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Posts Tagged ‘makes’

Review: Timelapse+ makes day-to-night time-lapse sequences easy

16 Feb

Even if you’re only a casual time-lapse photographer then you probably know how challenging it can be to shoot a time-lapse sequence that involves drastic changes in lighting conditions. For example, sequences shot during periods of time covering sunrises, sunsets, moonrises and moonsets are difficult because a single set of exposure parameters won’t work for the entire sequence. It’s also unlikely that your camera’s Auto Exposure mode will give you proper results, especially during low light conditions.

That’s where the Timelapse+ View intervalometer, a device designed to automate day-to-night time-lapse sequences, comes in. It retails for $ 399 and it includes Timelapse+ Studio, a Lightroom plugin for processing the timelapse sequences. Studio is also sold separately for $ 49.

I started photographing astronomical observatories 12 years ago. Whenever I needed to leave my camera unattended I would expose for the nighttime conditions (mainly considering the Moon’s brightness) and start my time-lapse sequence before sunset. The sequence would start completely overexposed but would become correctly exposed as it got darker. I would then try to salvage as many evening and morning twilight frames as possible by reducing the exposure value and recovering highlight information in post-processing. (More on how to do this in the Timelapse+ Studio for Non-Ramped Sequences section below.)

These time-lapse sequences illustrate the challenge that the Timelapse+ View aims to solve. I optimized the exposure to correctly capture the night sky, but as a result the afternoon and morning sequences were completely overexposed. Paranal Observatory, Chile. (Nikon D700 and Nikkor 14-24mm F2.8)

Timelapse+ View (the hardware)

All that hassle and limitation can be eliminated with the use of an exposure ramper, a device that progressively changes the exposure according to the lighting conditions. Some devices require that you know beforehand how the light is going to change as a function of time (that is, a light curve) and program the device accordingly. For changes involving the Sun and the Moon, this light curve will depend on the day of the year and your latitude on Earth. Consequently, a lot of trial and error might be required.

The View is an intervalometer and exposure ramper that uses algorithms to analyze the last several exposures and determine how the lighting conditions are changing. Then it predicts the correct exposure for the next frame and sets it accordingly on the camera.

With the Timelapse+ View you can correctly expose the first frame of a sequence and let its auto ramping mode do the rest of the work. The View is an intervalometer and exposure ramper that uses algorithms to analyze the last several exposures and determine how the lighting conditions are changing. Then it predicts the correct exposure for the next frame and sets it accordingly on the camera. At the same time, the View ignores transient sources of light such as headlights.

With the Timelapse+ View you can correctly expose the first frame of a sequence and let its auto ramping mode do the rest of the work.

The View has an internal battery which can be recharged via a Micro-B USB cable connected to a power device or AC outlet adapter. It sits on the camera hot shoe and is connected to the camera via a USB cable (simultaneous multi-camera control is supported via an optional USB port). The View works with many camera models from Nikon, Canon, Sony, Panasonic, Fuji and Olympus, and works with most motion control systems for shoot-move-shoot functionality and motion keyrame integration. It writes image files to either the camera memory card or to an SD card in the unit itself.

Exposure ramping a day-to-night sequence

To shoot a day-to-night sequence, one sets the camera to the lowest ISO and the appropriate shutter speed, making sure that no highlights are clipped. This initial setup will ensure that the sequence will not be overexposed. Since I always shoot in Raw I leave the white balance set to Auto (AWB) and edit the values in post-processing. (See below to learn how to edit a varying White Balance with Timelapse+ Studio.)

You can program the View with its intuitive menu but I prefer to use the free TL+View app (iOS and Android) to program, monitor, and even override my time-lapse sequences. The View can also be controlled from a web-based app on any device with a web browser.

In the first video example below, I captured a fisheye time-lapse sequence of night falling in Nashville for a planetarium show produced by Chicago’s Adler Planetarium. The most natural way of viewing circular fisheye photography is by projecting it on a dome. This results in an immersive experience putting the viewer at the center of the action.

Left: Out-of-camera sequence from a Nikon D810A controlled by the Timelapse+ View exposure ramper. The shutter speed changed from 1/250 sec to 5 sec. Right: The same sequence processed with the Timelapse+ Studio plugin to smooth out exposure changes and gradually change the white balance. Nashville, Tennessee.

For this sequence I set up a Nikon D810A with a Fisheye-Nikkor 8mm F2.8 AI-s lens by the Cumberland River in downtown Nashville. I chose an initial shutter speed of 1/250 sec and ISO 200 (with a fixed F8 aperture) and used the View’s Auto Day/Night interval mode. I set the (initial) ‘Day’ Interval to 5 sec, the ‘Night’ Interval to 10 sec, and chose Speed and ISO Auto Ramping (Aperture ramping mode is also available on the View).

In the Speed and ISO Auto Ramping mode, the View will gradually increase the exposure time and interval between exposures as night falls. ISO values will increase when the exposure time approaches the interval. In the Nashville sequence, the final shutter speed was 5 sec with an interval of 7 sec. It is interesting that during the sequence the ISO gradually decreased from 200 to 100. That’s because, whenever possible, the View will use the longest exposure (for a smoother motion) and lowest ISO (for a lower noise), even if this does not change the resulting exposure.

The View is an intervalometer and exposure ramper that uses algorithms to analyze the last several exposures and determine how the lighting conditions are changing.

I later learned that one can set a mimimum ISO. Setting this to 200 would have prevented the D810A from going into its extended (non-native) ISO range (below 200). According to the developer, only native ISO values should be used since going below the lowest native ISO could cause loss of highlights.

While a time-lapse sequence is in progress you can preview the sequence on the unit’s screen by using hand gestures. This nifty feature lets you control the sequence playback without ever touching the unit, and unintentionally moving the camera. Of course, you can also preview and monitor the sequence remotely using the TL+View mobile app or web-based interface (connected via Wi-Fi, either locally or over the internet). Furthermore, if you need to tweak the sequence settings, the app lets you make changes spread over a determined number of frames, resulting in a smooth change.

You can preview your time-lapse sequence on the built in screen using hand gestures, eliminating the need to physically touch the camera and risk moving it. The View can be programmed with its intuitive menu but I prefer to use the free TL+View app.

On the next page, I’ll explain how to process your images using the Timelapse+ Studio Lightroom plugin.

Articles: Digital Photography Review (dpreview.com)

 
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Magic Plate quick-release plate makes it easy to toggle from landscape to portrait

31 Jan

A new Kickstarter campaign from Silence Corner is seeking funds for ‘Magic Plate,’ a new quick-release plate that enables photographers to quickly switch between landscape and portrait shooting. Magic Plate is CNC machined from aerospace-grade aluminum, is compatible with most Arca gear and includes a 14″-20 UNC screw in addition to a quick-release button and strap slots.

This quick release plate doesn’t need to be removed from the ball head, according to the team behind the product. Instead, users can toggle the camera from landscape to portrait mode by pressing the plate’s quick-release button, rotating the camera and then locking the plate into its new position. The device is more compact than L-brackets and lighter at only 40g (1.4oz).

Silence Corner’s Kickstarter campaign is offering the Magic Plate in Silence Black and Corner Gray color options for pledges of at least $ 55, a 32% discount off the anticipated retail price, assuming the product makes it to market. Magic Plate is expected to start shipping to backers in April 2020.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Adobe Lightroom trick makes it easy to search images for sensor spots

04 Jan

Professional photographer Anthony Morganti of ‘I Am Mr Photographer’ has published a new video that shows viewers how to systematically search for sensor spots (or water droplets and other unwanted specks) in an image using Adobe Lightroom Classic. The method is very simple and relies on a few keyboard shortcuts, as Morganti explains in his video.

Using this method, Lightroom users zoom in on the image and set the zoom box to the upper left-hand side of the image. From there, Morganti simply uses his computer’s Page Down function to scan through zoomed portions of the image in columns. The video includes instructions for viewers using Mac and viewers whose keyboards lack dedicated shortcut keys, among other things.

Articles: Digital Photography Review (dpreview.com)

 
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This Chrome extension makes Instagram ‘likes’ visible again

06 Dec

Over the past several months, Instagram has steadily removed publicly visible ‘likes’ from content posted on its platform, a decision that has polarized users. As the company explained earlier this year, hiding ‘likes’ removes the competitive feel from the platform, encouraging users to focus on the content, not how many people are engaging with it. A new Web browser extension changes that.

Called ‘The Return of Likes,’ this new Chrome extension enables users to view like and comment counts on images when browsing Instagram using a Web browser. ‘Instagram has stopped displaying the number of likes and comments in some areas,’ developer Socialinsider explains, ‘[and] that makes the life of a Social Media person very complicated so we thought about lending a hand.’

‘The Return of Likes’ extension is available in the Chrome Web Store now; it doesn’t appear to be available for any other Web browsers at this time.

Articles: Digital Photography Review (dpreview.com)

 
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Wikiview photo browser makes it easy to search through Wikimedia Commons images

09 Nov

A team with German university HTW Berlin has published a new project called Wikiview, a website that makes it easy to search for images in the Wikimedia Commons. With Wikiview, anyone can search for images related to a subject, then narrow down the results by adding other search terms, such as looking specifically for photos of old cars that are located outdoors.

Wikiview enables users to zoom in and out of the 2D image map used to present grid-based image results. When the user selects a particular image, it appears in a viewer sidebar alongside its title, the date it was taken, the license under which it was published, its author, and links to both its Wikimedia page and to similar image results. Users are able to directly download the image from Wikiview.

Wikiview is one of multiple sites that enables users to more easily find images shared under various licenses. Earlier this year, for example, Creative Commons launched an overhauled CC Search tool that serves as a portal to more than 300 million photos.

Articles: Digital Photography Review (dpreview.com)

 
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VueScan application makes thousands of old scanners compatible with macOS Catalina

06 Nov

Apple’s latest desktop operating system, macOS Catalina, dropped support for 32-bit applications. As a result, many older scanners lost native support for the operating system, forcing owners to upgrade to newer hardware or use a different computer that retained compatibility. Third-party scanning software VueScan offers a different solution, namely support for around 6,000 older scanner models.

VueScan was upgraded this week to version 9.7. With it, Mac users can use their older 32-bit scanner with their Apple desktop or laptop even if they’re running macOS Catalina. The third-party software is made possible by reverse-engineering drivers for more than 6,000 older scanners from 42 manufacturers, including film scanner and flatbed models.

Manufacturers include Ricoh, Canon, Fujitsu, Kodak, Nikon, Panasonic, Polaroid, Samsung, Mitsubishi, and Epson, among others; a full list of supported models can be found here. Overall, VueScan supports around 2,400 scanner models on Windows, 2,100 models on Mac, and 1,900 models on Linux.

The software is available for $ 49.95 USD (Standard Edition) and $ 99.95 USD (Professional Edition), the latter of which includes support for film and slide scanning, among other things.

Articles: Digital Photography Review (dpreview.com)

 
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Facebook expands Face Recognition photo scanning, makes feature opt-in for new users

06 Sep

Facebook will no longer scan uploaded images for users’ faces by default, according to The Verge. The change will apply to new users who receive the Face Recognition setting as Facebook rolls it out globally over the next several weeks. The Face Recognition feature, which was first introduced in late 2017, will not be turned on unless the user chooses to enable it.

The facial recognition feature works by scanning images for users’ faces and alerting them about these images even if they’re not tagged in them. Users who receive one of these alerts can choose to tag themselves in the image, ignore it, or report the image when applicable.

In an update on the technology following the outcome of its federal appeal in August, Facebook has revealed that the facial recognition feature is rolling out to all users, but that they’ll need to manually enable it if they want the platform to scan other users’ images for their face. A notice in the user’s News Feed will alert that user when the feature becomes available on their account.

Users will be able to find the Face Recognition feature in their account’s Settings menu. Facebook users who currently have Face Recognition on their accounts can find instructions on disabling it here.

Articles: Digital Photography Review (dpreview.com)

 
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Filmtypes website makes emulsion comparison easy for analogue shooters

05 Sep

When getting into film photography it can be very difficult to find out not only what films are available but also the differences between them and what they are designed to do. Austrian photography enthusiast Dominik Sobe has built a website that lists available emulsions, shows a collection of images shot on that particular film and links to reviews on other sites.

Almost 50 films are listed and can be filtered by brand, contrast, grain type and speed rating

Filmtypes automatically draws in images from Flickr that are tagged with the film they were shot with and displays them on the landing page for that film, while offering a short description of the film’s characteristics, its origins and the formats in which it can be bought.

The landing page for each film pulls in images from Flickr that use the tag of that film, so users can see for themselves the characteristics of that emulsion

At the moment just under 50 films are included, and users can filter the list by contrast, color/B&W, manufacturer, speed and grain type to whittle the list down to specific requirements. Of course, there is also a link to buy the resulting film.

The site is still young and Sobe says he will continue to add new films but already it is very useful. If you are into film photography go take a look and maybe suggest a favorite film that hasn’t made the list yet.

Articles: Digital Photography Review (dpreview.com)

 
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Sony a9 ‘real-time tracking’ update makes it the highest scoring camera in its class

03 Jul

We were already impressed with the Sony a9 when we reviewed it, giving it a score that put it on par with its two very capable rivals, the Nikon D5 and the Canon EOS-1DX II. In April this year, nearly two years after the camera’s launch, Sony introduced a significant firmware update that largely revamped the autofocus system of the camera, adding a new ‘real-time tracking’ AF mode that works seamlessly with face and eye detection. Sony also updated face and eye detection algorithms by using machine learning to understand human subjects and features more accurately.

Gold Award

90%
Overall score
Read our review

We’ve spent some time shooting with the updated a9 in a variety of situations, and have previously written and in-depth look into what the new AF system brings. After further testing, we’ve re-scored the a9 with the boosted autofocus in mind, and it brings the score up to 90% (from 89%). This makes the a9 the highest-scoring camera in its class, out-ranking the Nikon D5 and Canon EOS-1D X II.

The increased score reflects the precision of the updated a9’s subject tracking system, as well as its ease-of-use that makes it valuable for nearly all types of photography. Click ‘Read our review’ above to jump to our full review (originally published in 2017), and read on for a description of the new real-time tracking mode, with some examples and videos of the system in use.

Real-time tracking in use

‘Real-time tracking’ refers to the ability of the a9 (and a6400) to understand the subject you initiated focus on, and track it in three dimensions, much like 3D Tracking on Nikon DSLRs, and the respective subject tracking modes on various mirrorless cameras. What sets the a9’s system apart are both its performance (we found it to reliable enough to be useful for portrait, event, candid, sports and even landscape photography), and its ease-of-use.

To pick a target, you can simply reframe your composition to place your AF point over your subject, half-press the shutter, and real-time tracking will collect color, brightness, pattern, distance, face and eye information about your subject so it can use it to keep track of your subject.

It’s robust enough that it will even, again reliably, switch in and out of Eye AF as necessary if a face or eye is detected on the subject you are tracking, as you can see in the video above.* Collectively, this means you can concentrate on the composition and the moment. There is no longer a need to focus (pun intended) on keeping your AF point over your subject, which for years has constrained composition and made it difficult to maintain focus on erratic subjects.

In practice, the system excels. While many professional sports photographers that know their sport, and can anticipate the action, have successfully used Single Point or Zone AF for years, real-time tracking can help both the amateur and the pro achieve potentially better results. First, it frees up the photographer to compose freely, as composition is no longer constrained by having to keep an AF point over the subject. But perhaps more importantly, not having to keep a fixed AF point or zone over a fast moving subject is a boon when it comes to fast, erratic subjects shot using long telephoto lenses, where framing is increasingly difficult. The sequences below were shot with the 600mm F4 GM lens at a soccer match (click on any thumbnail to launch the gallery):

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Unpredictable motion combined with a 600mm focal length makes it difficult to keep a fixed AF area over your subject. Here, real-time tracking tracked our players even as others passed in front of them, switching in and out of Eye AF, and reverting to generic subject tracking, as necessary so as to not lose the original subject. Photos by Barney Britton

And below, despite erratic motion, changing directions, and nearby similarly-dressed players, the camera tracks the original player in both instances. In the first sequence we targeted the player in red (Everton); in the second, the player in silver (Ivan). Only one or two shots in the sequence are slightly misfocused.

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Away from sports and burst photography, we found the performance of Sony’s ‘real-time tracking’ to be beneficial for even more stationary subjects, as it frees you up to try different poses and framings quickly, as we’ve done below.

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Most of the 20 shots above were captured in under 19 seconds, without ever letting off the AF-ON button. The camera never lost our model, and the seamless transitioning between Eye AF and general subject tracking allowed the AF system to remain on our subject throughout the series. By not having to think about focus, you can work faster, and come home with a greater variety of images to choose from.

*This video demonstrates ‘real-time tracking’ on the a6400, but the principle is the same on the a9.

Articles: Digital Photography Review (dpreview.com)

 
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Why Hiring an Assistant at Weddings Makes you a Better Photographer

28 Jun

The post Why Hiring an Assistant at Weddings Makes you a Better Photographer appeared first on Digital Photography School. It was authored by Jackie Lamas.

It’s no mistake that many wedding photographers have assistants and even second shooters at weddings. The reason being is that photographing a wedding longer than 5 hours on your own can be very challenging, especially since there are many important wedding details and moments that need extra coverage.

Hiring an assistant means you have help carrying your gear and keeping distractions at bay so you can photograph the important moments smoothly.

What is an assistant?

A photography assistant is not to be confused with a second shooter. While sometimes used interchangeably, the two terms are actually different, and it’s really important to know the difference.

An assistant is an extra pair of hands available for you during the wedding day.

They may be in charge of carrying the equipment, helping with setting up additional cameras and being available for any need that the photography may have during the wedding day.

Assistants can help gather details during a wedding day and help with styling as well.

Many assistants are aspiring wedding photographers or seasoned wedding photographers. It can vary in the level of experience. This is something that you should look into while interviewing or hiring an assistant.

Assistants can also help with styling certain shots like the wedding rings, or help to gather flowers. They can also help with posing families during that portion of the wedding day.

Assistants also offer a second point of view. They offer ideas to get better shots or additional photos that perhaps you had not thought of previously. They are also helpful when you need an opinion and also someone to talk to as weddings can run up to 12 hours or more depending on how much you are covering.

What is a second shooter?

A second shooter is a second photographer. Usually, the second photographer is solely responsible for taking photos of the event alongside you, the main photographer.

A second photographer can get those in-between candid moments that happen when the main photographer is busy photographing something else.

The second shooter helps to get a different angle of the same setup. Or perhaps they can be trusted to photograph a portion of the day alone while you cover another. For example, if you’re photographing the bride and her bridesmaids, the second photographer may cover the groom and his groomsmen.

Also, if you’re photographing the bride and groom together, the second photographer can shoot from a completely different angle. This gives the final images more variety of the same moments throughout the wedding day.

Having a second photographer can get images from a different angle.

Sometimes the assistant can also be a second photographer during certain parts of the day but perhaps not the whole day. For example, you can hire a second photographer and an assistant so that the two jobs don’t overlap during the day. That way, you have both a second pair of photos taken while having someone help carry your equipment and to help you set up.

Be clear about expectations

This brings me to this very important point; be clear about expectations when you’re looking to hire an assistant. Make sure that you outline what their responsibilities are.

An assistant can help carry gear when the terrain is less than ideal for your gear to be in. Like a sandy beach near the ocean.

Perhaps you’re only looking for an assistant? In that case, be sure to outline that their responsibilities will not include photographing the event at all. They will only be there to help with setting up, carrying equipment, and helping the main photographer during the event.

If you’re looking for a combination of the two, outline that from the beginning. Make sure to advise them to bring useful equipment if you will have them use their own. Also, specify which parts of the event they will be covering. Perhaps you need them to be an assistant during most of the day but will need them to be a second photographer during the ceremony only.

Why Hiring an Assistant at Weddings Makes you a Better Photographer 5

Be clear about what your assistant should help you with. For example, posing the family or helping to fluff out the wedding dress.

Also, be aware that it is very difficult to be a second photographer and an assistant simultaneously. You will need to be very clear about what you need from the person helping you at the event.

Be a team player

All photographers work and handle their businesses differently. However, when you are photographing a wedding, it’s best to make it clear that you and your assistant are a team. You are both there to work at the wedding together.

This creates an openness for the assistant to help with styling, and to offer their opinion or aesthetic input. This can be really helpful during the wedding day. Working together rather than bossing or ordering the assistant around can be really helpful since the assistant will feel included and part of a team.

Keep in mind the level of experience the assistant may have, which can also help you immensely during the event. Most seasoned wedding photographers have, at some point, been second photographers or assistants themselves. They are eager and accommodating on wedding days. If they are seasoned pros and are helping you out, consider their input.

Why Hiring an Assistant at Weddings Makes you a Better Photographer 4

When you are hiring someone who is just getting started, it’s important to talk with them before starting the photography. State your expectations, where gear is in your bag, how you approach the wedding day, and what you’ll need from them.

Some assistants are barely getting their feet wet and may need extra coaching. If this is the case, approach them with the mindset of being a team. They will work harder for you and be more willing to anticipate your needs.

Assistant contract

It is very important to have a contract drafted for the assistant position. Too often does it happen when images get published, used, sold, or otherwise from assistants who weren’t the main photographer.

Why Hiring an Assistant at Weddings Makes you a Better Photographer 3

A contract can outline image delivery expectations if they helped photograph a portion of the event, and what their pay is to be.

The contract can help you set boundaries, and outline their responsibilities, as well as set the pay for the event. Don’t skip on this tip! All too often we hear horror stories of assistants that never returned the equipment, didn’t deliver images and got paid what was due!

Why Hiring an Assistant at Weddings Makes you a Better Photographer 2

Having a contract is good to have for all parties involved.

Payment

Even though you can hire someone who is just getting started in the wedding photography business, this doesn’t mean that you can pay them less than you would expect to be paid if you were assisting.

They give you a pair of extra hands and help you for hours carrying most of your equipment, so pay them accordingly. Some more seasoned wedding photographers may have a going rate. However, it’s good to research your area for the going rate, either hourly or a set rate for the entire event.

Take into consideration the following:

  • The amount of time they will be hired to assist
  • Will they also be using their photography skills to photograph certain parts of the event?
  • Will they be using their own equipment or your own? If they are using their own equipment, then factor that into the payment.
  • How much will they be carrying in equipment?
  • Milage, gas, or extra costs

If the assistant will be there with you during the dinner portion of the event, make sure you let the bride and groom know. That way, they will know you have an assistant also eating at the wedding, even if it’s a vendor meal. If they aren’t going to stay for dinner, make sure you state what meals you’ll be covering or if you will be paying for their meal at all.

An assistant can help make a first look go smoothly by helping with positioning the bride and making sure to be available to switch lenses, cards, batteries, etc.

It’s also really important to state how the assistant will be getting paid. Will they be paid by bank transfer, deposit, invoicing, or any other method? That way they know when and how they will be getting paid for assisting at the event.

Having an assistant makes you a better photographer

The reason to have an assistant at a wedding is that it ultimately makes you a better photographer. It frees you up from carrying your equipment so that you can focus on taking important photos rather than checking to see if your camera bag is within reach.

Assistants can help with lighting, adjusting extra cameras, or even helping style the bride’s veil during the portraits. Having an extra pair of hands makes it easier for you to focus on getting the shot without having to do it all on your own.

Also, having someone there to help with making sure that the wedding photography goes smoothly and quickly will help you to focus on what really matters – getting the shot.

Moreover, having someone to talk to during the long wedding day can help you stay focused and in the present moment.

In Conclusion

Hiring an assistant during a wedding event can help you be free to really focus on photographing each and every special moment of a wedding day.

They can help by carrying your equipment, be a teammate and help with lighting or offer ideas. An assistant can be an extra pair of hands and eyes during the day too.

Have you hired an assistant before? If so, what additional tips would you include?

 

Why Hiring an Assistant at Weddings Makes you a Better Photographer

The post Why Hiring an Assistant at Weddings Makes you a Better Photographer appeared first on Digital Photography School. It was authored by Jackie Lamas.


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