Are you an avid photographer? Are you having problems with your camera lens retracting or are you simply wanting to learn more about the issue? Then you are in the right place! This article is going to discuss what to do when your camera lens will not retract including all the possible solutions. What does is mean that your lens Continue Reading
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Posts Tagged ‘Here’s’
Camera Lens Will Not Retract – Here’s What To Do
26
May
The Sony a6900 Will Debut Before the Month Is Out: Here’s What We Know
15
May
The post The Sony a6900 Will Debut Before the Month Is Out: Here’s What We Know appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
For weeks, SonyAlphaRumors has been dropping information regarding the so-called Sony a6900, which will debut in “late May” as an a6600 successor.
While the “a6900” moniker is not yet confirmed, a “trusted” SonyAlphaRumors source has said that the new camera “will not be named ‘a6700,’” with another SAR source offering the a6900 label.
So what do we know about this new a6900?
SonyAlphaRumors confidently states that the a6900 will replace the a6600, but will feature an APS-C sensor and a body similar to the full-frame a7C. It will “be branded as [a] ‘vlogger’ camera,” which suggests several blogging-friendly specs: a fully articulating screen, for one, but also impressive video capabilities (at least 4K/30p plus mic/headphone jacks) and a compact design.
Indeed, various rumors suggest that the a6900 will feature 4K/60p video, a notable upgrade over the 4K/30p offered by the a6600. Interestingly, rumors also point to a new high-resolution sensor – several SonyAlphaRumors sources have suggested 32 MP – in a surprising break from Sony’s string of 24 MP APS-C models.
Here are additional specs suggested by (unconfirmed) SAR sources:
- Improved rolling shutter performance
- 20 frames-per-second continuous shooting
- 2.36M-dot EVF
- The “same tilt screen” as the a7C
- Upgraded in-body image stabilization (compared to the a7C)
- A7C-like price ($ 1798 USD)
Most of these items seem pretty standard and don’t offer any major improvements over the a6600. The exception is the 20 fps continuous shooting rate, and I’ll admit that I’m skeptical; after all, it’s a feature matched only by Sony’s highest-level full-frame models and is wholly unnecessary for vloggers.
Of course, you can also expect Sony’s standard autofocusing capabilities, including its vaunted Real-time Eye AF, plus outstanding subject tracking and generally speedy focusing, all of which will appeal to vloggers and still shooters alike.
So be sure to keep an eye out for further Sony a6900 news, especially if you’re interested in a compact, vlogging-focused camera; we should get an official release before the month is out.
Now over to you:
What do you think of the Sony a6900? If the rumored specifications are right, would you be interested? Are there any key features that the camera is missing? Share your thoughts in the comments below!
The post The Sony a6900 Will Debut Before the Month Is Out: Here’s What We Know appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Here’s How to Shoot in Harsh Light [Video]
02
May
The post Here’s How to Shoot in Harsh Light [Video] appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
It’s a tip often given to beginners:
Only photograph when the light is soft and beautiful.
But what if you can’t find the time to get out during the soft light, and you still want to take photos? Or what if you’re in a jaw-dropping, once-in-a-lifetime location and the light is just too bright? What then?
That’s when it pays to know how to create stunning shots in harsh light.
In this video, professional photographer Nigel Danson explains how to capture gorgeous images even in the worst lighting situations. Danson’s discussion centers around landscape photography, but the tips apply to many photographic genres.
To discover how to create beautiful images in harsh light, check out the video below. And then leave a comment with your favorite tip, trick, or piece of advice for harsh light photography!
The post Here’s How to Shoot in Harsh Light [Video] appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The Nikon Z9 Is Officially in Development. Here’s What We Know So Far.
19
Mar
The post The Nikon Z9 Is Officially in Development. Here’s What We Know So Far. appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Earlier this month, Nikon officially announced its flagship Z-series camera, the Nikon Z9.
Designed for professionals, the Z9 will likely follow in the footsteps of the Canon EOS R5 and the Sony a1, both of which offer an unprecedented combination of high resolution, fast shooting speeds, class-leading video, and top-notch autofocus.
So while the Nikon Z9 will undoubtedly appeal as a mirrorless successor to the action-centric Nikon D6, the camera will also be suitable for event photographers, wildlife photographers, and hybrid shooters, as well as jack-of-all-trades professionals who require an all-in-one solution.
Nikon’s official announcement revealed little about the Z9 aside from its name, its release year (2021), and a few hints about shooting capabilities. The Z9 boasts 8K video and “utilizes a newly developed FX-format stacked CMOS sensor and new image-processing engine.” Nikon claims that the Z9 will serve up “the best still and video performance in Nikon history, meeting the advanced needs of professionals in a wide range of genres.”
But what else can we expect from the Nikon Z9?
Well, just prior to Nikon’s official announcement, Nikon Rumors published a series of Z9 specifications, and they are impressive. Take a look:
- A 45, 50, or 60 MP full-frame sensor (likely 50 MP, according to Nikon Rumors)
- A “D6 body combined with EOS R5 imaging, a9 II AF, and blackout-free EVF”
- 20 frames-per-second continuous shooting
- 8K/30p recording, as well as 4K/120p
- Dual XQD/CFexpress card slots
- “Improved noise levels and specifically significantly better dynamic range”
- “Improved AF” and “‘stunning’ AF tracking (better than the D6)”
- An ultra-capable electronic viewfinder, offering blackout-free performance
In other words, the Nikon Z9 will be a high-resolution, rugged, lightning-fast, and video-capable camera – the perfect all-around pick for serious professionals and very much in line with Nikon’s claim of “the best still and video performance in Nikon history.”
Regarding the release date:
Nikon Rumors suggests the fall of 2021, though you should be prepared for some delays thanks to COVID-related supply problems.
Nikon Rumors also claims the price will come in between $ 6000 and $ 7000 USD – expensive, yes, but fully compatible with Nikon’s D6-series pricing (you can currently purchase the D6, body only, for around $ 6500), and on par with the Sony a1 (which weighs in at $ 6500 USD).
Of course, for many shooters, the Nikon Z9 is unobtainable, or an excessive amount of camera, or both. But the Z9 isn’t just a new camera; it’s also a sign of Nikon’s dedication to its Z-series lineup and a look at the latest and greatest mirrorless technology (technology that may eventually trickle down into lower-priced models).
And for those who are considering the Z9, you shouldn’t have too long to wait!
Now over to you:
What do you think of the Nikon Z9? Is it a camera you plan to purchase? Are there any features that you want the Z9 to include? Share your thoughts in the comments below!
The post The Nikon Z9 Is Officially in Development. Here’s What We Know So Far. appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Camera Lens Yellowing: Here’s What to Do
02
Mar
If you use older camera lenses for your photography you might have run into the problem of lens yellowing. Don’t worry this isn’t an irreversible problem and we can help you to fix it. It’s much easier than you might expect. Before fixing the problem it’s sometimes worth understanding why this is happening. The reason for the yellowing is its Continue Reading
Photodoto
Here’s our wish list for the Nikon Z6 II and Z7 II
05
Oct
 |
| Thanks to a process of continued improvement, the Z6 and Z7 are going to be hard acts to follow. |
Nikon has already started teasing its forthcoming Z6 and Z7 Mark II cameras, so the question is: just what are they going to bring? We’ve collectively put together a list of what we’d like to see on these updated models. It’s not necessarily what we think Nikon will provide, more a list of what we think would be nice.
Fixing the things complained about
On the hardware side, there are a couple of obvious changes that would immediately justify the incremental implications of that ‘Mark II’ billing: correcting the much-criticized omissions in the original models.
The most obvious would be the provision of twin card slots. It’s a feature many professional photographers lean on, which meant the Z7 looked less attractive to that crowd than it could have been. The Z6 was beaten with the same stick, though perhaps with less justification (though Nikon has tended to include them on even its most lowly full-frame models).
Providing twin card slots would be an easy ‘win’ for Nikon
Wherever you stand on the issue, providing twin card slots would be an easy PR win for Nikon. Adopting the smaller CFexpress ‘A’ cards would, perhaps, make it easier to do without increasing the size of the camera body but then risks incurring the wrath of existing users who’ve bought into XQD and CFexpress type B formats.
Another feature missed-off the original cameras was a connection port to allow a battery grip with duplicate controls for portrait orientation shooting. This would be another comparatively simple way to expand the capabilities of the new cameras.
And, on the subject of battery endurance, a larger battery pack wouldn’t go amiss, if the bodies are being re-worked. I’m sure there will be plenty of comments saying that they’ve had no problems with the existing cameras, but whether it’s to give professional Z7 II-shooters or Z6 II video users one less thing to worry about, additional battery life is rarely a bad thing.
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| Yes, XQD (as are the CFexpress type-B cards that Nikon also now supports) are fast, but there’ll be a lot of frustration if the Mark II models only have single slots. Especially in the light of the Z5 sporting twin SDs. |
Moving the hardware forward
Beyond this, it’ll be interesting to see whether Nikon has managed to source new sensors for the new cameras. We’ve not yet seen anything that obviously surpasses the 24MP sensor in the Z6 (also used by other manufacturers, including models as recent as the Sony a7C and Lumix S5), so it wouldn’t leave the Z6 II lacking by pressing on with the same chip. That said, a newer sensor with faster readout could help with both autofocus and video performance, so it would be an attractive upgrade if there’s one available.
The 24MP sensor in the Z6 is still competitive but a newer sensor with faster readout could help both autofocus and video
With regards the Z7 II, a jump from 46MP to somewhere closer to the Sony a7 IV’s 60MP wouldn’t hurt its chances: both in terms of looking competitive against the Sony to newcomers and in terms of giving Z7 users a reason to upgrade.
It seems highly likely that the Z7 II, or even both new models, will gain higher resolution viewfinders. The 3.68M dot EVFs used in the original models were good for their day but there are 5.76M and 9.44M dot panels available now, so we’d expect to see a move to one of those higher-res displays.
Which brings us to the rear LCDs. We’ve really enjoyed the two-way tilting LCD cradles used on the likes of Fujifilm’s X-T3 and Panasonic’s S1 and S1R. We think it’s unlikely, but there’s an argument to be made that a similar design would be a good fit for the Z7 II, and perhaps even a fully-articulated panel for the Z6 II, assuming Nikon continues its impressive work towards providing a camera that’s as adept at video as it is at stills.
Yes, we are aware that there’s a cohort of stills photographers who’d be aghast at such a suggestion, and we suspect Nikon won’t want to upset them too much.
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Keep rolling!
We have to assume there will be some new video features in the cameras, because it’d be senseless to sit back and relax after all the progress made with the Z6. The addition of 10-bit internal capture would certainly expand the appeal of the camera, making Log footage more flexible and allowing the capture of HDRTV-compatible high dynamic range footage.
Alongside this, it would be lovely to see waveform displays added, to make it easier to assess exposure. This would be a big step for Nikon but it does appear the company has been listening to the needs of videographers, so we think it’s possible.
The addition of 10-bit internal capture would certainly expand the appeal of the camera for videographers
Similarly, it would be useful for the Z6 II to display the shutter speed in terms of shutter angle: this would become particularly useful if the camera can shoot 60p footage, as it allows you to maintain a 180 degree shutter angle (meaning a shutter speed that’s twice the frame rate) as you jump between capturing footage at different frame rates.
Beyond this, it’s difficult to anticipate what Nikon could sensibly add to a camera that isn’t trying to be dedicated to video. 6K Raw output would avoid the sub-sampling aliasing we saw in the Z6’s Raw video stream but would entail much larger video files. At the very least, it would be nice to see Nikon communicate more metadata so that Atomos recorders can create ProRes Raw files that allow a broader range of adjustments within Final Cut Pro than is currently possible.
Software/UI:
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Finally, there are a few aspects of the software and user interface we’d like to see improved.
A generational update of the camera would usually also come with a generation’s improvement in the AF tracking performance. Nikon has continuously improved the AF performance and interface on the Z6 and Z7, so we’d only expect a relatively small improvement, but there is room for improvement on both counts.
Nikon’s tracking in its mirrorless cameras has steadily improved but it still isn’t quite as ‘sticky’ as the latest Sony and Canon cameras, we’ve tended to find. It’s not far off, but it would be nice to see a further improvement, particularly in video mode.
Nikon has been improving the Z6 and Z7’s autofocus interface but better integration of its features would be good to see
As well as the performance, Nikon has also been fine-tuning its user interface: letting you pre-select where you want subject tracking to start, and letting you start and stop tracking by pressing or releasing the shutter button, for instance. But Tracking and Face/Eye detection remain separate modes, built on top of the ‘Auto’ area mode. We’d love to see a distinct mode, let’s call it something like ‘3D Subject Tracking,’ that tracks the subject under the focus point and utilizes Face or Eye detection if that subject happens to possess either of those things. This better integrated system is really simple to use on the latest Canons and Sonys, and it would be good to see it replicated here, just for speed and convenience.
Finally, we’d love to see a return of the ability to format the card or reset the camera by pressing pairs of buttons: it was a feature unique to Nikon DSLRs and became second-nature to many Nikon photographers.
No easy task
Overall, though, preparing this article reminded us just how good both the Z6 and Z7 have become. We thought they were pretty polished first efforts when they arrived, and Nikon has continued to improve them ever since. It’ll be interesting to see what the company will do to top them.
Let us know in the comments what changes, improvements or additions you’d most like to see in the forthcoming models.
Articles: Digital Photography Review (dpreview.com)
Canon EOS R5: Here’s why you probably don’t need 8K right now (and a few reasons why you might)
23
Mar
Here’s why you probably don’t need 8K right now (and why you might)
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Canon’s recent announcement of the new EOS R5 wasn’t completely unexpected, but one of the camera’s key specifications, 8K video, did catch us a bit by surprise. 8K video has been in development for several years, but to date it’s mostly been limited to Hollywood-level cinema production and tech demos by Japanese broadcaster NHK.
With the R5 it looks like that may be about to change. In fact, we now know that the R5 will be able to capture 8K/30p using the full width of the sensor. Of course, there’s a lot more to video quality than just resolution, and we don’t expect the R5 to challenge a camera like the RED Helium 8K, but the fact that 8K is making its way into any consumer mirrorless camera suggests that this could be the tip of the iceberg.
With that in mind, let’s look at some reasons why you probably don’t need 8K video anytime soon – as well as a few reasons why you might.
Almost nobody is watching 8K
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8K displays are absolutely incredible, and once you’ve seen one in person you can’t unsee it. It’s exciting to think that some day 8K displays will be everywhere.
But today, they’re not everywhere. In fact, they aren’t really anywhere except for niche locations like post-production environments or the living room of that guy down the street who always has the latest gizmo (and isn’t afraid to pay top dollar for it). Sure, 8K TVs are coming down in price, but they still run into the thousands of dollars and it will be a while before they’re commonplace.
8K TVs are coming down in price, but they still run into the thousands of dollars…
There’s also the question of whether most viewers will be able to see the difference between 4K and 8K. Even with good eyesight, human vision at typical viewing distances will be a limiting factor unless you’re using an exceptionally large display.
In short, there’s really no reason to get an 8K camera in order to deliver 8K content today.
You’ll probably need a new computer
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Unless you’re in the high-end video production business, or possibly a really serious gamer, chances are pretty good that your current computer won’t be up to the task of editing 8K video.
The same thing happened when 4K video came on the scene. It wasn’t uncommon to discover that video rigs designed to cut through 1080p footage like butter could get mired down when working in 4K. We needed faster processors, faster video cards, faster storage and, of course, new 4K displays to take advantage of all that resolution.
We can expect similar challenges in the early days of 8K video. Early adopters will pay a premium to upgrade their editing equipment, so unless you really need to shoot 8K today it might be better to wait a couple years for better, and more affordable, mainstream support.
The files will be huge
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Remember when we first started shooting 4K video and discovered just how big the files could be compared to HD? We needed larger memory cards, more of them, and in may cases, faster cards to accommodate the increased bit rates required for high quality 4K. Check out our recent review of the Panasonic S1H for a real world example of how this impacted DPReview’s Richard Butler.
Remember when we first started shooting 4K video and discovered just how big the files could be compared to HD?
Larger files also resulted in workflow changes. Some videographers who were used to editing entire projects on a laptop’s internal hard drive had to start carrying around external hard drives, and later, portable SSDs. Even archiving projects required more storage.
High quality 8K video will, to some degree, begin this cycle over again. At least this time we’re starting out in a world in which SSDs are ubiquitous, but we’re still going to need larger SSDs and faster connections to effectively work with 8K files. The good news is that SSDs are gaining capacity as prices continue to fall, and USB 4 promises to deliver faster connections for consumers without the high cost of Thunderbolt, but early adopters will again pay a premium.
Your current video lenses might hit their limits
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A single frame of 4K video delivers around 8.2MP of resolution, something that’s comfortably within the resolving range of almost any lens from the modern digital era (and many earlier ones). In contrast, 8K video delivers roughly 33MP frames.
That’s within the working range of quite a few still cameras, and many recent optics are certainly capable of resolving that level of detail. If you already have higher resolving lenses that’s great, but if you’ve been shooting video using older lenses – including some from the digital era – you may find that you need to upgrade your glass to get the most out of 8K video.
To capture still photos from video
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We’ve talked about several reasons why you probably don’t need 8K video today, but let’s consider a few reasons why you might want it anyway.
One might be to capture high quality still images from video. Heck, even 4K video provides enough resolution for many purposes, and features like Panasonic’s 4K and 6K Photo modes have been useful to many photographers. Having the option to capture 33MP images from video takes this to a whole new level.
At a recent NAB Show, Canon displayed a gallery of stunning photos that were extracted from 8K video frames; the quality was so high that they could have been shot with a modern DSLR. Of course, extracting photos from video may not be the ideal workflow for all types of photography, but for some it can work very well. We may very well see 8K photo modes on some cameras. Maybe even the R5.
For video post-production
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8K video will provide immediate advantages when shooting and editing 4K projects; the camera operator will be able to plan a shot knowing it will be possible to ‘punch in’ later, and the editor will have more creative flexibility when cutting the project together.
The resolution provided by 8K will facilitate 2x cropping to 4K in post with no apparent loss of resolution, making it possible to simulate longer lenses or edit out distracting elements at the edges of a scene. It will also enable editing tricks like virtual zooms and pans. These techniques are frequently employed when editing 4K footage for HD delivery, but now the entire process can be scaled up.
8K will also allow you to do better green screen work. Good chroma-keying depends on the ability to discern fine details around the edges of your subject, such as hair. The more resolution you have to play with, the better. Other factors, such as color sub-sampling, are also important to the quality of green screen work, but all else being equal more resolution is an advantage.
To create even better 4K video
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4K video is impressively detailed, but oversampled 4K video is even more detailed. So, even if you don’t need to create virtual crops, zooms or pans in your video you’ll still benefit from the effects of oversampling.
We’ve already seen a number of mirrorless cameras that oversample 4K in-camera, typically from a 6K starting point. However, sampling theory says that 8K is the minimum resolution you need to correctly capture the maximum resolution that 4K can show. In effect, it’s perfect oversampling, similar to the way the original Sony a7S (above) captured 4K and downsampled it to 1080 with zero luma aliasing.
To future-proof equipment
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This one is tricky because it requires us to predict the future a bit more. However, there are a couple useful data points we can look at: 1) As a consumer technology, 4K video experienced more rapid adoption than many expected, and 2) The trend among camera buyers is to upgrade their cameras less frequently than they did in the past.
This suggests that 8K technology could be widely available more quickly than we anticipate as well. In fact, it’s already showing up on some smartphones. As a result, if you plan to keep your next camera for a while and want to make sure it’s future-proof, then it may be a good idea to ensure your next purchase is 8K-ready.
To future-proof content
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There was a time when widespread access to HD TVs and displays seemed a long way off, but savvy content creators, including a lot of small, independent videographers, were already producing content in HD instead of SD. Why? Because they knew that if they didn’t, once HD was more widely adopted their content would appear dated quickly (and possibly even be excluded from some platforms).
This was true during the transition from HD to 4K as well, and we’ll likely see a similar trend as we move to 8K. Whether the visual difference between 4K and 8K at standard viewing distances is as noticeable as the previous transitions is debatable: both have so much detail it might be difficult to tell them apart.
Whether the visual difference between 4K and 8K at standard viewing distances is as noticeable as the previous transitions is debatable…
However, screens keep getting larger over time: the 24″ TV that sat in a family’s living room in the 1980s became a 65″ TV by the 2010s. If screens get big enough, the difference between 4K and 8K might actually become noticeable. There’s a counter argument to this, of course, which is that many people watch more content on the tiny screen that fits in their pocket than on a TV, so it depends a lot on your target audience.
Ultimately, if future-proofing your content is important, it might make sense to begin working in 8K early.
8K is coming, but do you need it now?
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The Canon EOS R5 is likely the first of many cameras we’ll see with 8K video. At a technical level, we should at least recognize that this is a pretty impressive accomplishment for any manufacturer. However, whether you truly need 8K video in the near future is debatable.
If you’re the type of person who mostly shoots video to capture your own life adventures, share movies with friends on social media, or does fairly minimal editing on the video you shoot then there’s little incentive to adopt 8K today. Chances are good that you won’t notice much difference.
If you’re the type of person who mostly shoots video to capture your own life adventures… chances are good that you won’t notice much difference.
On the other hand, if you’re serious about video and produce 4K content, 8K has the potential to benefit your workflow: cropping to 4K in post, digital pans and zooms, and downsampling to create better 4K video being just a few examples. 8K will appeal to some stills photographers as well. Do you enjoy using 4K and 6K photo modes on your camera to nail the perfect frame? If so, you’ll probably love 8K photos.
Not sure if 8K is in your future? You can watch this 8K video on YouTube while you decide. Of course, you’ll need an 8K monitor to properly watch it, which you can find here. We’ll wait while you try it out.
Articles: Digital Photography Review (dpreview.com)
Your Canon DSLR Might Be Hacked; Here’s What You Should Do
15
Aug
The post Your Canon DSLR Might Be Hacked; Here’s What You Should Do appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Do you use a Canon DSLR?
If so, watch out. Because hackers can exploit your camera and hold your images hostage.
Seriously.
Let me explain:
Ransomware is malicious software that hackers can use to infect your camera. Once the ransomware gains access to your camera, it encrypts your images, making them completely inaccessible to you.
That’s when the hacker makes a demand:
If you ever want to see your photos again, you must pay a sum of money. In return, the hacker will give you an encryption key, which allows you to break the encryption and access your images.
In other words:
The hacker holds your images hostage. And if you want them back, you have to pay the ransom.
For some, ransomware might not be news. Ransomware attacks have been going on for decades.
Except it was only this year that a company called CheckPoint demonstrated the hackability of Canon cameras. CheckPoint realized that Canon’s Picture Transfer Protocol (PTP) could be easily exploited by hackers through a USB connection or, more disturbingly, over Wi-Fi.
Then CheckPoint carried out a ransomware attack on a Canon 80D, and they did it over the camera’s Wi-Fi connection. The attack required absolutely no interaction with the camera owner.
CheckPoint shared their findings with Canon, prompting the company to produce a security advisory that warns consumers of the dangers of a “third-party attack.” Read the full security advisory on the Canon website.
Canon is now working hard on a patch for this vulnerability and has already produced a firmware update for the Canon 80D.
Meanwhile, Canon has released recommendations for other camera users:
- Ensure the suitability of security-related settings of the devices connected to the camera, such as the PC, mobile device, and router being used.
- Do not connect the camera to a PC or mobile device that is being used in an unsecure network, such as in a free Wi-Fi environment.
- Do not connect the camera to a PC or mobile device that is potentially exposed to virus infections.
- Disable the camera’s network functions when they are not being used.
- Download the official firmware from Canon’s website when performing a camera firmware update.
So for owners of the Canon 80D, I suggest you update your camera. You don’t want to remain vulnerable.
And for anyone else with a Canon camera, keep an eye out for Canon firmware updates. This is especially critical if your camera features a Wi-Fi connection, which can be exploited much more easily than a USB connection.
Do you own a Canon with a wif-fi connection? Will you be updating your firmware?
The post Your Canon DSLR Might Be Hacked; Here’s What You Should Do appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Here’s how you can change the default camera app in iOS 13 with a clever workaround
17
Jun
 |
One of the smaller updates inside the recently-announced iOS 13 is the addition of Automation, a feature within Apple’s Shortcut app that allows you to automate various functions on your iOS device through the use of pre-defined triggers.
While the options are seemingly limitless with the new Automation feature, one particular Automation has all but resolved an issue iOS photographers have faced since the first iPhone—you can now make it so a third-party camera application opens by default when opening the Camera app from the home screen (or Control Center). Technically, this Automation doesn’t change the default app that’s opened, but it will make it so the camera app of your choice opens instead of Apple’s default Camera app.
As we walk through in the video embedded below, the end result is achieved through the Automation trigger of opening a certain app. In the example we provide, we’ve made it so the camera app Halide opens when the Camera app icon is press on the home screen. Beneath the video is a text explanation of the process we used to create the Automation.
If the video isn’t clear enough, here’s a brief text explainer of how we set this Automation up: First, open the Shortcuts app and select the Automation tab (the middle tab in the navigation with a clock as its icon). From there, press the ‘+’ icon in the top-right corner of the app and select the ‘Create Personal Automation’ button. At this point, you’ll be provided with three distinct sections: Events, Travel and Settings. Each of these have a subset of triggers that can be used for Automations.
For this Automation, you’ll want to scroll all the way to the bottom of the ‘Settings’ section and choose the ‘Open App’ option. On the next screen, iOS will ask you to pick an app that you want to be the trigger. In the case of this particular Automation, you want to choose the Camera app as the trigger. After selecting the Camera app, press ‘Done’ and then ‘Next’ to move to the next step. Here, you will choose what you want to happen when you open the Camera app. Tap on the ‘Add Action’ button and choose the ‘Apps’ icon (it will be the first icon in the options presented).
From there, choose the ‘Open App’ action. This is where you will select what third-party camera app will be opened in place of Apple’s default Camera app. As we mentioned, we opted to open the third-party camera app Halide. After selecting the app and pressing both ‘Done’ and ‘Next’ again, you’re at the final stage. You can choose to have iOS ‘Ask Before Running’ or turn that option off to remove an extra step. Now, click ‘Done’ and you should be good to go.
Again, this doesn’t technically change the default camera app. As you can see in the below video, the default Camera app still opens, albeit very quickly, before triggering the Automation to open Halide. Still though, it’s a pretty quick transition, even on the first beta of iOS 13.
Keep in mind that this particular Automation is being run on a developer beta version of iOS 13. Apple will release a public beta for those interested sometime in July (you can sign up to receive an invite here), but even if you get the invite to test the public beta of iOS 13, we suggest not putting it on your main device(s). The developer beta of iOS 13 has proven fairly bug-free since we’ve downloaded it, but there’s always the risk that certain apps and features won’t work and the last thing you want to do is effectively render your iOS device useless.
Disclaimer aside, it’s a neat little trick. There are countless other photo-related Automations that could be made, but we had to start somewhere. Between the Automation feature, the ability to access external storage and other features, iOS 13 should prove to be a substantial update for photographers and their workflows.
Articles: Digital Photography Review (dpreview.com)
Here’s why I’m not quite ready to let the Pixel 3 replace a dedicated camera
18
Apr
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| Modern architecture abounds in Palm Springs, mid-century and otherwise. Olympus Pen F ISO 200 | 1/1600 sec | F6.3 | Olympus M.Zuiko 12mm F2.0 |
On the topic of “When will smartphones make most dedicated cameras obsolete?” I tend to be in the “We’re pretty much there already” camp. In my own day-to-day photography, and even for some special occasions where I expect to take more than a few photos, I’ll stick with my smartphone rather than bringing along a dedicated camera.
That wasn’t the case on a recent trip to Palm Springs. I shot with both the Pixel 3 and a Micro Four Thirds camera (the Olympus Pen F, specifically). Here’s where each of them shine, and why I’m glad I had a dedicated camera at my side.
My photographic priority in Palm Springs was the city’s veritable smorgasbord of mid-century modern buildings. Banks, hotels, liquor stores – all housed in stunning modern buildings that are extremely Instagrammable. You know you’ve hit the architectural jackpot when you’re excited to photograph the town BevMo!.
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| Literally the roof of a BevMo! liquor store. Olympus Pen F ISO 200 | 1/800 sec | F5.6 | Olympus M.Zuiko 12mm F2.0 |
There are obvious benefits to any smartphone, including of course the Pixel 3. It’s always with you, even by the pool, photos are automatically backed up to your image library, everything is immediately shareable. But the Pixel 3 presents a few unique advantages: it handles high-contrast scenes particularly well, and the multi-shot Night Sight mode captures a level of detail well beyond what we’re used to seeing from smartphones, even in the daytime.
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| The Pixel 3 does a fine job balancing scenes like this one, and its IP68 waterproof rating means it’s safe poolside. Google Pixel 3 XL ISO 59 | 28mm equiv. | F1.8 |
There are some disadvantages though, which figured into my decision to bring along the Olympus Pen F and 12mm lens. First, the Pixel’s main camera wasn’t quite wide enough for the kind of photography I wanted to do. Photographing mid-century modern buildings from the sidewalk along a busy road doesn’t make it easy to just back up to get the whole thing in the shot.
Using panorama mode for a wider shot isn’t a great option either – image quality is pretty poor. This year’s smartphones are addressing this problem with wide-angle lenses, so if Google ever decides to add another rear camera, who knows what will be possible!
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| Stuff like this is just lying around everywhere in Palm Springs! Olympus Pen F ISO 200 | 1/1250 sec | F4.5 | Olympus M.Zuiko 12mm F2.0 |
Editing Pixel 3 Raws isn’t my favorite experience at the moment, either. Editing Pen F files is familiar and comfortable to me, while handling Pixel Raw files seems to be a quirky process in its current state. When I use Camera Raw I start with a very flat, overexposed image, and when I edit Raw photos in Snapseed I encounter a couple of bugs along the way (and don’t love the small-screen edit experience). It’s more than good enough for something I’ll post on social media, but I wanted a little more control with my Palm Springs photos.
I also found myself taking advantage of a few Pen F features that were handy, if not necessarily must-haves. A viewfinder really came in handy under the bright mid-day sun. I also like a tilting LCD to compose shots from higher and lower angles. Also, the digital level was pretty huge for me, a person with (apparently) a crooked brain who is unable to keep horizons straight.
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| If every Bank of America looked like this I’d be a member tomorrow. Olympus Pen F ISO 200 | 1/1250 sec | F4.5 | Olympus M.Zuiko 12mm F2.0 |
To be sure, there are some third-party workarounds that would have adapted the Pixel 3 to my purposes better. I could have brought a wide-angle attachment lens along and used a camera app with a level. There are trade-offs when using either of these options, though.
I also prefer the anonymity of the Pixel 3. One morning I walked from the center of town a mile and a half to the visitor’s center, a futuristic-looking building that used to be a gas station and is one of the most recognizable structures in town.
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| Roof of the Tramway Gas Station, currently home of the Palm Springs Visitor’s Center. Olympus Pen F ISO 200 | 1/1250 sec | F6.3 | Olympus M.Zuiko 12mm F2.0 |
I was quite conspicuous on this journey for several reasons. For starters, nobody walks a mile to get anywhere in 80°+ heat if they can help it. I’m also incredibly pale and probably a danger to motorists walking under a beaming sun on the side of the road. I also had a Real Camera in my hand, and on top of that, am a lady.
Being a lady alone in public doing something out of the ordinary is, in my experience, an invitation for commentary, usually of the harmless “What are ya doin’ there with that big ol’ camera little missy??” variety. Well-meaning I’m sure, but my male colleagues don’t quite experience the same interruptions.
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| Palm Springs: they aren’t kidding about those palms. Olympus Pen F ISO 200 | 1/1000 sec | F4.5 | Olympus M.Zuiko 12mm F2.0 |
I wish I’d been shooting with the Pixel when I saw the Photo That Got Away. Traffic in the street was stopped at a red light, and I was walking parallel to a pickup truck towing a camper van with a majestic purple mountain on the side. Behind it was a backdrop of actual majestic mountains. It was perfect, except the driver was staring right at me staring at him.
Maybe I would have gotten away with it shooting with the phone. As it happened, it just felt too conspicuous, almost invasive, to pull the camera up to my eye and take a picture. The light turned green and I thought about that photo through the rest of the trip.
In any case, I made it to the visitor’s center, which is a lovely building but I actually ended up taking my favorite picture around the back of it. Funny how that happens.
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| I walked a mile and a half through the desert to take this photo of a bench, I guess. Olympus Pen F ISO 200 | 1/1250 sec | F6.3 | Olympus M.Zuiko 12mm F2.0 |
I liked the experience of carrying the Pen F at my side. It put me in a mindset of taking photos that’s harder to get into when I’m using my phone. But I don’t think we’re far from a future where the Pixel 3 satisfies almost all of the photographic needs I had on a trip like that, and there are real benefits to shooting with the Pixel 3 that traditional cameras don’t provide now. The Pixel automatically backed up all of the trip photos I took with it to my Photos library, where they were instantly shareable, searchable and photo-book-printable. The Pen F sure didn’t do any of that.
When I can get 90% of the image quality from a smartphone that I would from a traditional camera, and the experience of using it as a photographic device – from capture through editing – is 90% as good, I’ll be ready to leave the camera at home when I go on a trip like the one I just took. That day probably isn’t far off at all.
Articles: Digital Photography Review (dpreview.com)
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