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Lightroom Super Resolution Explained (The Essential Guide)

20 Oct

The post Lightroom Super Resolution Explained (The Essential Guide) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Lightroom super resolution explained

One of the most exciting new Lightroom features is Super Resolution, which offers the type of image processing that previously existed only in science-fiction movies and TV shows.

Put simply, Super Resolution quadruples the resolution of your photos and turns low-megapixel images into high-resolution works of art. You can also use Super Resolution to crop in – way in – without losing details or turning your images into a blurry mess. It’s available for Lightroom and Lightroom Classic and it’s a tool that could quickly become central to your photo-editing workflow.

In this article, I’ll explain everything you need to know about Super Resolution, including how it works and how to use it to enlarge your images.

So if you’re looking to improve image resolution in Lightroom, or you’re simply hoping to understand this interesting new post-processing feature, then read on!

magnolia seed pod
Nikon D500 | 50mm f/1.8G | f/2.4 | 1/320s | ISO 280

What is Super Resolution in Lightroom, and how does it work?

In the words of scientist and author Arthur C. Clarke, “Any sufficiently advanced technology is indistinguishable from magic” – and that definitely feels like the case with Super Resolution. In reality, Super Resolution is a matter of advanced image processing and years of technological development as opposed to wands and spells, but the end result does feel a bit otherworldly.

Super Resolution works by effectively doubling the horizontal and vertical pixels in an image while filling in the extra space with data based on algorithms and machine learning. A photo with 6000 by 4000 pixels is 24 megapixels (because 6000 x 4000=24,000,000 pixels). But when processed with Super Resolution, that same image essentially becomes 12000 by 8000, or 96,000,000 pixels.

Yes, you read that right: Super Resolution transforms a 24-megapixel image into a whopping 96-megapixel image.

Super Resolution works best on RAW files because there is much more data to work with, but you can also use it on JPEGs and other files such as TIFFs. It’s built on a technology Adobe introduced in Photoshop called Enhance Details, but Super Resolution goes a step further by giving you many more pixels to work with, whereas Enhance Details was a way of sharpening image details without actually quadrupling the resolution.

cat on a fence post
Nikon D500 | 70-200mm f/2.8G ED VR II | 200mm | f/2.8 | 1/1000s | ISO 100

How to use Super Resolution: step by step

One key benefit of Super Resolution is that it’s very easy to use. It’s not buried in menus or complicated toolbars, and there aren’t many parameters you can configure, so it’s difficult to mess up. And because edits are nondestructive there is zero downside to trying it, though beware that quadrupling the resolution of an image also means you’ll need a lot of storage space. For that reason, I like to use it on a case-by-case basis rather than on an entire batch of photos, but if you have access to a vast amount of disk space then you might choose differently.

Step 1: Pick an image for enhancement

To use Super Resolution, start by selecting an image in the Develop module. While you can use the technology on any picture, I like to choose photos that were taken with old cameras such as my 10-megapixel Nikon D200, or on photos where extreme cropping was required, and as a result, some detail was lost.

For this example, I’m going to use a JPEG photo of a sunflower I shot with my D200 several years ago. It’s good in terms of composition and color, but the central part of the sunflower is somewhat blocky and pixelated if you look closely. Not to worry, though: Super Resolution is here to save the day!

sunflower
Nikon D200 | 50mm f/1.8G | f/2.4 | 1/80s | ISO 100
This isn’t a bad image, but it starts to fall apart when viewed up close.
Lightroom Super Resolution sunflower close crop
A close-up view of the sunflower reveals a muddled mess in the middle.

Step 2: Open the Super Resolution interface

After picking an image in the Develop module, hit Photos>Enhance in the top menu bar:

selecting the Enhance option

Alternatively, you can right-click (or Option-click on a Mac) on the image and select Enhance from the pop-up menu. You can also use the Ctrl+Alt+I keyboard shortcut (Ctrl+Option+I on a Mac) if you prefer to keep your fingers on the keyboard.

The Super Resolution interface is fairly straightforward:

View an upscale preview
The preview window on the left shows a close-up view of what the Enhanced image will look like.

If you are using a RAW file, the Raw Details option will be checked, but this obviously does not work on JPEG files. (The note about Bayer and X-Trans files applies to Fuji RAW files, which often have strange, worm-like artifacts, especially in photos of nature like grass or trees.)

Note that, after the process is finished, the original image file remains untouched, and a new DNG file is created of the upscaled photo. The Create Stack option shows both images in Lightroom as a single Stack, but if you want to keep the original and the Super Resolution version separate, you can leave this un-checked.

My favorite part about using the Super Resolution process is clicking on the image preview on the left side of the window. When clicking, you see the original image; when you release the mouse button, Lightroom shows the Enhanced version. You can click and drag to view this process at various portions of the image, and you can click the magnifying glass in the corner to see the whole image instead of a close-up preview. This click-and-release process reveals the astonishing power of Super Resolution, and gives you an idea of how impressive this process really is.

Lightroom Super Resolution Enhance dialog box
Click and hold to see a comparison to the original image; click and drag to move view different portions of the image.

Step 3: Add detail to the photo!

Finally, when you are ready to create the Super Resolution image, click Enhance.

It will take a few seconds to perform the process, and Lightroom does give you an “Estimated Time” within the Enhance dialog box. The resulting image is just what it sounds like: a high-resolution version of the original, all thanks to the magic of modern computing. Any edits you made to the original are transferred to the enhanced version, and your edits remain non-destructive so you can adjust color settings, cropping, and other parameters without worry.

Lightroom Super Resolution sunflower close improved
A close-up view of the sunflower, enhanced with Super Resolution. The center is much more clean and crisp thanks to the Super Resolution improvements.

How well does Super Resolution perform?

Any time you’re dealing with transformative technologies such as Super Resolution, it’s important to manage expectations. It’s great but not perfect, and while there are times when it makes sense to use it, there are other times when it’s best to hold off. I find that Super Resolution performs best with nature subjects: flowers, animals, landscapes, horizons, and the like. You will also get the best results if you work with RAW files and not JPEGs.

To offer another illustration of how useful Super Resolution is and how well it performs, here is a shot I took of a prairie dog with my 10-megapixel Nikon D200. This is from the unedited RAW file, straight out of the camera:

Lightroom Super Resolution prairie dog
Nikon D200 | 50mm f/1.8G | f/2.8 | 1/500s | ISO 100
This photo needs to be cropped, but that means a loss of detail. Or, rather, that any details not captured originally will be much more visible when the cropped image is enlarged.

The original file is 3872 x 2592 pixels, so when I crop in to show just the prairie dog, the resulting image is a paltry 1900 x 1272, or 2.4 megapixels. That might be fine for Instagram, but it would look pretty bad as a 4K computer desktop background or printed and hung on a wall.

Lightroom Super Resolution prairie dog
Cropping the image down to just the prairie dog results in a low-resolution image with plenty of pixellated artifacts in the finer details, especially on the fur and hair on its face.

The Enhance dialog shows just how much this image will be improved by Adobe’s special algorithms:

Lightroom Super Resolution Enhance dialog box
Without the Super Resolution enhancements, the fur is a pixelated mess of brown and yellow.

The dialog box shows a preview of the Enhanced image:

Lightroom Super Resolution Enhance dialog box
The preview window shows the dramatic improvement that Super Resolution will have on this image. Individual hairs are now visible, and the image has a much cleaner, crisper look to it.

The resulting image is now double the resolution on both the horizontal and vertical axes, with final pixel dimensions of 3800 x 2544. Super Resolution has transformed this into a 9.6-megapixel masterpiece, ideal for printing and framing or showing on a giant 4K monitor:

prairie dog
A web-sized version of the Enhanced prairie dog image. It might not look like much when viewed on a small screen, but the finished file is dramatically improved in sharpness and clarity.

That said, there are some situations where Super Resolution doesn’t work as well as you might want, and it’s important to remember that, at the end of the day, this is math and not magic. Adobe’s algorithms do an amazing job of essentially creating pixels out of thin air where none existed before, but there are times when it’s best to leave well enough alone and stick with the original.

The image below is a portrait I shot with my 10-megapixel Nikon D200. While it certainly includes enough detail for printing and framing, Super Resolution might help squeeze even more out of this shot, which would certainly be good for keeping clients happy.

woman with child
Nikon D200 | 50mm f/1.8G | f/2.8 | 1/350s | ISO 200

Super Resolution would help this photo in a lot of ways, especially by bringing out some of the texture and details in the fabric. However, one way it would not help and could actually hurt is right where I would want it most: the eyes.

Lightroom Super Resolution Enhance dialog box
A close-up view of the infant’s eyes shows that there might be some room for improvement.

The Super Resolution algorithm does a good job of clearing up the reflection of the sky in the child’s eye, but it has the opposite effect on the eyelashes. The Enhanced version looks blurrier and less sharp compared to the original:

Lightroom Super Resolution Enhance dialog box
The iris is improved, but the eyelashes are more blurry. Also, some of the subtle texture in the baby’s skin has disappeared.

Lightroom Super Resolution works wonders, but Adobe can’t perform miracles and it won’t automatically improve every single image. Even so, I am thoroughly impressed by what the technology can do and I highly recommend trying it to see the results for yourself.

Downsides to using Super Resolution

As with most things in life, Super Resolution comes with some tradeoffs. So before you rush out and convert your entire image library, there are some caveats and drawbacks you may want to consider.

For one, Super Resolution files are huge. Massive. Enormous. So big, in fact, that you could quickly run out of disk space if you use Super Resolution too much. For example, a 10-megapixel RAW file from my Nikon D200 clocks in at about 9 megabytes of space. Naturally, one might expect that a Super Resolution version would be four times as large, but that’s not the case at all. In fact, a Super Resolution file is over 144 megabytes—sixteen times larger than the original file! You’re going to need a lot of disk space if you use Super Resolution frequently, especially if you apply it to higher-megapixel files from modern cameras.

Lightroom Super Resolution file size
Super Resolution files are absolutely massive. Be prepared to buy lots of additional storage space if you use this feature a lot.

Another drawback to Super Resolution is the time it takes to render, especially when working with a batch of files. Lightroom will need anywhere from 10-20 seconds per image to perform the enhancement algorithm, and that time can really add up. It might not seem like much, but three images will add one minute to your workflow. Ten images could easily add five minutes, depending on the size of the originals are and how fast your computer is. This added time is not necessarily a deal-breaker, but it is something to keep in mind.

Finally, Super Resolution cannot fix an out-of-focus image. Yes, it will make an already-sharp image look even better, but it cannot create sharpness where there was none to begin with. If you are expecting Super Resolution to save the day when you don’t nail the focus, you will be sorely disappointed.

black eyed susan flower
Nikon D500 | 50mm f/1.8G | f/2.8 | 1/350s | ISO 100
Super Resolution, as King Theoden of Rohan might say, has no power here. This out-of-focus photo is destined for the digital dustbin.

When should you use Super Resolution?

Despite the drawbacks, there are two key areas where Super Resolution absolutely shines and I can strongly recommend using it: for extreme cropping and low-megapixel originals.

If you like to crop your images, either to focus attention on one key area or simply because your lens wasn’t zoomed in close enough, Super Resolution can work wonders. It can bring out detail in key portions of your photos and transform images from rejects to portfolio shots.

squirrel on a trunck
Nikon D750 | 50mm f/1.8G | f/1.8 | 1/500s | ISO 100
I couldn’t get any closer to this squirrel for a better photo, so I had to do some really intense cropping – which resulted in a pixelated furry friend.
squirrel eating food
The cropped version is a muddy mess, especially in the tail. Even with a 24-megapixel RAW file, this much cropping generally is not a good idea.
Squirrel eating food
Super Resolution saved the day! There’s a huge improvement in the tail and in the fur between the squirrel’s eyes. Take note, though: this Super Resolution file is nearly 300 megabytes.

Super Resolution is also a fun way to bring new life to old low-resolution images, provided they are sharp and not out of focus. I enjoy going back to my early digital photos that I shot with 3-megapixel pocket cameras and applying Super Resolution to see if I can extract details or create crisper images for printing. You might be surprised at how well this works for your old digital pictures, too.

Lightroom Super Resolution explained: final words

Super Resolution is one of the most exciting new Lightroom features in a long time. Adobe has created a practical, easy-to-use tool that works on almost all common image types and has the ability to dramatically improve your images.

I find the tool especially useful in some specific circumstances, like cropping and bringing older images to life, but if you have enough spare disk space, you might find yourself using it much more. While not perfect, it goes a long way toward solving a longstanding issue with digital photos and makes me excited to see where this technology will take us in the future!

Now over to you:

What do you think about Lightroom Super Resolution? Will you use it? Are you impressed? Share your thoughts (and Enhanced images!) in the comments below.

The post Lightroom Super Resolution Explained (The Essential Guide) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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Is it Legal to Fly a Drone over Private Property? Laws Explained

02 Oct

Drone photography and videography are becoming big business, from real estate to special effects such as simulating views from aircraft or a bird’s eye.  Aerial photography can be simply stunning and even abstract which makes for great photos. With money out there and more and more people getting into using drones for photography, legal questions arise over what you can Continue Reading
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Camera Lens: Convex or Concave Explained

20 Sep

The photographic lens is what creates the optical magic of bringing a subjects image to focus on to the image plane (that is the image sensor or the photographic film at the back of the camera). It refracts the lights rays, condenses them, and brings them to focus. The photographic lens is responsible for all the magic that happens inside Continue Reading
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How to Send iPhone Photos to Android? Fixes and Methods Explained

21 Aug

Are you unable to send photos from your iPhone to an Android device? Do you have the ability to send text messages but not pictures? If you are a photographer or use your phone to take pictures, switching phones can be a nightmare, especially from an iPhone to an Android.  Sending edited photos from iPhone to Android can be tedious Continue Reading
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Camera Lens Specifications Explained: MM, VR, ED, HSM and the Rest

23 Jul

Camera lens specifications might sound like another language for beginner photographers or those interested in their first purchase of a camera kit. Most of the time people simply don’t know their meanings which is what leads them to make a bad decision when buying a lens. In this article I will define all the camera lens specifications you need to Continue Reading
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What is the Highest ISO Camera? High ISO Explained and Cameras Compared

22 Jul

Digital cameras with higher and higher ISO ranges are appearing on the market these days.  Some have ISO numbers that seem out of this world. These are best suited for specific conditions and types of photography.  Should you go for the absolute highest ISO camera or are there other aspects to consider? In this article I will share my experiences Continue Reading
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Can Camera Lenses Go Bad? Camera Lens Shelf Life Explained

14 Jun

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
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Scoring explained: Why we think the Fujifilm GFX 100S’ peers are cameras half its price (NOT the Sony a1)

23 May
I’m, at best, a keen enthusiast photographer but the GFX 100S’ strengths are all in areas that benefit the kinds of photos I like to take (everyday scenes, landscape, portraiture), whereas the a1’s aren’t: its speed would be utterly wasted on me.

The GFX 100S is one of the highest-end cameras we’ve ever reviewed, which has the effect of making it a difficult camera to review. I wanted to write a little bit about that challenge, why we compared it with full-frame cameras, and yet didn’t compare it to others.

The main difficulty of reviewing a medium-format camera is that there’s a class of wildly expensive, essentially pro-only camera bodies beyond it, that we don’t cover. And, while Phase One has been kind enough to lend us some cameras and digital backs in the past, I wouldn’t claim to have used them enough to form an opinion worth publishing. It could be argued that without testing it in a series of studio shoots, it’s not really practical to form an opinion worth publishing.

The GFX 100S seems pricey when compared to most full-frame cameras but is comparatively affordable for something offering beyond full-frame image quality.

It’s a similar challenge with the more ambitious video gear we’re starting to encounter. Obviously the world of ALL CAPS cinema cameras from ARRI and RED exists beyond the more accessible likes of the Sony FX3 and Panasonic S1H, so how can we put the more affordable models in context? How can you review them properly?

The clue both for ‘affordable’ medium-format and video-focused hybrids, is that they’re at the upper extreme what we test. In other words, they’re the option you might reach for, if you go beyond the level of gear we usually cover. And, in turn, that explains why we tend to compare them to the level of gear below: because that’s the alternative you might otherwise settle for.

The comparative accessibility of the GFX 100S means it’s likely that some photographers who’d otherwise buy something like a Canon EOS R5, Sony a7R IV or Nikon Z7 II might consider stretching their budget to get one. At which point, it’s important that our review makes sense of the difference.

So why didn’t we compare it with the Sony a1 if we’re comparing it to full-frame cameras?

It’s understandable why some people draw parallels between the Fujifilm GFX 100S and the Sony a1. For a start, they were released at a similar time, so the earlier camera will have still been very fresh in the mind when the second was launched. Also, both cameras cost a similar amount of money. Finally, they’re both cameras that try to offer something beyond the latest fast-ish high resolution full-frame models. So why, if it makes sense to compare both with the likes of the Canon EOS R5, aren’t we comparing them to each other?

The Canon EOS R5 is high res, fast, and a pretty capable video camera. You have to spend a fair amount more money to get something significantly more capable. The Fujifilm and Sony offer very different types of ‘more.’

Quite simply because, while all the above is true, the comparison falls apart as soon as you look at precisely what they offer over high-res full-frame. The a1 offers speed (of both shooting and autofocus), along with 8K video and photojournalist-friendly communication options. The GFX 100S offers resolution and image quality in a way that is likely to delight landscape shooters and studio-based pros. There’s no real overlap in the things they offer over the more affordable cameras.

There’s no real overlap in the things they offer over the more affordable cameras.

The context for each camera is also rather different. Whereas $ 6500 is fairly typical for a flagship sports camera, it’s comparatively inexpensive for a medium-format camera offering a step up in image quality.

It’s easy to argue that the a1 is the more impressive technological achievement: its cutting-edge sensor raises the level of what mirrorless cameras can do (at least until we’ve seen what Nikon and Canon’s Stacked CMOS cameras are capable of). And it’s a project with no obvious corner cutting: none of the stripped-down video capabilities of the a9 series, for instance. By contrast, the GFX 100S has been reworked by the engineering and marketing departments to make the original GFX 100’s capabilities accessible to a wider audience.

In addition to speed of shooting, speed of AF and impressive video, the a1 offers a range of pro-friendly features, including an Ethernet connection.

Which is why, as hard as we’ve tried to make our scoring system coherent across categories, you can’t just look at the numbers and say ‘the Sony scored 3% more, and hence is better, without qualification, than the Fujifilm’. It’s a level of nuance that is never going to be conveyed by a single number (or a single number and an award).

Instead our reviews spell out the basis on which the conclusion was drawn. The ‘How it compares…’ section of our reviews lists what we believe a camera’s peers to be, and why. We then explicitly detail the pertinent real-world differences after the conclusion.

Reviewing always gets more difficult when it comes to extremes of price and performance, which is why we try to contextualize how these exotic outliers compare to the more affordable options. Because ultimately, our job is to provide a basis from which people can make informed decisions (whichever way they decide), not to award bragging rights.

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Image Size and Resolution Explained for Print and Onscreen

27 Oct

The post Image Size and Resolution Explained for Print and Onscreen appeared first on Digital Photography School. It was authored by Helen Bradley.

One of the most confusing things for a new photographer is understanding image size, resolution, and printing.

So in this article, I’ll explain what these terms mean.

And I’ll show you how to resize your images depending on what you want to do with them.

Let’s get started.

What is resolution in digital cameras?

When talking about digital cameras, resolution refers to the number of megapixels produced by an image sensor.

This, in turn, generally corresponds to the amount of detail a camera can capture.

So if your camera packs 20 megapixels (often written as 20 MP), it captures less detail than a camera with 30 megapixels, which in turn captures less detail than a camera with 40 megapixels.

But what is a megapixel, really? And how does it affect your ability to print and display photos?

Megapixels and photo size

Find information about a photo (including resolution) using File > File Info

Technically, a megapixel is equal to 1,048,576 pixels; in reality, camera manufacturers round this number to 1,000,000 when stating how large of an image the camera will capture.

So my camera, for example, captures 14.6-megapixel images, which is around 14,600,000 pixels per image (14.6 x 1,000,000). This information tells you nothing about the actual pixel dimensions of the image – it only tells you the total number of pixels that make up the image.

My camera, like most DSLRs, captures images with an aspect ratio of 1.5. So the ratio comparing the number of pixels along the long edge of the image to the short edge of the image is 3:2.

Each of my full-sized RAW images is 4672 x 3104 pixels in dimension. So by multiplying the number of pixels along the image width by those along the image height, we get the actual number of pixels in the image (4672 x 3104 = 14,501,888). You and I might call this 14.5 MP, but camera manufacturers round this up and call it a 14.6 MP camera.

You can check the width and height of an image using your photo editing software. In Photoshop, you can open your image, then choose File > File Info > Camera Data. The image above shows the resulting information dialog box.

Now, a pixel itself is a single picture element – and for our purposes, it’s the smallest element that your photo can be divided up into. A pixel can only be one color, and a photograph is made up of a grid of thousands of pixels, each of the different colors that together make up your image.

You can see these pixels if you open a photo and zoom in until you see single blocks of color (as shown below). Each of these blocks is a pixel:

An image of pixels in a photo

Why size is important when printing

When you’re printing an image, you may encounter the term PPI or pixels per inch. This literally refers to the number of pixels in an inch-long line of an image.

Most printing services, and indeed your own printer, will require a certain density of pixels in the image (PPI) to be able to render a print that looks good (i.e., with smooth color transitions so you can’t see each individual pixel).

Typical printing PPI values range from 150 to 300 PPI, although some high-end magazines may require images that are 1200 PPI.

So for example, if you want to print a 4 x 6 inch image at 300 PPI, then you need a file that has at least 4 x 300 (1200) pixels along its short side and 6 x 300 (1800) pixels on the long side. In other words, it needs to be at least 1200 x 1800 pixels in size.

To print an 8 x 10 inch image at 300 PPI, use the same math:

Multiply the printed image’s width and height in inches by 300 pixels. The result is 2,400 x 3,000 pixels, which is the image resolution you need to print an 8 x 10 image at 300 PPI.

Therefore, when cropping and sizing an image for printing, you’ll need to know what PPI the image should be. Your printer manual or printing service should be able to tell you this.

Below is a screenshot from the MpixPro.com website, showing their optimal and minimum image sizes for standard print sizes. Their printer outputs at 250 PPI (but can handle 100 PPI images), though other services may differ, so always check before preparing your images.

Print size required for MpixPro printing

Use the crop or resize feature in your software to size your image to the desired width and height and the desired PPI resolution.

Here, an image cropped to a size of 3000 x 2400 pixels is being adjusted from 72 PPI to 300 PPI in preparation for printing at 300 PPI. There is no resampling required, as the image is already the correct dimensions and only the resolution requires adjusting.

Adjusting resolution in a photo without resampling it

Photoshop, like other applications, will also crop an image to a fixed size and resolution if you type your desired values into the options bar when you have the crop tool selected (see below). If your image is smaller than the typed dimensions, then the image will be enlarged using the default resampling method. While it isn’t generally advisable to enlarge images, provided the image is already close to the desired size, enlarging it a little generally won’t cause a noticeable loss of quality.

When cropping in Photoshop, you can specify image size and resolution

Sizing for the screen

When it comes to displaying images on the screen, you need far fewer pixels than you do for printing.

This is because the density of pixels on the screen is far less than what is required for printing. For example, a typical monitor is 1920 x 1080 pixels in size; to fill the monitor, you only need an image that is 1920 x 1080 pixels in size. That’s about the same size image you need for a 4 x 6 print at 300 PPI – yet the 1920 x 1080 pixel image displays perfectly on a 23-inch monitor.

The post Image Size and Resolution Explained for Print and Onscreen appeared first on Digital Photography School. It was authored by Helen Bradley.


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How DSLR Lenses Work: DSLR Lenses Explained

24 May

A camera lens is arguably the most important part of a photographers set-up, to the point where most professional photographers would rather shoot with an ok camera body as long as they had a top-quality lens rather than the other way around. However, if you are just entering the world of DSLR lenses, at first glance they can be a Continue Reading

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