi ‘Becca Cam’ with zero coding experience

06 Jul

Becca Farsace, Video Director at The Verge, has shared a video detailing how she built her own Raspberry Pi camera with no coding experience.

The nine-minute video is a fun overview of what it took to turn a Raspberry Pi 4 computer into a fully-functioning interchangeable-lens camera with the help of Raspberry Pi’s new HQ Camera add-on, a three-inch touchscreen, a spare lens or two from Becca’s 16mm Bolex camera and a sacrificial Ninoka nk-700 film camera.

Since Becca isn’t too familiar with Python, the coding language needed to build apps for the Raspberry Pi 4 computer, she had more than a few hurdles to clear before she could get shooting. However, with the help of her Instagram followers, the camera’s manual and plenty of perseverance over the course of a few days, she was able to get a program up and running that allowed her to capture images.

The resulting ‘Becca Cam’ is far from intuitive (particularly when the keyboard is required) and quality of images captured with the camera isn’t going to blow anyone away, but for a 1.0 product built with zero coding knowledge, it’s impressive.

Becca shared links to all of the materials and code used to create the camera (aside from the frame, which was hacked together from an old film camera), so if you’re feeling like making your own camera, follow the video link and pick up the required components.

Articles: Digital Photography Review (dpreview.com)

 
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PhotoGIMP for Linux tries to turn GIMP into a more Photoshop-like experience

24 Jun

For Linux users, Adobe doesn’t offer any of their Creative Cloud software, including Adobe Photoshop. Linux users have long had GIMP, which is a capable photo editing alternative to Photoshop. Although similar in functionality to Photoshop, GIMP’s default appearance is quite a bit different. With a new patch for GIMP 2.10, called PhotoGIMP, users can achieve a much more similar user interface to Photoshop.

PhotoGIMP’s major contributors are Diolinux and yevklim, and the PhotoGIMP Patch has been designed for people with experience with Photoshop. As pointed out by John Aldred at DIY Photography, more users have been turning to Linux for their operating system needs. The result is that there are photographers used to Photoshop who are now needing to learn the ropes with GIMP instead. When you boot up the standard version of GIMP, you immediately see that the layout of tools is very different from Photoshop. Not only this, but the keyboard shortcuts users have committed to memory often work differently in GIMP. This is where PhotoGIMP comes in. By making GIMP look and act more like Photoshop, it should dramatically reduce the learning curve.

As you can see in this screenshot, PhotoGIMP looks quite similar to Adobe Photoshop in terms of organization, tool location and the overall user interface. Image credit: PhotoGIMP on Github

The primary features of the PhotoGIMP patch for GIMP are as follows:

  • Similar tool organization and layout to Adobe Photoshop
  • Hundreds of new fonts that mimic those available in Photoshop
  • New Python-based filters, such as ‘heal selection’
  • Default settings maximize the space on the canvas
  • New splash screen
  • Following Adobe documentation, in-app shortcuts are set similarly
  • New icon and name using a custom .desktop file

YouTube channel Novaspirit Tech recently published a video overview of PhotoGIMP, including a quick comparison showing the differences in user interface between the standard version of GIMP and PhotoGIMP.

While PhotoGIMP does not include all the same tools and features of Photoshop, it appears to look the part. For installation instructions, refer to the PhotoGIMP github page.

Articles: Digital Photography Review (dpreview.com)

 
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Interview: Celebrity photoshoots in the era of COVID-19 – Jesse Dittmar shares his experience

16 Jun
Jesse Dittmar was recently hired by The Washington Post to photograph 16-year-old TikTok star Charli D’Amelio in her parent’s backyard.

All photographs by Jesse Dittmar

Jesse Dittmar has been photographing high-profile celebrities since late 2013. He’s used to photographing the big names on short notice with a limited time-frame for publications like The Washington Post and The New York Times, but when COVID-19 hit, his typically busy shooting schedule dried up quickly.

Ordinarily, celebrity photoshoots require travel and large teams working together in extremely close quarters. In the month’s since COVID-19 has swept through the world, we’ve seen magazine’s like Essence and GQ asking stars to photograph themselves for features in the publications. Luckily for photographers like Dittmar, the celebrity selfie doesn’t seem like it will become the new normal in the photo world.

Dittmar photographs big names on short notice for publications like the Washington Post and the New York Times

The Washington Post recently commissioned Dittmar to photograph Charli D’Amelio – a 16-year old from Norwalk, Connecticut with over 60 million TikTok followers. She is one of the rulers of the social media platform, which she uses to share short-form videos of herself dancing in her home, lip-syncing to her family’s dogs and more recently using her influencer status to urge teenagers to stay at home during the global pandemic.

We caught up with Dittmar to learn more about his photoshoot with D’Amelio, his experience shooting in the era of COVID-19 and what he thinks celebrity shoots will be like moving forward.


This was your first shoot since COVID-19 hit the states, how did the opportunity come about?

The first shoot of the COVID-era happened earlier than I was expecting, to be honest. I thought it would be well into the summer before I was going to get that first call, but I got an email out of the blue, like I normally do. The photo editor was very understanding in the email, everybody has different levels of risk tolerance in this new era – it depends on your personal health and your family situation – a whole variety of factors. The shoot made sense for me and I was itching to make some art, because I hadn’t in so long, so it was a no-brainer to say yes.

The editor really encouraged me not to bring an assistant, keep it small, and that’s what I did

The Washington Post was very explicit about how they wanted to keep it safe. Typically for a shoot like this I’m taking at least one assistant if not two, possibly a makeup artist and a stylist. The crew for a shoot like this could easily be 4-5 people. But sometimes a shoot can even be up to 10 people. It was clear that wasn’t going to happen. The editor really encouraged me not to bring an assistant, keep it small, and that’s what I did.

What was the experience like of working without an assistant, I imagine it’s been a number of years since you’ve worked in such a stripped down way?

It reminded me of when I was first starting out doing photo shoots, early on, when I was my own everything. It wasn’t completely foreign to me, but it was a big flashback. I have not worked in that way – especially with famous people – in a long time. Typically when I know I’m photographing someone who is accomplished and whose time is short, it’s important I bring all the people. We have to execute a level of professionalism and deliver a quality product in a very quick amount of time. The way to do that is to make sure you have the support you need.

What other precautions did you take to make sure that the shoot would be safe?

Part of the deal was we were going to photograph in Charli’s parent’s backyard. We were outdoors the entire time, staying socially-distant and keeping six feet away from each other. I met her parents before the shoot, they came out to the back deck and we had a little chat. It was very low key, there was no one around. The only people that I saw were her family and the dogs.

It ended up being very intimate, just us in the backyard, I haven’t done a shoot like that in so long. There were no distractions

She self-styled and we went through two outfit changes. With someone like Charli, she does her own makeup. I knew what her vibe was going to be like, I liked that vibe, and I wanted the photos to capture that. We also didn’t want to make her feel older than she is. She’s a teenager, she has a clear strong visual aesthetic and a sensibility that I wanted to embrace. It ended up being very intimate, just us in the backyard, I haven’t done a shoot like that in so long. There were no distractions.

How did your technical setup change without having an assistant with you?

Because I was the one doing all the heavy lifting I was cognizant of not bringing anything that I wouldn’t use. I’m not 23 years old anymore, so carrying hundreds of pounds of equipment isn’t as appealing as it once was. I made sure to pack light. Ironically, the first thing I rented was sandbags.

One of the best parts of working with an assistant is you’ve got a fully automated human brain running around with you and can make sure that stuff isn’t falling over. If you want to move a light fast and you are outdoors and you know you are only going to do that shot for 30-60 seconds, you just have an assistant make sure that light is not going to fall over.

I also rented a much longer lens than I would normally use. I’m usually shooting much closer, but for this I rented a 70-200. That and the sandbags were the big two rentals. I wanted to be as simple as possible because I didn’t have any help. I went into the shoot with the idea that I was going to use natural light if possible. I didn’t want to break out a bunch of lights and modifiers if I could help it (I still brought a light as a backup). The more stuff that you have out the more stuff that can fall over and the more stuff that can go wrong.

Ironically, the first time I rented was sandbags, I also rented a much longer lens than I would normally use

I also brought an 8 x 8ft frame, clamps, stands and bleached muslin cloth; this is a system that I use a lot when I’m photographing people against white, outdoors. The cloth interacts really well with the sun, it really absorbs the light, but also has the reflection. When I scouted out her backyard I found a spot where I knew by the time she came out, the sun was going to be coming through the trees and I could use the muslin as a projector. I thought that was a really nice effect.

When I’m shooting in a scenario like this, I’m typically trying to put my background in a shaded area which has a lot of blue sky. That provides a really nice broad luminous light source. It’s usually soft and bright, and that’s what this is, but with the added effect of the sun coming through the tree behind the backdrop.

Typically your time with celebrities is very limited, 15 or 20 minutes max, was that the case for this shoot as well?

Her publicist was treating this like it was a normal shoot, from a timing perspective. They only wanted me to photograph her for about 20 minutes, which is pretty typical. I didn’t push back while we were setting up the shoot and I was prepared for that, but I knew in the back of my head we’d likely get more time, which is what happened. All in all, I probably spent about an hour with her. I was on site for pretty much the whole afternoon to set up. I took my time with that.

Do you think your experience shooting with Charli is representative of what photoshoots will be like moving forward?

I’m expecting more photoshoots to come back later this summer and into the fall and I’m expecting shoots to be a lot more like this. Photoshoots of people are inherently risky because you are meeting people that are not in your COVID circle. I think that everyone is going to be very aware of being safe. But I think portrait sessions will happen. I don’t think all portraits will happen, but portraits like this, of personalities and newsworthy figures that are doing things that people want to read about, will. And the process in which they will be made will be very similar to my experience.

I see photoshoots up and down the spectrum of budget and production, all to be smaller

Photographers will be taking every precaution that they can and utilizing the smallest footprint and crew. I think they will be a lot more self-styling. Hair and makeup may become remote or the hair and makeup people will be super masked-up. I also think the timing of these shoots will continue to be quick. But in general I see everything happening at a more intimate, small scale, and I see photoshoots up and down the spectrum of budget and production, all to be smaller.

I think folks like myself who are used to working like this will have an easier time. I think photographers that are used to leaning on the production value heavily are going to have to make big changes in the way that their work looks and the way they physically operate, or they might be left behind.

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Articles: Digital Photography Review (dpreview.com)

 
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Why You Should Prioritize Spending on Experience Before Gear

22 Nov

The post Why You Should Prioritize Spending on Experience Before Gear appeared first on Digital Photography School. It was authored by John McIntire.

Why-You-Should-Prioritize-Spending-on-Experience-Before-Gear

So, why should you prioritize spending on experience before gear? Yearning for new equipment is something that almost all of us, as photographers, go through. For some of us, that desire for the newest and shiniest camera body or lens is near-constant. By now, you should know that new equipment will have little effect on improving your photography. This is, after all, one of the most talked-about subjects in photography circles. Most of that talk, however, tends to suggest that you shouldn’t spend any more money on your photography. I disagree with that.

You should spend money on your photography. I would even go as far as to say that you should spend every penny you can afford. With a few exceptions (what’s a macro photographer without a macro lens?), your money is better spent elsewhere than it is on new equipment.

Fancy equipment

Why-You-Should-Prioritize-Spending-on-Experience-Before-Gear

New toys with lots of features are fun, but they are not the be-all, end-all; nor should they be the goal.

I’m not one to say that new and shiny equipment should be out of the question. Sometimes it’s a must.

That new and wonderful camera body, lens or light might:

  • Give you more options in how and what you can shoot.
  • Make certain techniques easier, or open up some techniques altogether.
  • Give you certain technical gains such as sharpness, low light performance and dynamic range.
  • Give you a temporary boost in motivation and excitement for your photography
  • Impress people that don’t know any better.

What new equipment will not do is:

  • Make you a better photographer.

The only way to get better

Why-You-Should-Prioritize-Spending-on-Experience-Before-Gear

Experience. The act of getting out and putting your skills to use over and over again is far more valuable than any new piece of kit.

The only tried and true way to become a better photographer is to get experience in being a photographer. It’s really as simple as that. Go out, boots on the ground, batteries charged, memory card loaded, and take photos. Evaluate, go out, and take some more. Rinse, lather, and repeat ad infinitum.

Sure, along the way, you will need to take on new information and learn new skills that you will then add to your repertoire through (you guessed it) experience.

Spending money

This is where my thought process diverges from those who tell you that you don’t need to spend money at all. If the only way to get better at photography is through experience, then where do you reckon I would suggest that you put the money you might have spent on that new lens that you don’t really need? Experience. It’s always experience.

Do you want to get good at landscapes? Pick a location and go on an extended camping trip and design the experience so you can do little else but concentrate on your photography.

Image: For landscapes, sometimes just a trip a couple of hours away is all you need and it won...

For landscapes, sometimes just a trip a couple of hours away is all you need and it won’t cost you much.

Do you want to get good in a studio environment? Go out and hire a studio.

I can’t speak for all areas, but in my area, most photographers who hire out their studio are more than happy to lend a hand to beginners who hire their space.

Image: Studio photography requires a lot of practice. To get better, you need to be practicing as mu...

Studio photography requires a lot of practice. To get better, you need to be practicing as much as possible. When you’re renting/hiring a space, you often don’t have to have the equipment yourself.

Do you want to be a travel photographer? Use the gear you have and spend as much as you can on traveling to the places you need.

Why You Should Prioritize Spending on Experience Before Gear

Do you want to be a fashion photographer? Spend as much as you can on hiring  stylists, makeup artists and models.

Repeat that formula for any genre of photography that you’re interested in.

If you want to fast track the process, you always have the option of workshops or one-to-one tuitions. Do you need to do this? No, absolutely not, but sometimes it is a lot more effective to get the first-hand experience with someone who is already able to get the results that you are after.

But, things cost too much

Why-You-Should-Prioritize-Spending-on-Experience-Before-Gear

Careful planning meant that I was able to spend eight days on a camping trip to work on landscapes for around $ 100.

Sure, some things that you may want to photograph will cost a lot more than that $ 3000 camera body that you desperately want.

For example, travel can be expensive. As long as we’re not talking African safaris though, you can still do a lot of travel with that kind of money.

I once flew from Reykjavik to Baltimore for $ 90. As long as you hedge your expectations and plan meticulously, you might be surprised by what you can achieve within a limited budget.

Do you want to be a better photographer?

Yes? Good. Close/put down the spec sheet for the new offering from Canon/Sony/Nikon/Fuji, book a studio, book a trip or just go outside and start taking photos.

They’re probably going to be bad.

Good. Figure out why, then start the process from the beginning, over and over again. Maybe, eventually, you’ll find yourself in a situation where you absolutely have to have that fancy lens that costs more than a good used car, but probably not. So prioritize experience before gear!

The post Why You Should Prioritize Spending on Experience Before Gear appeared first on Digital Photography School. It was authored by John McIntire.


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Ricoh GR III shooting experience: “Shut up and take my money”

21 Apr

‘The best camera is the one you you have with you’. I think Ghandi said that. It’s not true, of course – the best camera is the Pentax MX and unlike Ghandi I’ll fight anyone who says different.

What is true – and what the author of that aphorism meant – is that the best camera in the world is of no use whatever if you leave it at home. Like many photo obsessives, I carry a camera with me at almost all times, even if it’s just the 12MP camera on my phone. The cameras I tend to reach for when I leave the house now are a far cry from the gear I used to shoot with professionally. Gone are the days of carrying two Nikon D3S bodies and a brace of F2.8 zooms on my back, and my back is happier for it.

I’m much more likely to throw a Fujifilm X100F or Leica M10 into my bag these days, despite the inconvenience of fixed lenses. More recently I’ve been enjoying the versatility of the Nikon Z7 with its 24-70mm F4 kit zoom. But none of the cameras I just mentioned are really, truly, pocketable. That’s where the Ricoh GR series comes in.

This is a composite image created from several Raw files from the GR II. I’ll often shoot sequences like this on hikes, to simulate the effect of a much wider field of view. I downsized this shot for upload – the original is enormous.

Incidentally, this is the fire lookout hut where Gary Snyder wrote one of his most famous (and one of my favorite) poems. ‘Mid-August at Sourdough Mountain Lookout’.

Ricoh GR II – stitched image from multiple frames.

I owned a Ricoh GR II for quite a while, and I loved it. The breast pocket of my favorite jacket still has a GR II-shaped shape crease in it, which I suspect is permanent at this point. While 28mm isn’t my first choice of focal length, it’s great for casual shots of friends, street scenes and general outdoor photography. The GR-series have always been fantastic cameras for hiking and cycling with thanks to their solid build quality and small size, and 28mm is perfect for quick trailside landscapes.

Fitting the GR II’s relatively small 16MP files into my workflow ended up being awkward

The only reason I sold my old GR II (to one of my DPReview colleagues, in fact) was that I found myself working on projects that really needed the 24MP+ resolution available in contemporary DSLRs and mirrorless cameras. Fitting the GR II’s relatively small 16MP files into my workflow – pin sharp as they undoubtedly were – ended up just being awkward, so off it went to a new home.

Had I known how long it would be until we saw a Mark III, I might have kept hold of it. But when the GR III was finally announced, it seemed to solve three of my main frustrations with the GR / II.

While I don’t naturally gravitate to the 28mm focal length, it’s a great focal length for scenes like this. And the GR III is so small that I can dangle it over a balcony without fear.

ISO 500 | 1/40 sec | F5.6

Firstly there’s the resolution boost. 16-24MP isn’t a massive leap, but it’s enough to make a difference, and enough to make modest cropping an option. I tend to prefer 35mm to 28mm, and in 35mm crop mode the GR III outputs 15MP files – effectively the same resolution as the Mark II at 28mm. I don’t shoot in crop modes often, but it is nice to have the option of cropping later and being left with a usable amount of pixels.

Secondly, autofocus has been updated to on-sensor phase-detection. This promises faster and less hesitant AF than the notoriously hunting-prone GR II.

Finally, the sensor in the GR III is stabilized. There’s some debate about this point – why do you need stabilization to shoot at 28mm? Well, if you’re shooting on a DSLR or most ILCs, you probably don’t. Large, heavy cameras absorb moderate handshake pretty well. But with a camera as light as the GR II / III, designed to be used one-handed for grab-shooting, the (figurative) helping hand is actually very useful. I’ve found that I can safely hand-hold images down to around 1/10sec with stabilization turned on, which is turns out to be very valuable when it comes to things like capturing flowing water, or just keeping ISO low in darker conditions.

An APS-C camera with a stabilized, modern sensor that fits into a shirt pocket? Yes please.

I had held out a vain hope that the GR III might feature some kind of built-in EVF, perhaps of a similar kind to that offered by the Sony Cyber-shot RX100 VI and its ilk. Realistically though, the minute that Ricoh told us that the GR III would feature IBIS, and would actually be smaller in form factor than the II, I knew there wouldn’t be room for an EVF. It turns out there wasn’t room for a flash, either. Oh well. I know a lot of photographers who were heartbroken by the loss of the latter, but it doesn’t really bother me.

I was nervous to learn that Ricoh had redesigned the GR III’s lens, but looking through my images I’m reassured to see that images from the GR III are at least as sharp as I’d expect from previous models. Bokeh isn’t amazing, but opportunities for blurring backgrounds on a 28mm F2.8 lens are pretty slim unless you’re shooting in the macro range.

Great bokeh? Not exactly. But considering the physics of a 28mm equivalent F2.8 lens, I don’t care. The GR III’s lens is impressively sharp at all apertures and focus distances, which is much more important to me in a camera of this type.

ISO 200 | 1/125 sec | F2.8

I’m getting ahead of myself. Picking up the GR III after using a GR II for so long I felt like I immediately knew the camera. Comparing them directly, it’s obvious that Ricoh has tidied up the user interface quite a lot, as well as dispensing with some of the GR II’s physical buttons, but none of the changes have really got in my way. For quick pictures I use the GR III in almost exactly the same way as I used to enjoy shooting with the GR II: in aperture priority mode, usually between F4-8, using auto-area autofocus.

The rear screen is now touch-sensitive, and partly as a consequence it is covered in a layer of highly reflective glass. This makes it almost impossible to accurately preview composition on a bright day, so I’ve taken to mounting an old 28mm optical viewfinder I had lying in a drawer, which gets me close enough. the downside is that with a finder added, the GR III is no longer quite so pocketable.

Perhaps the GR III’s major achilles heel is
battery life

Another option for outdoor use is to increase the screen brightness (I have the movie button set to provide quick access to this setting) but there is a cost. Perhaps the GR III’s major achilles heel is battery life. While you can eke out a few hundred shots per charge in a single session with minimal image review, if you’re shooting at slower shutter speeds (where the IBIS kicks in) or working with boosted screen brightness, you’re taking a risk without at least one spare battery in your pocket. It’s not quite Sony Cyber-shot RX1R II-level bad, but it’s bad. And like many small battery cameras, the GR III’s battery indicator goes from the cheerful-looking full bars icon to the unhappy no bars red blinky icon with very little warning.

This shot demonstrates one of the major shortcomings of the GR III – it’s virtually impossible to discern what’s on the screen in bright light. I shot several versions of this scene at different exposure settings, and used an external finder for framing.

ISO 100 | 1/1250 sec | F7.1

Fortunately, the GR III is equipped with in-camera charging, via the (more or less) standard USB-C interface used by a lot of cameras and mobile devices these days. The GR II used a fiddly connector which looked like standard USB mini but wasn’t. I have three of them, because twice I thought I’d lost my last spare. A full charge takes a couple of hours, but I’ve found even ten minutes plugged into an external battery pack is enough to get me out of trouble.

Unfortunately there’s no workaround for the GR III’s autofocus system, which – sadly – is still pretty hopeless in low light. In bright conditions it’s definitely improved over the GR II. I don’t think there’s any doubt about that. Autofocus is acquired faster and with less hunting, and the overall impression in decent lighting is that the GR III focuses about as quickly as a Fujfilm X100T/F. But take the thing indoors or – heaven forbid – start trying to shoot after dark, and it falls apart quickly. The obnoxious green AF light provides enough light for the camera to (eventually, usually) lock on, but it can take several seconds. No kidding.

Ultimately though, I’m prepared to forgive the GR III most of its foibles. The fact is that it’s a fast, responsive (usually) camera with a great sensor, effective in-body stabilization and a sharp lens which fits into my shirt pocket. I started this article with a quote and I’ll end with another – ‘shut up and take my money’.

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Canon EOS RP shooting experience: better than the specs suggest

15 Feb
The EOS RP combines a large sensor, simple interface and excellent JPEG color, making it easy to shoot in even the most unexpected situation.
24-105mm F4L IS | F4.5 | 1/80sec | ISO 3200

I got a chance to shoot with the EOS RP just before its launch and my impression is that it’s a much better, and potentially more significant, camera than its specifications reveal.

If you’ve only seen the specs, it’d be easy to dismiss the RP out-of-hand. The sensor from the 6D Mark II isn’t going to go down as one of Canon’s better efforts: 1080 video and fairly limited dynamic range rather undermine the considerable appeal of Dual Pixel AF. Surely if it’s just that old chip, in the midst of a stripped-down version of the slightly underwhelming EOS R body, it’s not even worth taking seriously?

Canon EOS RP Key Specifications

  • 26.2MP Dual Pixel CMOS sensor
  • 4K/24p (from APS-C crop region)
  • 4 fps continuous shooting with continuous AF (5 without)
  • Pupil detection AF in continous/Servo AF mode
  • AF rated to -5EV
  • Digic 8 processor
  • 2.36M dot OLED viewfinder
  • Fully-articulated 1.04M dot touchscreen
  • Twin command dials

Having spent a little time shooting with it, I think that’s premature. It’s not going to win any awards for technical performance but I’m going to argue that the RP is more than the apparent sum of its parts. In a mirrorless format, the dependable performance of Dual Pixel AF plays a greater role than it does in the 6D II. The RP can also shoot 4K (albeit only from a crop). But there are three things that stood out to me about the RP: firstly, it has much of what the EOS R did well, but less of what it got wrong. Secondly, it gains the excellent beginner-friendly interface from the recent Rebel cameras. And finally, it’s really, really well priced.

History repeating?

Just over 15 years ago, Canon introduced the EOS Digital Rebel (EOS 300D to most of those outside North America): the first sub-$ 1000 DSLR. And, even at launch, the company predicted ‘[it] will be seen as the point in history when the SLR market shifted irrevocably to digital.’

An awful lot has changed since the 300D’s launch, including both the predicted switch to digital and a subsequent (and similarly irreversible) shift away from standalone cameras to smartphones. But, while no camera maker is talking about the ‘400-500% growth’ in, well, anything really, there is a market that most companies are expecting to grow: full frame.

The twin command dials on the top of the camera set it aside from the Rebel series of mass-market DSLRs, but there’s a hint of the same spirit in the interface and Canon’s pricing.

The EOS RP looks like Canon’s attempt to repeat the same trick. At $ 1300 body-only it is, by some $ 400, the cheapest ever full-frame camera at launch. And, perhaps tellingly, its MSRP is comparable with the Digital Rebel if you take inflation into account ($ 900 in 2003 dollars would now be within $ 75 of the RP’s launch price).

The EOS RP’s launch price is comparable to the original Digital Rebel’s, if you take inflation into account

Of course the downside is that there was a $ 100 kit zoom option for the Rebel, whereas the only options for the RP are to pay an extra $ 700 for an EF-mount 24-105mm F3.5-5.6 lens and adapter, or $ 1100 for the RF-mount 24-105mm F4L IS, which rather reduces its ‘full-frame for the masses’ appeal. (Though, in a rather unusual move, Canon USA is immediately offering discounts on some of those bundles).

In the hand

Despite looking pretty similar to the EOS R, as soon as you pick it up you notice how much smaller and lighter the RP is. It doesn’t have the heavy solidity of the R but still confers the familiar rugged plastic feel of a high-end Rebel, or even the EOS 77D. Better still, it retains the two command dials from the EOS R (one on the top of the camera, just behind the shutter button, the second on the rear shoulder). This immediately makes it a camera where it’s easy to play around with your main exposure parameters, taking it out of Rebel territory.

There’s an optional add-on riser for the EOS RP. Note also the ability to flip the screen in towards the body: making it easier to keep the screen safe if you’ve got the camera stuffed in a bag to keep with you.

There’s an optional add-on plate that adds a bit more depth to the camera if you find your little finger extending awkwardly off the bottom of the front grip. I didn’t find any advantage to it, personally, but I know that several other people at the launch event did. It comes in a choice of colors (the version with the red accents goes nicely with the red ring on the RF 24-105, I reckon), and it’s been designed so that you can still access the battery and SD card with it attached, thanks to a hatch the size of a car door.

Even with the optional grip extension, you can still access the battery and SD card. Note that the knurled nut that screws the extension into the tripod socket itself has a tripod socket, keeping everything on the optical axis.

The viewfinder spec is dropped a little, compared with the ‘R.’ The RP’s display offers the same 2.36M dots as the Sony a7 III, and it’s nice enough to shoot with even if it isn’t as detailed as its big brother. Like the EOS R, the rear screen (or a subdivision of it) can act as an AF touchpad, and that’s definitely the easiest way to set focus. And, unlike any of its immediate peers, the rear screen is fully articulated, flipping out to the side for waist-level, low angle or video shooting.

Other changes over the EOS R include the ability to use Pupil Detection AF and small point AF in continuous (Servo) autofocus mode. That might sound like a small thing but it means I could mostly just stick to Face + Tracking (+ eye) mode most of the time, rather than having to jump back and forth between area modes when I switched between single and continuous AF.

Eye AF Performance

One thing I suspect a lot of people will want to know is ‘how well does Eye AF work?’ Several brands now offer some form of eye detection AF, but it’s the implementation in the recent Sony models that has really impressed us. Once you’ve got used to the ability to just look at your subject, your framing and their expression, without having to give any thought to focus, it’s hard to go back to a camera that isn’t as easy to use.

The EOS RP’s eye detection might not be quite as uncannily good as the recent Sony implementation, but it was still able to find and retain my subject’s right eye in this shot, despite it being partially obscured.
EF 85mm f/1.4L IS USM | F4 | 1/125sec | ISO 640

My initial thoughts are mixed: the Canon implementation isn’t as responsive in finding a subject’s eye: it’s quick but hasn’t got the same uncanny ‘I hadn’t even realized they were looking towards the camera’ immediacy as the latest Sonys. Equally, the RP seems slightly more prone to temporarily losing eyes and either reverting to Face Detection or grabbing the person’s other eye. Overall the RP is good at finding eyes and focusing on them without any user intervention (or need to hold down a function button). It also lets you use the four-way controller to choose between the left and right eye (though only if it’s recognized both eyes).

I’ll need to check through all the images I shot to ensure that Eye AF has focused as well as I’d like, but from a usability point of view, it’s a valuable addition, particularly on a camera that’s intended to be accessible and user-friendly.

Ease-of-use

On the subject of ease-of-use, I’m pleased to see the EOS RP gain the ‘Feature Assistant’ simplified menus seen on cameras such as the Rebel T7i (again pointing to the idea of this being essentially a FF Rebel). These provide a results-orientated way of interacting with the camera so that, for instance, in Aperture Priority mode, it advises you how to get greater or shallower depth-of-field, rather than just showing the F-number. And, like on the Rebel, the camera guides you to use the dials and shows you what setting is being changed, so that you can learn what settings you’re changing, rather than getting stuck in ‘simple’ mode forever.

The EOS RP has a variant of the outcome-orientated ‘Feature Assist’ interface from the Rebel series [Rebel T7i example shown].

The RP takes this one step further by offering a results-focused interface for its in-camera Raw processing mode. So, rather than being confronted with a slew of icons with perhaps obscure names such as ‘Len aberr correction’ it gives you the option to make the image brighter or darker, or to make it warmer or cooler. Just as with ‘Feature Assistant’ the more complex options are still available, but you access them through the menu, rather than encountering them directly from Playback mode.

The camera’s AF tracking mode isn’t faultless, but it stayed focused on this flower’s stigma as I recomposed, making it easy to grab a shot with focus exactly where I wanted it.
24-105mm F4L IS | F4 | 1/320sec | ISO 100

This simple reprocessing mode, along with the pretty robust-feeling Bluetooth-mediated Wi-Fi system used across recent Canons, should make it about as easy as possible to shoot high quality images then transfer them to your phone. Canon has also made an iPad version of its Digital Photo Professional software, to allow processing of the camera’s CR3 Raws without ever having to go back to your computer.

Disappointing DR, joyous JPEGs

Having talked so much about ease-of-use, it’s pretty clear who Canon has built the RP for. The kinds of users who shoot Raw to provide the maximum processing flexibility aren’t likely to be impressed if there’s as much noise lurking in the deep shadows as there was on the 6D Mark II. But for anyone shooting JPEGs (or re-processing their Raws within the constraints of the camera’s JPEG engine) the RP will be able to produce really good images, with attractive color and the tonal quality and depth-of-field control that full-frame can bring.

And, even if dynamic range isn’t class-leading, the 6D Mark II’s low light performance is beyond reproach.

The EOS RP won’t be the first choice for committed videoheads but it shoots pleasant images and brings the low light capability, depth-of-field control and tonal quality that full frame can offer.
24-105mm F4L IS | F6.3 | 1/100sec | ISO 1600

The camera’s middling video capability (4K/24p from an APS-C-sized crop) is the other obvious shortcoming in the camera’s specifications. It’s a step up from the 6D Mark II, but still not much to crow about. But still, having spent most of my time focused on stills shooting, I wouldn’t want to jump to conclusions just yet. The slow, contrast detection autofocus in 4K mode isn’t very promising, though.

Battery life from the EOS M50-style LP-E17 isn’t likely to be anything special, either (I’d guessed around a 220 shot-per charge CIPA rating, based on half-a-day’s use: it’s actually 250). This means you’re likely to get a day’s casual shooting if you’re a committed photographer and rather longer if you’re just taking shots here and there, and photography isn’t your main focus. The camera charges pretty quickly over USB-C, so you can gain some flexibility by having some kind of power bank and appropriate cable with you if you’re going to be away from the mains for a while.

Is it enough?

Of course, despite the impressively low launch price, the RP isn’t without competition. Sony’s habit of keeping older models in its lineup, then continually dropping the price means you can currently get an a7 II for around $ 1000 and an original a7 with lens for the same money. But, for all the apparent technical limitations, I think a lot of people might choose the Canon’s more accessible shooting experience and attractive JPEGs over what now look like Sony’s works-in-progress models.


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Olympus E-M1X shooting experience

24 Jan

Introduction

Out-of-camera JPEG.
ISO 1600 | 1/1000 sec | F4.5 | Olympus 40-150mm F2.8 + 1.4x teleconverter

As water pooled on the camera, I held my composition. A motorcyclist rocketed into the frame and I watched as the camera immediately drew a box around the rider’s helmet and began focusing as I half-pressed the shutter. As he screamed through the scene, leaving chunks of flying red mud in his wake, I fired off a burst at 15 frames per second.

Thanks to the Olympus E-M1X’s new ‘Deep Learning’ autofocus, well, I didn’t need to think about autofocus. I didn’t need to follow the motorcyclist with a group of points, or time a half-press just right as he entered a pre-selected zone. I didn’t even have to place a focus point over him and initiate tracking.

The camera immediately drew a box around the rider’s helmet and began focusing

With so much less to think about, I found myself shooting with tighter framing than I normally would. That’s crucial for sports and action, because tighter framing means less cropping in ‘post’ and better overall image quality. And considering that I was shooting at a fairly high ISO value on a Four Thirds sensor, I wanted to maintain the best image quality I could get.

There’s no doubt that between Nikon, Canon and Panasonic’s product announcements, 2018 was the year of the full-frame mirrorless camera. But with the E-M1X and its 20MP Four Thirds sensor, Olympus is taking a different approach. Many will cry foul, saying that this sizable, double-grip sports camera is evidence of Olympus losing their way.

Image processed in-camera from Raw.
ISO 200 | 1/80 sec | F5.6 | Olympus M.Zuiko 40-150mm F2.8 + MC-14 1.4x teleconverter

On the contrary, I think the E-M1 X is evidence of Olympus charting a new path in this ever-more-competitive world occupied by computationally capable smartphones and the inescapable allure of full-frame sensors and optics. And I think that new path shows a lot of promise.

Full disclosure: Olympus flew me down to Orlando, put me up in a nice hotel, fed me some tasty meals and handed me a pre-production E-M1X to test out. All images and impressions here are based on that pre-production camera, and performance and image quality may change with final production firmware.

What is the E-M1X?

The E-M1X is aimed straight at sports and action-shooting professionals, particularly those looking for lots of reach but not wanting to haul huge full-frame telephoto lenses around. In addition, it offers lots of direct control, durability, and highly configurable autofocus.

But there’s no question: that Four Thirds sensor, inside this large camera body, looks a little silly. And though it offers great image quality for its size, you’ll have noisier images and deeper depth-of-field than you would with a larger APS-C or full-frame sensor given the same exposure parameters. That’s just the way it is.

On the other hand, between its new hand-held high-resolution mode, crazy effective image stabilization and new autofocus tricks, the E-MX is an exciting piece of innovation.

You see, the E-M1X is among the first ‘traditional’ cameras from a ‘traditional’ camera manufacturer to make use of use ‘deep learning’ and true computational photography techniques like we’ve been seeing on high-end smartphones (Sony’s latest Real-time Tracking AF is similar…but different). And that is exactly what traditional camera manufacturers need to stay relevant in today’s shifting market.

Deep learning autofocus

Out-of-camera JPEG.
ISO 200 | 1/60 sec | F5 | Olympus M.Zuiko 40-150mm F2.8 Pro

Does this new intelligent autofocus actually work? Yes and no. Let’s start with the ‘yes’ bit.

With the ‘Motorsport’ setting enabled, the camera would reliably detect both cars and motorcycles in a given scene. If you set the camera up to have a single autofocus area, you can place that area over a particular subject to manually choose which car or motorcycle you want the camera to focus on.

As I said earlier, this has the potential to be an incredibly powerful tool. I am by no means an experienced sports shooter, but this new autofocus system really did leave my mind free to focus more on composition, anticipating subject movement, and improving my panning technique.

Happy with the pan, less happy with the rain on the lens. Processed in-camera from Raw.
ISO 200 | 1/50 sec | F16 | Olympus M.Zuiko 12-100mm F4 Pro

Now for the ‘no’ bit. This is a pre-production camera, of course, but there are bursts where the camera positively identified a subject, indicated it was tracking, and then I ended up with soft or out-of-focus shots. Also, I found when shooting NASCAR that if the car is temporarily blocked by an object, the camera effectively gives up and you have to re-engage tracking when it appears again. Engineers told me that adjusting my C-AF Sensitivity may help combat this, but we’ll have to confirm that when we get final firmware.

But my biggest gripe concerns usability. The function lever to the right of the viewfinder allows you to switch between AF modes (single, continuous, etc) and/or AF areas with one flick. But it doesn’t allow you to switch between face detection or deep-learning settings.

While you can at least change face detection if you assign a button to AF area, you must enter the menus to enable or disable the deep learning autofocus. This strikes me as something of an oversight, particularly since Face Detect overrides all other settings and the deep learning modes sometimes ‘see’ motorcycles and cars in everyday objects. In any case, I hope this gets fixed in subsequent firmware revisions.

The rest

Out-of-camera JPEG, hand-held high-res shot. Notice how the palms lose some detail due to motion, and the ghosting of the individual in the lower right.
ISO 200 | 1/250 sec | F5.6 | Olympus M.Zuiko 12-100mm F4 Pro

The other feature I’d like to touch on is the hand-held high-res shot. It really, actually, works. It aligns and stacks a total of 16 images, giving you more resolution and lower noise levels. And unfortunately, you get ghosting and / or a loss of detail on moving subjects.

Because you can’t use it on moving subjects, it’s less robust than, say, the Google Pixel 3, which stacks up to 12 images each time you press the shutter and has no shutter lag. But hey, this is Olympus taking a step in the right direction, and it’s only going to improve.

Olympus is thinking of computational applications for ‘real’ cameras

And this is the big takeaway. Not only is the hand-held high-res shot showing Olympus moving toward offering you bigger-sensor image quality, but the deep-learning autofocus shows that they are thinking of computational applications for experienced users of ‘real’ cameras. They’re actively looking at ways to improve the experience of using a traditional camera through software.

Olympus could have jumped on the full-frame bandwagon and called it good (the marketing would likely have been easier). But I honestly think this path they’ve chosen is the braver, if riskier, one, and I’m looking forward to seeing how it pushes the rest of the market forward.


Read our Olympus E-M1X Review in Progress

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Maternity Session Tips For Better Client Experience

13 Nov

There are many different types of portraiture. Maternity is probably one type that is truly one-of-a-kind. Each maternity session is different, however, these tips will help you have the same approach to your sessions so they run smoothly from beginning to end.

Maternity Session Tips For Better Client Experience 1

Keep Posing Simple

When women get a maternity session photographed, they are usually between 7-9 months pregnant. As a photographer, you should know that a growing belly is tiring. Therefore, keep posing simple and move your client to a minimum to help her stay comfortable while you are photographing this beautiful moment in her life.

Maternity Session Tips For Better Client Experience 2

In order to keep the focus on the belly, use your client’s hands to frame the belly. One hand on top and one below, both below, both on top, or rubbing the belly. All are great ways for your clients to connect with their belly. They will also appear more natural in photos as the bump is the main focus.

Maternity Session Tips For Better Client Experience 3

Popping one knee out can help give your client a little more shape. This is especially helpful if she is wearing a long maxi dress or wardrobe that hides her natural shape. Make sure that your client pops out the knee that is closest to the camera. She can do this by putting one foot on tip-toe or just bending the knee.

Maternity Session Tips For Better Client Experience 4

In order to make the belly stand out while still giving your client a bit of shape to her body, angle her at 45 degrees from the camera. This makes the maternity silhouette more prominent in the photographs.

Maternity Session Tips For Better Client Experience 5

Pose your client with a knee pop and at 45 degrees toward the camera to put the focus on the belly silhouette.

Posing with Partner or Siblings

When posing with siblings, make sure to pose your client first and then have her children surround her. Or if she is willing to carry one sibling. Try different poses and allow for natural posing to happen. Children might be excited to rub or kiss the belly, and you can capture many natural expressions.

Maternity Session Tips For Better Client Experience 6

When posing with partners, make sure that they are interacting or connecting with the belly as well. A hand on the belly, or kneeling, rubbing or speaking to the belly can really bring out a connection. Don’t be afraid of just focusing on the partner and the belly bump. Take photos close-up and from afar to include both clients.

Maternity Session Tips For Better Client Experience 7

Photographing the whole family can be tricky during a maternity session. Keeping the energy light and happy can really help bring out the best expressions. Working quickly is a good idea to keep the siblings interested and engaged. Move through poses swiftly and try to tell jokes or be playful to help.

Maternity Session Tips For Better Client Experience 8

Whether you’re photographing your client indoors or outdoors, try to maximize the number of poses in one spot. Being pregnant can cause swollen feet if she is on her feet for too long. When posing siblings and partners, move them first or move them closer to your client so that she doesn’t have to move around too much.

Know Your Pregnancy Facts

If you are a female photographer and have been pregnant before, then you can skip this tip. However, if you have never been pregnant or are a male photographer, it is really important to take the following into consideration. You will ensure your client has the best maternity session experience.

Maternity Session Tips For Better Client Experience 9

  • Maternity clients may not be able to walk around a lot without getting tired or swollen. Take breaks between setups and offer her a seat whenever possible.
  • Bathroom breaks: Be close to bathrooms because a pregnant woman will need to go often.
  • Offer water and snacks. Pregnant women need more calories so it’s really important for them to have healthy snacks and lots of water. It’s a nice gesture if you these to the session to offer her. Take it a step further by asking what her favorite snack is right now.
  • Ask if they will want retouching done to their belly. Some women prefer to keep it natural as it is in real life. Some will want a little extra editing. Asking up front can keep you from doing double the work or having to re-edit photos later.
  • Ask if your client will want to show her bump or not. This will help you prepare her to bring the right wardrobe.
  • Do not point out the obvious: that they are pregnant, or big, or look like they are having twins or anything of that nature. All you should ever say to a pregnant woman is that she looks beautiful and congratulations. Anything outside of that can seem like unsolicited advice or opinions. It may be interpreted as rude.

Maternity Session Tips For Better Client Experience 10

These are just a few of the things you should be aware of in order to give your client the best maternity session experience. She will see that you have put a great deal of effort into her comfort and will be instantly appreciative.

Props and Accessories

Ask your client to bring props or accessories that she has already purchased for her little one. Shoes, bows, onesies, signs with the name or another special item that can really personalize the session for them.

Maternity Session Tips For Better Client Experience 11

The more they bring, the more you will have to play with resulting in more options and variations for your clients. It can be exciting to incorporate the items into the session.

Maternity Session Tips For Better Client Experience 12

Photograph the items alone as well as with the bump. A nice detail photo of the item can look really nice in an album. You can also offer ideas for them to bring props or particular accessories to create more of a story.

Maternity Session Tips For Better Client Experience 13

If you are photographing inside your client’s home, you can photograph the nursery. As well adding to the overall experience of her pregnancy, it will show the experience of waiting for the baby to arrive.

Show Your Client Photos During the Session

Pregnant women are very self-conscious about the way they look. To make sure that they feel confident, show her a really great portrait of herself during the session. This can give her a boost knowing that you have captured her best.

Maternity Session Tips For Better Client Experience 14

Letting her see for herself that she is radiant and beautiful can make the session go much smoother. She will trust that you are getting the best photos of her during this very unique and important moment in her life.

Offer a Newborn Session

When you are wrapping up the maternity session, offer your clients a newborn session for when the baby is born. Newborn sessions are typically done within two weeks of the baby being born so they don’t lose their newborn features.

Maternity Session Tips For Better Client Experience 15

Chances are that your client hasn’t thought that far in advanced yet and it will be nice for them to come back to you since you have already built trust.

Maternity Session Tips For Better Client Experience 16

Let them know about the session options you offer and how you can create a beautiful album of both sessions so that they can always look back on these joyous moments in their lives.

Maternity Session Tips For Better Client Experience 17

If they walk away with a great experience during their maternity session, they will certainly want to come back for the newborn session. And all subsequent portraits thereafter. Don’t miss your chance to keep your clients coming back!

In conclusion

A maternity session is special in that you get to photograph this very unique, one-of-a-kind moment in your client’s life. Make sure to stay positive and energetic. Take breaks and snacks, and be aware of what you say.

Guide your clients through the process so that they can enjoy and trust you to make the best photographs possible of such an important time in their lives.

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