You’re skiing or snowboarding down the mountain, trying to capture as much thrilling footage as possible. You’ve got your GoPro mounted on your helmet, in a random spot that “felt” right. As the terrain changes, you’re constantly moving and tilting your camera, trying to predict what will look best when viewed later. If your GoPro is not properly mounted, it Continue Reading
Photodoto
Posts Tagged ‘Shooting’
How to Mount Gopro on Your Ski Helmet + Shooting Tips
22
Jul
9 Takeaways After Shooting With the Tamron 150-500mm Di III VC VXD
17
May
The post 9 Takeaways After Shooting With the Tamron 150-500mm Di III VC VXD appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Tamron recently unveiled the 150-500mm VC VXD for Sony E-mount, a compact, low-priced, ultra-telephoto zoom packing plenty of eye-catching features.
It certainly sounded like a stellar lens for bird and action photography (after reading the press release, I wanted a copy!), but as all experienced photographers know, the specifications are only half the story. To really understand a lens – and to determine whether it’s a worthy addition to your camera bag – you have to see how it holds up in practical, real-life, everyday situations.
Which is why I recently sat down with Ken Hubbard, Tamron’s Field Services Manager and resident bird photography extraordinaire. Ken’s been using the new 150-500mm for quite some time now, so I knew that he could give me the low-down on its real-life capabilities. He didn’t disappoint!
What follows are key takeaways from my discussion with Ken, covering the lens’s performance, its usefulness for bird and action photographers, plus some bird photography tips for good measure.
1. The 500mm focal length lets you get frame-filling shots in the wild
In bird photography, you frequently need the longest lens you can afford. And as many beginners quickly realize, even a 70-300mm zoom doesn’t cut it – especially when you’re shooting distant and unapproachable subjects such as birds of prey or tiny subjects such as songbirds.
That’s where the Tamron 150-500mm comes in handy.
Zoomed in to 500mm, you can get ultra-close to birds, even those that are skittish or small. You can capture birds in flight, and you can produce gorgeous, detailed shots of songbirds such as orioles and goldfinches. Ken shared a few of these beauties with me:
You also have a shorter 300-400mm range just in case you need it. If you’re shooting at your backyard feeders or at a location where birds have become acclimated to humans, you can just zoom out to capture the perfect frame.
Also, if you’re after more environmental images, you might even try working at 150-300mm.
Quick tip: When you’re photographing a perching bird, don’t frame it too tightly. It might spread its wings, which will get clipped by the frame’s edges (a big no-no in bird photography!). Leave a bit of space around the bird; that way, when you get a nice wing spread, you can capture the pose.
2. The incredible optics provide ultra-sharp feather detail
Here’s a simple fact about the Tamron 150-500mm:
It’s really, really sharp, even at its widest apertures.
In fact, the phenomenal sharpness was the first thing Ken noticed upon viewing his images.
For bird photographers, this is a big deal, because birds offer lots of tiny details worth capturing (feathers!), plus you’ll sometimes want to crop in for a frame-filling final result. And if the sharpness isn’t there, your photos just won’t pass muster.
Take a look at the feather detail on this owl:
Another problem that bird photographers often face – especially when shooting darker birds against a bright sky – is chromatic aberration. It appears as colorful fringing along high-contrast edges such as bird wings, and it looks terrible.
Fortunately, chromatic aberration on the 150-500mm is negligible, certainly not enough to cause problems (even for a serious bird shooter like Ken).
3. Thanks to the lens’s lightweight build, you can handhold without trouble
Ultra-telephoto lenses tend to be insanely heavy. Which means that handholding for long periods of time is often out of the question.
The problem, of course, is that handholding can be useful, especially if you like the freedom and flexibility of pointing your lens in every direction from every reachable perspective, or you just don’t want to carry a tripod on top of cameras and lenses and other accessories.
But as it turns out, the Tamron 150-500mm is surprisingly lightweight (it comes in at 60.8 oz or 1725 g). Yes, it feels like a lens, and it’s not exactly a feather, but you should be able to handhold without issue.
Photographers will also appreciate the lens’s three Vibration Compensation modes, which keep your shots sharp when handholding at slower shutter speeds. In fact, two of the modes – Mode 2 and Mode 3 – seem tailored to birds and other action subjects, which means you can shoot sharp action images even in low light.
4. A small minimum focusing distance guarantees close-ups of tiny objects (such as songbirds)
Imagine this:
You’re standing in a clearing, surrounded by beautiful yellow warblers. As they hop from branch to branch, getting closer and closer, you wait with your camera – but then, just as one tiny subject fills the frame, your lens fails to focus.
So you miss the shot. And the next shot, and the one after that, because your lens just can’t focus close enough.
You see, every lens has a particular minimum focusing distance (or MFD). Once your subject crosses the MFD, a lens won’t be able to focus any closer, and your shots will turn out blurry.
This becomes especially important when photographing tiny subjects such as songbirds and shorebirds. If you want to fill the frame, you need a lens with a small minimum focusing distance (in other words, you need a lens that can focus close). You do have the option of purchasing extension tubes, but these can be annoying to carry around and use.
The Tamron 150-500mm, however, is an unusually close-focusing lens. Its minimum focusing distance is 70.9 in (1.8 m) at 500mm, which means you can create intimate portraits of tiny goldfinches, or you can capture tight headshots of larger birds such as owls.
It’s how Ken manages to capture images like this:
And this:
(As an aside, you can also create some great photos of insects and flowers. While the Tamron 150-500mm isn’t a true macro lens, it can still get you pretty darn close!)
5. An Arca-Swiss compatible mount makes for easy tripod use
Earlier, I explained how the 150-500mm lets you handhold in low light.
But sometimes you’ll want to consider working with a tripod. Tripods are great for smooth panning, and they’re also nice for situations where you’re photographing in the same position for hours on end.
Unfortunately, working with telephoto lenses on a tripod can be a pain. You don’t want to mount the lens to the camera and the camera to the tripod; that can put stress on the lens and camera mount, which is definitely a bad thing. So instead you need to put a tripod collar on the lens, which then attaches to an Arca-Swiss plate, which mounts to the tripod head and balances the whole setup.
Some of the above does apply to the Tamron 150-500mm. It comes with a tripod collar, which slips around the lens. But very conveniently, the collar includes an Arca-Swiss compatible foot. So you can forego the Arca-Swiss plate and instead attach your Tamron 150-500mm directly to the tripod head.
(Quick tip: The tripod collar contains strap holes, so if you plan to hang the rig around your neck, make sure to thread your camera strap through. That way, your strap can connect to the lens, and you’ll get a better-balanced setup.)
6. The f/5-6.7 maximum aperture provides wing-to-wing sharpness
When you’re photographing birds in flight, here’s a good goal to strive for:
Getting the entire bird sharp, including the wings.
The same is true for perching birds, except you simply need to get the body in focus (there are no spread wings, after all!).
But how do you do this?
You’ll often want to keep your aperture relatively narrow, because a narrow aperture gives a deeper depth of field and hence keeps the full bird in focus. Ken often shoots in the f/6.7-f/8 range for this reason; it’s how he gets optimal detail in his bird photography.
The Tamron 150-500mm offers a maximum aperture of f/5 on the wide end, which increases to f/6.7 by 500mm. And as you can see from the photos above, this works out great!
Would it be nice to have an f/4 aperture for low-light shooting? Sure – but as Ken explains, a wide maximum aperture comes with tradeoffs, such as size (f/4 ultra-telephoto lenses tend to be huge), weight, and price. So if you’re after a more compact lens that still reaches those ultra-telephoto distances, the Tamron 150-500mm is a stellar option.
7. You can use the flexible Zoom Lock to keep a constant focal length
I’ll admit:
The Zoom Lock wasn’t a feature I had thought about until Ken mentioned it. I knew what it did – it lets you lock the lens focal length in place – but not why it was useful.
However, once Ken explained it to me, I realized that it was a neat little addition, especially for shooting birds high up in trees.
You see, heavy zooms tend to suffer from something called lens creep, where the lens barrel starts to contract as you aim the lens upward (and extend as you aim the lens downward). In other words: when you shoot eagles against the sky at 500mm, you may notice your focal length dropping over time. It can be frustrating, especially if you’re photographing subjects from a consistent distance.
The Zoom Lock, however, prevents lens creep. Once you’ve settled on a focal length, you simply push the zoom ring forward, and it locks the zoom mechanism in place. Then, once you’re ready to adjust the focal length again, you pull the zoom ring back to disable the Zoom Lock.
While you won’t always use this feature, it’s nice to have – and in certain situations, it’ll be a huge help.
8. You can focus on fast-moving birds with the VXD mechanism
As you’re likely aware, birds are speedy. Which means that photographing moving birds can be a challenge, especially if your equipment isn’t up to snuff.
So going into the discussion with Ken, I wanted to know, point blank: Does the Tamron 150-500mm focus fast?
Ken confirmed that yes, it does focus fast. In fact, thanks to Tamron’s VXD technology, focusing is both ultra-fast and super accurate. The lens stops on a dime, and it can lock onto moving subjects with ease. (It’s also very quiet, in case you’re shooting in situations where you don’t want to be noticed.)
It’s great for birds in flight:
As well as birds taking off:
Now, it is worth noting that focusing depends on three things:
- Your technique
- Your lens
- Your camera
The 150-500mm won’t guarantee you perfect focus, the same way a world-class guitar won’t guarantee you beautiful music. But if you refine your technique, and you use a reasonably fast-focusing camera (most of Sony’s recent full-frame or APS-C cameras will work great), then the 150-500mm will give you that final variable in the focusing equation.
Speaking of focusing technique, I asked Ken to share how he gets photos like those featured above.
He explains that focusing begins with your camera settings. Put your camera into AF-C mode so that it continues to focus as long as you hold the shutter button. If you have it, activate Animal Eye AF. You’ll also want to choose an AF area mode that works for moving subjects, such as Sony’s Zone AF, and you should select the fastest-available burst mode.
Then, if your subject is perched on a branch, pre-focus. Get your AF zone over the bird, and be locked and ready to go. As discussed above, make sure your framing isn’t too tight – remember, you don’t want to clip the wings! – then as soon as the wings extend, fire off a long burst of shots. Track the bird with your camera, continuing to shoot as it flies by.
Capturing a bird already in flight is harder, but still doable. Use all the same settings as above: AF-C, burst mode, and an optimized AF area mode. Put your eye to the viewfinder, but – here’s the trick! – keep both eyes open. One eye should be looking through the viewfinder, while the other eye searches the wider sky.
Then move your lens to follow the bird, and half-press your shutter button to lock on. Keep your framing loose, and try to center the bird (you can always crop later!) – then fire off burst after burst.
(Note: If you really want to maximize your accuracy, try using back-button focus. It decouples focusing from the shutter button, so you can maintain focus even when your finger comes off the shutter.)
Ken shares that you’ll end up with a huge number of shots, and only a few of them will actually look good, with a well-lit head, a nice wing position, and a nice background.
But that’s okay, he says. Because you can easily go through your photos later on the computer; the good ones will stick out, you can flag them, and get rid of the rest.
(One more tip: Buy the fastest memory cards available. Without fast cards, your camera won’t be able to shoot long bursts, which can lead to missed photos in critical situations.)
9. The strong build quality is perfect for outdoor photography
Bird photography (and outdoor photography in general) can get pretty rough.
You’re often traveling in dusty conditions, lying in mud, and/or dealing with high humidity. And the best shots tend to come from the worst weather: when you’re standing in the cold, getting soaked by rain or snow.
So you need a camera setup that can handle the elements.
Of course, I (and Ken) can’t speak to your camera. But the Tamron 150-500mm offers very solid build quality – it’s likely the first thing you’ll notice when you pull it out of the box.
Plus, thanks to its moisture-resistant construction, you can shoot in messy weather without worry (though I still recommend you use a waterproof cover!).
Tamron 150-500mm takeaways: final words
Well, there you have it:
The nine key takeaways after shooting with the Tamron 150-500mm Di III VC VXD. Ken is a huge fan of the lens, and I can see why: It’s an affordable, fast-focusing zoom that bird, wildlife, and action photographers will love. Ken’s experiences – as well as the photos in this article, all taken with the 150-500mm – make that clear.
Note that the lens will start shipping on June 10th, though it’s currently available for preorder at Tamron-authorized in-store and online retailers.
So if you’re a Sony shooter looking for a stellar ultra-telephoto lens, I highly recommend you take a look!
Tamron is a paid partner of dPS.
The post 9 Takeaways After Shooting With the Tamron 150-500mm Di III VC VXD appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon’s EOS R5 gets C-Log 3, 120 fps Full HD shooting with 1.3.0 firmware update
30
Mar
 |
Canon has released firmware updates for its EOS R5, EOS R6, and EOS 1D X Mark III camera systems, bringing new features and improvements, especially for its EOS R5 mirrorless camera.
EOS R5
 |
Firmware version 1.3.0 for the Canon EOS R5 brings Canon Log 3 shooting to Canon’s current flagship mirrorless camera. Canon Log 3, commonly shortened to C-Log 3, is available in Canon’s Cinema EOS Series cameras and is a ‘logarithmic gamma curve designed to achieve very wide dynamic ranges and be compatible with cinema production workflows.’ This addition not only adds more flexibility to footage captured with the EOS R5 as a standalone camera, but should also make it easier to color match EOS R5 footage when used in conjunction with Canon’s Cinema EOS Series cameras.
Canon has also added Full HD recording at up to 120 frames per second (fps) as well as a new Low Bitrate recording option, which Canon says allows ‘users to shoot smaller file size footage with lower image details.’
Other updates in the updated include electronic full-time manual focus, a new LCD backlight off option, an FTP transfer status display, protected image transfer, save/load settings on card and a few bug fixes.
You can download firmware version 1.3.0 for the Canon EOS R5 using the link below:
Firmware version 1.3.0 for the Canon EOS R5
EOS R6
 |
Firmware version 1.3.0 for the Canon EOS R6 isn’t quite as dramatic as it is for Canon’s EOS R5, but it still adds the low bitrate recording option, electronic full-time manual focus, the FTP transfer status display and bug fixes.
You can download firmware version 1.3.0 for the Canon EOS R6 using the link below:
Firmware version 1.3.0 for the Canon EOS R6
EOS-1D X Mark III
 |
Firmware version 1.4.0 for Canon’s latest flagship DSLR adds the same low bitrate recording mode found in the EOS R5 and EOS R6 firmware updates, as well as the FTP transfer status display. Canon has also improved the connection reliability when using FTP and USB simultaneously.
You can download firmware version 1.3.0 for the Canon EOS-1D X Mark III using the link below:
Firmware version 1.4.0 for the Canon EOS-1D X Mark III
Articles: Digital Photography Review (dpreview.com)
20 Dos and Don’ts for Shooting the Moon
14
Feb
The post 20 Dos and Don’ts for Shooting the Moon appeared first on Digital Photography School. It was authored by Bruce Wunderlich.
If you’ve ever tried shooting the moon, you’ve probably discovered that it’s actually a pretty tricky subject!
But don’t worry; there are some tips and techniques you can use to quickly improve your moon photography.
In this article, let’s look at some dos and don’ts to take your moon images from snapshots to stunning art.
1. Do use a tripod
One of the most important pieces of equipment for shooting the moon is a good tripod.
Since the moon is so small, it is very important to have a sturdy foundation, because even the most minute movement of the camera will cause your image to blur.
You might think that, if you use a fast-enough shutter speed, you can handhold the camera. But since your subject is so small in the frame, even small movements will be exaggerated.
2. Don’t use a slow shutter speed
While it’s a good idea to use a tripod, you must avoid using a slow shutter speed.
Why?
Because the moon is actually moving very quickly around the earth. The moon is so distant, it doesn’t appear to be traveling very fast. But if you let your shutter speed relax too much, you’ll end up with all sorts of unwanted motion blur.
A good rule of thumb for tack-sharp moon photography is to shoot at 1/125s or faster.
3. Do use a telephoto lens
To successfully capture any kind of detail on the moon, you need at least a 300mm telephoto lens.
If you want the moon to take up the entire frame, you will need around an 800mm lens.
4. Don’t use any filters on your lens
To prevent any chance of a blurry image, don’t use any filters.
Yes, even remove the UV filter. This may sound scary if you never remove the UV filter from your lens, but in this case, it’s best to set it aside.
Some may suggest using a neutral density (ND) filter for moon photography to cut back on the bright light of the moon. But all this will do is require a slower shutter speed, and you want to use the fastest shutter speed possible to get that crisp, tack-sharp image.
5. Do try the Looney 11 Rule
The Looney 11 Rule is similar to the Sunny 16 Rule. It’s designed to help you exposure properly when shooting the moon, while also ensuring you get a fast-enough shutter speed for sharp shots.
Here’s how it works:
Set your f-stop to f/11.
Then match the shutter speed to your ISO.
For example, if your ISO is set at 200, set your shutter speed to 1/200s.
(This is not an exact science, but it should give you a good starting point.)
6. Don’t use the shutter button to start your exposure
Do not manually press the shutter button or even touch your tripod when initiating your moon shot.
Remember that even the slightest touch could add enough vibration to blur the image.
Instead, use a cable release or remote trigger to start your exposure. If you don’t have either of these gadgets, use the self-timer feature on your camera.
7. Do use mirror lock-up
If you’re working with a DSLR and it has the option, lock up your mirror. This can greatly increase your chances of getting a tack-sharp moon image.
You see, even the slightest shake of your camera’s mirror can be enough to blur the shot. So if your camera has this option, use it!
Lock the mirror up and wait a few seconds to allow any vibrations to settle before beginning your exposure.
(If your camera doesn’t have a mirror lock-up option, you can always shoot in Live View, which will have the same effect!)
8. Don’t use image stabilization
Your lens’s (and camera’s) image stabilization technology must be turned off as soon as you put your camera on a tripod.
Turning on an image stabilization feature with your camera mounted on a tripod will actually create blur in your image!
9. Do know the cycles of the moon
There are 29.5 days between full moons.
And by learning when the full moon will come, you can ensure you get the best-looking moon in your shots!
There are many online and smartphone applications that can help you track the phases of the moon. One must-have app is The Photographer’s Ephemeris, which will give you the phases of the moon, and also show you when and where the moon will appear in the sky.
This is especially useful when planning your moon shoots. The full moon is very popular and photogenic, but it’s also the brightest and the most difficult to expose correctly.
The side lighting of a gibbous moon produces some interesting shadows which may allow you to capture craters and mountains. The crescent moon is, of course, the darkest stage, but one that may offer some interesting effects when added to a nighttime landscape.
10. Don’t always place the moon in the center of the frame
Putting the moon in the center of the frame – especially if there’s nothing else in the shot – is boring.
It’s been done a million times before. So try to put the moon off-center.
Oh, and make sure to include other interesting objects in the frame!
That’s how you’ll end up with a truly impressive moon photo.
11. Do switch to manual focus
There are a couple of different methods you can use to focus on the moon.
First, try using your camera’s autofocus to make the moon tack sharp. Then, once you have a desirable point of focus, turn off the autofocus and switch to manual focus.
Alternatively, you can start by setting your lens to manual focus. With your camera’s Live View feature turned on, zoom in on the moon and turn the manual focus ring until the moon becomes sharp. Then do not touch the ring again.
12. Don’t just shoot the moon at night
The best time to photograph the moon is just after it rises or just before it sets, when it’s low in the sky.
Why is this important?
For one, when the moon is near the horizon, it will appear larger in your images (due to a trick of the eye).
Also, as the full moon rises, the sun will be setting, and as the full moon sets, the sun will be rising. This can give you great lighting to accentuate foreground objects.
Note that shooting the moon in the daytime (e.g., in the late afternoon) will give you the opportunity to include foreground objects, and you may also be able to capture some craters on the moon’s surface.
13. Do use exposure bracketing
Once you have found an exposure that you’re happy with, it’s best to bracket around that setting.
You see, the view of your images in the dark, on the back of your camera, can often be deceiving. In the dark, images always appear brighter on the camera LCD than they are when opened on your computer.
So after you’re satisfied with the exposure you have dialed in, bracket two stops under and two stops over, just to ensure that you get a result you’ll be happy with later.
14. Don’t use Auto White Balance
Using Auto White Balance will give you very inconsistent results.
Instead, I recommend you try the daylight white balance preset. And if you’re looking for a different effect, try the tungsten or cloudy presets.
Don’t be afraid to experiment.
And remember:
If you are shooting in RAW, you can change the white balance in post-production.
15. Don’t depend on your meter
In general, your camera’s light meter will be fooled by the amount of light reflecting off the moon.
So make sure you constantly check your LCD and histogram to ensure you’ve nailed the exposure.
Also, it is important to note that, as the moon rises, the exposure will change. The moon gets brighter as it rises, so you’ll need to keep adjusting your shutter speed to compensate.
16. Do shoot the moon in RAW
Shooting in RAW will allow you to capture more details of the moon’s surface, and also give you more latitude for adjustments in Lightroom and Photoshop.
So, unless you are not at all comfortable with using camera RAW software, always shoot the moon in RAW.
17. Don’t be afraid to crop your images
Unless you are shooting with a very large telephoto lens, you will want to crop your image to display the moon at a decent size.
But remember:
The more you crop, the more you reduce your ability to print at a high resolution.
18. Do tweak and sharpen
Most moon photography is going to require some post-processing in Photoshop or other photo editing software. Adding clarity and contrast will help bring out details, and this will enhance the craters and mountains of the moon.
As mentioned above, the white balance and exposure may also be adjusted to achieve a nice result, as both are somewhat difficult to perfect in-camera.
19. Don’t be afraid to get creative
Here’s the truth:
Most great moon photography has been manipulated in post-production, because of the difficulty of capturing a great moon shot in one image.
So don’t be afraid to get creative.
For instance, you might create a composite, as I did for this image:
A popular method used by many photographers is to combine two exposures: one set to bring out the best of the foreground landscape, and a second exposed for the moon.
When combining these two images, try enlarging the moon slightly to achieve a more dramatic effect, but don’t overdo it to the point that it looks fake. The moon needs to look believable, unless you are going for a science fiction effect (which isn’t always a bad idea, creatively speaking!).
20. Do practice, practice, practice
You now know everything you need to get started with moon photography.
So get out there and shoot the moon!
Remember that moon photography is not as easy as it looks, so if your first results are not as dramatic as you expected, then keep trying!
Now I’d like to see some of your moon images! Please share any moon shots in the comments below.
The post 20 Dos and Don’ts for Shooting the Moon appeared first on Digital Photography School. It was authored by Bruce Wunderlich.
3 Rookie Mistakes to Avoid When Shooting on a White Background
04
Jan
The post 3 Rookie Mistakes to Avoid When Shooting on a White Background appeared first on Digital Photography School. It was authored by Lily Sawyer.
Because white background portraits are so common, many people think it’s an easy effect to achieve. Simply put your subject in front of the camera against a white background (preferably with a flash or strobe), and take the picture.
Unfortunately, it’s not so simple. Using the method described above would result in a photo with either a gray, dull, or muddy-toned background. The best possible result would be an off-white background after you have done some edits. That’s not the only issue, though; you’d see unwanted shadows everywhere, too.
I have replicated the setup with my little model, Sven (Kristoff’s beloved reindeer in the movie Frozen). It is easier doing this with a small-scale subject, as the lights are huge in comparison. With people, to do this to scale, you need to have massive octaboxes and flags. But this tutorial will show you the process clearly.
So here are three rookie mistakes to avoid when trying to achieve 100% pure-white background photography:
Mistake #1: The background is not lit properly
The background must be lit with approximately two stops more light than the subject. For example, if you want to photograph your subject at f/8, set your background lights to two stops brighter, so your meter reads f/16 on the background.
Note: You need to meter foreground and background lights separately, so that when metering for the main light (on the subject) you would turn the background lights off and vice versa. When both the background and main lights are on, your meter should still give you f/8 on the subject, because you are metering the light that falls on your subject and not on the background.
The photo below (right) shows what it looks like when you don’t light the background at all. You get a tone and color other than the intended white. In the photo on the left, the background was lit, but there was no main light illuminating the subject. Therefore, the resulting image is almost a silhouette of the subject.
My camera settings for all the shots in this setup were ISO 250, 1/160s, and f/8 (though the background gave a meter reading of f/16). The speedlights were set to 1/16th power (I rarely use my speedlights at full power, because the batteries run out very quickly).
The camera was a Nikon D750, which handles noise superbly, so ISO was not an issue. Two SB-910s and one SB-900 speedlight were used for this setup.
The photo below shows the setup with only the left background light firing.
You will notice in the two images below that only the right background light fired in the left photo, and only the left background light fired in the right photo. Such lighting is acceptable, of course, if that was your intention. The main light was positioned at a 45-degree angle on camera right. I wanted to bounce my flash onto the white rogue bender to modify the light.
You may also notice that in the left photo (above), there is a very slight shadow of Sven on the background behind him – because the left background light didn’t fire. When the background light did fire on the left, this shadow was eliminated (right photo, above).
Below is the setup with all three lights firing correctly.
Now that you have your background and main lights set up, you need to make sure these lights only hit the intended subject. This leads us to the next rookie mistake: separation.
Mistake #2: Not enough subject-background separation
Because the background lights are so much brighter than the foreground light, you need to separate them from the main subject. There are two key ways of doing this:
- Flagging
- Distance
Flagging
You can use anything black to flag your lights: the black side of a reflector, black cardboard sheets, or black foam core.
Black does not bounce light; instead, it absorbs light. It also blocks light from seeping through to places where you do not want it. If you don’t flag (block) your background lights, your subject will end up with a halo effect and look very backlit.
Distance
Once you have flagged your lights, you need to position your subject far enough away from the background (and from the background lights) that any light spillage won’t touch your subject. This depends on your personal preference and intention, of course – you may want some spill on your subject for a certain look or effect, or you may not.
If you do want some spill, make sure to run a few tests with various lenses, as chromatic aberration may occur around the edges of your subject due to the abundance of light. Some lenses are prone to chromatic aberration regardless of aperture, while others perform very well even at wide apertures, where chromatic aberration is most commonly observed. Also, be careful with the amount of spill you allow – you don’t want to chop off parts of your subject from the spill overexposure.
The photos above show a properly-lit Sven. The two background lights fired at f/16 and the main light fired at f/8. There are no unwanted shadows on the background, as was my intention.
However, I wanted to have a reflection and shadow in the foreground. This leads nicely to the third rookie mistake to avoid: a floating subject.
Mistake #3: The subject is floating
If you do not include some floor shadows, your subject will look like it is floating on white air, or like it’s cut out and pasted on a white sheet of paper.
The best tip for avoiding floating subjects is to use a reflective surface such as translucent white plexiglass, or white tile sheet, as a base for your subject to stand on. You can adjust the opacity of the reflection in Photoshop during post-processing, but having the reflection shows that your subject is planted firmly on solid ground.
Bonus mistake #4: Overexposed background
Be careful not to add too much light to the background. If you go past pure white and really overexpose a shot, the white will start almost glowing around the subject, just like if you had sun flare outdoors.
This lowers contrast and makes your subject look like they have a bit of a halo. You can see this overexposed effect in the images below:
White background photography mistakes: Conclusion
I hope this little tutorial has shed some light on basic techniques for creating a white background, and that it has solved any and all mysteries regarding how to achieve such a look.
If you have other, more advanced techniques, do share them in the comments below!
The post 3 Rookie Mistakes to Avoid When Shooting on a White Background appeared first on Digital Photography School. It was authored by Lily Sawyer.
Qualcomm unveils new Snapdragon 888 SoC with 3 ISPs capable of 8K video, 120fps still shooting, 960fps slo-mo and more
02
Dec
 |
Today, Qualcomm revealed details of the Snapdragon 888, its next-generation flagship mobile chipset, showing what kind of features, functionality and performance we can expect to see in flagship Android mobile devices in the coming year.
The Snapdragon 888 is a System on a Chip (SoC) that consists of multiple processors atop a single substrate. These include multiple CPU and GPU cores, as well as additional mobile and AI components for powering all of the features we’ve come to expect from flagship mobile devices.
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At the heart of the Snapdragon 888 is Qualcomm’s Kryo 680 CPU, which is the first to use ARM’s new Cortex-X1 architecture for its 2.84GHz core, alongside three Cortex A78 performance cores (2.4GHz) and four A55 efficiency cores (1.8GHz). Qualcomm claims the Snapdragon 888 performs 25% better while using 25% less power, compared to its predecessor, the Snapdragon 865.
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For the GPU, Qualcomm is using its new Adreno 660 GPU, which it says offers 35% faster graphics rendering performance while using 20% less power. This new chip is said to be the best increase in year-over-year performance and should pave the way for better display technology, including better support for 120Hz screens and improved OLED display uniformity.
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On the photography front, Qualcommm has made drastic improvements to the image signal processors (ISPs) seen onboard previous Snapdragon chips. The Snapdragon 888 will feature three separate Spectra 580 ISPs. Now, with these three individual ISPs, Android smartphones that offer three cameras — most often a standard, ultra-wide and telephoto — will be able to capture full-resolution photos and video (up to 28MP per camera for stills and 4K HDR video per camera for video), with a maximum bandwidth of 2.7 Gigapixels per second.
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Beyond using up to three cameras at the same time, this triple-ISP array also allows for a number of firsts in Android smartphones. If not limited by onboard storage and caching, the Snapdragon 888 technically enables 12MP photo capture at up to 120 fps, as well as a maximum single-image capture of up to 200MP.
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The chip can also be able to capture 10-bit HEIF stills, capture 4K HDR10 video (while simultaneously capturing 64MP stills), support 8K video capture and feature no-limit slow-mo video capture at up to 960 fps. 4K video will also be able to be captured and played back at 120 fps on the same device.
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Moving onto connectivity, the Snapdragon 888 will feature Wi-Fi 6 speeds up to 3.6Gbps, Bluetooth 5.2 (dual antennas), and Qualcomm’s new X60 5G MOdem-RF system. This new 5G modem supports both sub-6Ghz 5G with carrier aggregation as well as mmWave 5G with speeds up to 7.5Gbps. Battery performance while using its 5G capabilities should also be improved thanks to its new integrated design.
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Other features include a new Hexagon 780 processor for AI and computational performance, as well an on-device Qualcomm Secure Processing unit. In addition to improved security within the operating system, this new Secure Processing unit also creates cryptographically sealed photos making it the first Content Authenticity Initiative (CAI) compliant smartphone camera for ensuring image integrity in a world of increasing misinformation and deepfakes. If this sounds familiar, it’s because Qualcomm is working with Truepic, who is a CAI partner alongside Adobe, Twitter The New York Times and others.
You can watch the full Snapdragon 888 unveil on Qualcomm’s Day 2 Keynote from its Snapdragon Tech Summit, below:
Qualcomm hasn’t set a specific date for when the Snapdragon 888 will be available, but it expects the first devices with it at their core to be released in Q1 2021, with commitments from Oppo, Motorola and others having already been made.
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As we’ve seen with past Snapdragon SoCs and the smartphones that use them, it’s possible not all of these features will be seen in a single device. Some flagship smartphones that use the new Snapdragon 888 might choose to make the most of certain photo and video features, based on the accompanying hardware they put inside their device. While Snapdragon is offering plenty of computational functionality, it’s ultimately up to the smartphone manufacturers to extract the most from it with equally-capable storage, camera systems and more.
Articles: Digital Photography Review (dpreview.com)
DJI updates Ronin line: RS 2, RSC 2 3-axis gimbals with higher payloads, new shooting modes and more
17
Oct
 |
DJI has revealed a new pair of gimbals that are successors to the company’s popular Ronin-S and Ronin-SC stabilization systems. The new DJI RS 2 and RSC 2 are ‘redesigned and reimagined’ three-axis handheld gimbals for filmmakers of all types.
DJI RS 2
 |
The DJI RS 2 is the successor to the Ronin-S and is made to be used with DSLR and compact cinema camera setups up to 4.5kg (10lbs). Despite the heavy payload, DJI claims the new RS 2 features up to 12 hours of battery life, as well as a new quick-charge function built into the handle for quickly adding two hours of use with just 15 minutes of charging.
 |
DJI is using its ‘newly optimized’ Titan Stabilization Algorithm for driving the onboard brushless motors, which it claims ‘reduces the need for manual user input while compensating for user movement and optimizing the gimbal tilt and angle.’ Also new is a SuperSmooth mode that’s specifically tuned to compensate for movement when using longer focal lengths up to 100mm.
Like its predecessor, the RS 2 features axis locks for secure transport and a new dual-layer mounting plate that’s compatible with both Arca-Swiss and Manfrotto standards.
A new 1.4” color touchscreen on the rear of the RS 2 serves as a way to cycle through settings, camera data or even a live feed from the camera. Two onboard RSA ports can double as NATO ports, enabling the RS 2 to be used in conjunction with other DJI and third-party accessories, including jibs, car attachments, sliders, grips and remote controllers.
DJI RSC 2
 |
Just as the the DJI RS 2 is a successor to the Ronin-S, the RSC 2 is a successor to DJI’s Ronin-SC. The updated gimbal is constructed of steel and aluminum, which work to increase rigidity while reducing the overall weight of the unit compared to the Ronin-SC by 35%. It also has a smaller physical footprint with a folded size of 180mm x 190mm (7” x 7.5”) — roughly the size of an A5 sheet of paper.
 |
Despite the reduction in both size and weight, the RSC 2 features an increased maximum payload of 3kg (6.6lbs) over the Ronin-SC. DJI notes this makes it more than strong enough to carry a combination such as the Panasonic S1H with a 24–70mm lens attached.
It too features DJI’s improved Titan Stabilization Algorithm, dual-plate mount system and OLED screen, albeit slightly smaller at just 1”.
Other features and accessories
In addition to new hardware, both the RS 2 and RSC 2 have received a new pre-programmed movement mode — Time Tunnel. This new option is an inception-esque mode that performs a 360º roll while capturing a hyperlapse. This mode is in addition to other pre-programmed modes such as Flashlight, One-Tap Portrait Mode, Panorama, Roll 360, Timelapse and more.
 |
| Ronin RSC 2 |
The two gimbals also include an array of accessories for building out the gimbals to fit your needs. Optional accessories include a cheese plate, Focus Wheel, 3D Focus System, Twist Grip Dual Handle, RavenEye Image Transmission System, Tethered Control Handle, counterweight systems and more.
The DJI RS 2 is available starting today for $ 849 USD as a standalone unit and $ 999 in its Pro Combo configuration. The DJI RSC 2 is available starting today for $ 499 USD as a standalone unit and $ 739 in its Pro Combo configuration. Units are available through DJI’s online store and authorized DJI retailers.
Press release:
DJI’s Ronin Series Grows Stronger, Lighter, and Smarter with New DJI RS 2 and RSC 2 Gimbals
Two Stabilization Systems Offer Reworked Designs and New Creative Functions to Become Workhorses for Filmmakers and Content Creators
October 14, 2020 – DJI, the global leader in civilian drones and creative camera technology, today expands the legacy of the highly popular and prestigious DJI Ronin series, by introducing the rebranded DJI RS 2 and DJI RSC 2. Redesigned and reimagined, both systems offer the filmmaking and content creation community an extremely robust, versatile, and professional 3-axis camera gimbal for their various needs. DJI RS 2 brings added strength and agility to creators using heavier camera systems such as DSLR and compact cinema cameras. At the same time, DJI RSC 2 was created to be more portable, meeting the needs of mirrorless and more compact camera operators.
“DJI’s first Ronin-S and the original Ronin-SC created so much excitement when they launched that we immediately went back to the drawing board to figure out how to make our products even better,” said Paul Pan, Senior Product Line Manager. “Just like with the first version, we took time to research how our professional customers use their Ronin products and what new features they wanted in the next generation of a handheld gimbal. Yet again, the result is the culmination of user feedback, years of design and development, and significant advancements in stabilization technology. Now we are excited to showcase two new filmmaking tools designed to meet the needs of a wide array of filmmakers. From cinema cameras to mirrorless systems, we have a solution for you.”
DJI RS 2: Masterfully Crafted
Considering a tremendous amount of feedback from professional operators, DJI RS 2 incorporates carbon fiber in vital structural components, reducing weight down to 1.3 kg (2.86 lbs) while remaining highly durable. Pushing the innovation of single-handed gimbal technology even further, DJI RS 2 now supports a tested dynamic payload of 4.5 kg (10 lbs) for creators to use heavier camera and lens combinations while still achieving up to 12 hours of battery life. A new quick-charge function directly to the battery handle has been added for urgent situations, providing an extra two hours of battery life with just a 15-minute charge.
DJI RS 2 continues pushing gimbal technology forward with the ability to support heavier payloads while capturing ultra-smooth cinematic footage. Based on years of experience developing predictive technology, a newly optimized Titan Stabilization Algorithm reduces the need for manual user input while compensating for user movement and optimizing the gimbal tilt and angle. Additionally, a new SuperSmooth mode provides another level of camera stability, especially for compensating longer focal length lenses of up to 100mm.
Simple to set up, easy to operate, and highly customizable, DJI RS 2 was created to allow filmmakers to adapt their system to their filming needs while feeling confident it will easily integrate into their workflow. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A fine-tune balancing knob allows for even more precise balancing of the camera payload. The built-in 1.4” color touchscreen can display camera data, gimbal settings, or a live feed from the camera. Supporting 11 different languages, the ultra-bright screen can also initiate key functions such as ActiveTrack and intelligent shooting modes. The built-in front dial above the trigger allows for precise focus control and complements a DJI Focus Wheel mounted on the RSA port to create two-channel focus and zoom.[] DJI RS 2 also turns into a versatile tool that can be attached and used with other systems such as jibs, car attachments, and sliders. Two RSA ports double as NATO ports so that users can mount accessories and attachments such as grips and a remote controller.
DJI RSC 2: Filmmaking Unfolds
A completely new and portable folding design makes DJI RSC 2 easy for creators to carry everywhere without adding additional weight to the gear list. Additionally, the folding design provides creative ways to use the gimbal such as vertical filming without additional accessories, as well as a new Briefcase mode, where the main gimbal arm can be loosened and slung forward to provide unique shooting angles. Durable materials like steel are used on vital and frequently used components, while lightweight materials such as aluminum reduce overall weight. DJI RSC 2 weighs in at 1.2 kg (2.65 lbs), nearly 35% less than the original Ronin-S, and has a folding footprint of 180×190 mm, the same size as a sheet of A5 paper. The built-in battery offers an impressive 12 hours of battery life and – like DJI RS 2 – the new quick-charge function directly to the battery handle has been added for urgent situations.
DJI RSC 2 remains lightweight and portable, featuring stronger motors to support a tested payload of up to 3 kg (6.6 lbs). This increased dynamic payload supports popular mirrorless cameras along with heavier combinations like the Panasonic S1H and a 24-70mm lens. Using the same advanced technology as DJI RS 2, the newly optimized Titan Stabilization Algorithm generates a new level of stability – smoothing out fine details in conjunction with the motorized gimbal for some of the most advanced stabilization on the market. DJI RSC 2 is compatible with a wide array of camera models so users can get the most out of the system. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A 1” built-in OLED screen displays camera data with the ability to adjust settings directly.
Multifaceted Gimbals Supported by an Advanced App and Accessories
DJI RS 2 and RSC 2 were designed to expand beyond single-handed stabilization into tools that can be customized with additional accessories to achieve the desired shot. These accessories include a cheese plate, Focus Wheel, 3D Focus System, Twist Grip Dual Handle, RavenEye Image Transmission System, Tethered Control Handle, counterweight systems, and more.[] For remote operation, both DJI RS 2 and DJI RSC 2 can use ActiveTrack 3.0 when the RavenEye Image Transmission System is connected, sending a 1080p/30fps low-latency feed to a mobile device using the Ronin app from up to 200 meters away.
Vital features and functions can now be controlled and adjusted over long distances with the Ronin app such as gimbal movement using the virtual joystick and Force Mobile, where the gimbal mimics the mobile device’s movement. For solo operators using manual-focus lenses, the 3D Focus System uses state-of-the-art TOF sensors mounted above the camera to provide autofocus. This enables a single shooter to capture smooth and cinematic footage using a manual lens, without relying on a second camera operator or focus puller.
Pre-Programmed Movements and Features That Make Stories Come to Life
DJI RS 2 and RSC 2 expand on their predecessors’ suite of creative modes, movements, and features with tools to help capture content that stands out, including:
- *New* Time Tunnel: The system performs a 360-degree roll while capturing a hyperlapse, adding a level of creativity to footage.[]
- Flashlight: The system tilts the camera all the way forward so users can grip the base like a flashlight.
- One-Tap Portrait Mode: The gimbal quickly orients the camera into vertical shooting for professional-level social media content.
- Panorama: After configuring sensor and focal length, choose a start and stop point for panoramas up to gigapixel size.
- Roll 360: The gimbal enters into the Flashlight position and rolls the camera system 360 degrees.
- Timelapse: This classic feature shows subtle changes over durations of your choosing.
DJI Care Refresh
DJI Care Refresh is now available for both DJI RSC 2 and RS 2. For an additional charge, DJI Care Refresh offers comprehensive coverage as well as up to two replacement units within one year. Receive your replacement even sooner with DJI Care Refresh Express. DJI Care Refresh also includes VIP after-sales support and free two-way shipping. For a full list of details, please visit https://www.dji.com/service/djicare-refresh.
Price and Availability
DJI RS 2 and DJI RS 2 are available for purchase today from authorized retailers and on www.store.dji.com. Each product offers purchase options for a standalone gimbal and a combination pack that includes additional accessories. The standalone DJI RS 2 is available for the retail price of $ 849 USD, and the standalone DJI RSC 2 is available at the retail price of $ 499 USD. The Pro Combo includes additional accessories such as a phone holder, Focus Motor, RavenEye Image Transmitter, dedicated carrying case, and more. The DJI RS 2 Pro Combo is priced at $ 999 USD, and the DJI RSC 2 Pro Combo is priced at $ 739 USD. Full details on this can be found below.
Articles: Digital Photography Review (dpreview.com)
DJI releases RS 2, RSC 2 3-axis gimbals with higher payloads, new shooting modes and more
15
Oct
|
DJI has revealed a new pair of gimbals that are successors to the company’s popular Ronin-S and Ronin-SC stabilization systems. The new DJI RS 2 and RSC 2 are ‘redesigned and reimagined’ three-axis handheld gimbals for filmmakers of all types.
DJI RS 2
|
The DJI RS 2 is the successor to the Ronin-S and is made to be used with DSLR and compact cinema camera setups up to 4.5kg (10lbs). Despite the heavy payload, DJI claims the new RS 2 features up to 12 hours of battery life, as well as a new quick-charge function built into the handle for quickly adding two hours of use with just 15 minutes of charging.
|
DJI is using its ‘newly optimized’ Titan Stabilization Algorithm for driving the onboard brushless motors, which it claims ‘reduces the need for manual user input while compensating for user movement and optimizing the gimbal tilt and angle.’ Also new is a SuperSmooth mode that’s specifically tuned to compensate for movement when using longer focal lengths up to 100mm.
Like its predecessor, the RS 2 features axis locks for secure transport and a new dual-layer mounting plate that’s compatible with both Arca-Swiss and Manfrotto standards.
A new 1.4” color touchscreen on the rear of the RS 2 serves as a way to cycle through settings, camera data or even a live feed from the camera. Two onboard RSA ports can double as NATO ports, enabling the RS 2 to be used in conjunction with other DJI and third-party accessories, including jibs, car attachments, sliders, grips and remote controllers.
DJI RSC 2
|
Just as the the DJI RS 2 is a successor to the Ronin-S, the RSC 2 is a successor to DJI’s Ronin-SC. The updated gimbal is constructed of steel and aluminum, which work to increase rigidity while reducing the overall weight of the unit compared to the Ronin-SC by 35%. It also has a smaller physical footprint with a folded size of 180mm x 190mm (7” x 7.5”) — roughly the size of an A5 sheet of paper.
|
Despite the reduction in both size and weight, the RSC 2 features an increased maximum payload of 3kg (6.6lbs) over the Ronin-SC. DJI notes this makes it more than strong enough to carry a combination such as the Panasonic S1H with a 24–70mm lens attached.
It too features DJI’s improved Titan Stabilization Algorithm, dual-plate mount system and OLED screen, albeit slightly smaller at just 1”.
Other features and accessories
In addition to new hardware, both the RS 2 and RSC 2 have received a new pre-programmed movement mode — Time Tunnel. This new option is an inception-esque mode that performs a 360º roll while capturing a hyperlapse. This mode is in addition to other pre-programmed modes such as Flashlight, One-Tap Portrait Mode, Panorama, Roll 360, Timelapse and more.
|
| Ronin RSC 2 |
The two gimbals also include an array of accessories for building out the gimbals to fit your needs. Optional accessories include a cheese plate, Focus Wheel, 3D Focus System, Twist Grip Dual Handle, RavenEye Image Transmission System, Tethered Control Handle, counterweight systems and more.
The DJI RS 2 is available starting today for $ 849 USD as a standalone unit and $ 999 in its Pro Combo configuration. The DJI RSC 2 is available starting today for $ 849 USD as a standalone unit and $ 999 in its Pro Combo configuration. Units are available through DJI’s online store and authorized DJI retailers.
Press release:
DJI’s Ronin Series Grows Stronger, Lighter, and Smarter with New DJI RS 2 and RSC 2 Gimbals
Two Stabilization Systems Offer Reworked Designs and New Creative Functions to Become Workhorses for Filmmakers and Content Creators
October 14, 2020 – DJI, the global leader in civilian drones and creative camera technology, today expands the legacy of the highly popular and prestigious DJI Ronin series, by introducing the rebranded DJI RS 2 and DJI RSC 2. Redesigned and reimagined, both systems offer the filmmaking and content creation community an extremely robust, versatile, and professional 3-axis camera gimbal for their various needs. DJI RS 2 brings added strength and agility to creators using heavier camera systems such as DSLR and compact cinema cameras. At the same time, DJI RSC 2 was created to be more portable, meeting the needs of mirrorless and more compact camera operators.
“DJI’s first Ronin-S and the original Ronin-SC created so much excitement when they launched that we immediately went back to the drawing board to figure out how to make our products even better,” said Paul Pan, Senior Product Line Manager. “Just like with the first version, we took time to research how our professional customers use their Ronin products and what new features they wanted in the next generation of a handheld gimbal. Yet again, the result is the culmination of user feedback, years of design and development, and significant advancements in stabilization technology. Now we are excited to showcase two new filmmaking tools designed to meet the needs of a wide array of filmmakers. From cinema cameras to mirrorless systems, we have a solution for you.”
DJI RS 2: Masterfully Crafted
Considering a tremendous amount of feedback from professional operators, DJI RS 2 incorporates carbon fiber in vital structural components, reducing weight down to 1.3 kg (2.86 lbs) while remaining highly durable. Pushing the innovation of single-handed gimbal technology even further, DJI RS 2 now supports a tested dynamic payload of 4.5 kg (10 lbs) for creators to use heavier camera and lens combinations while still achieving up to 12 hours of battery life. A new quick-charge function directly to the battery handle has been added for urgent situations, providing an extra two hours of battery life with just a 15-minute charge.
DJI RS 2 continues pushing gimbal technology forward with the ability to support heavier payloads while capturing ultra-smooth cinematic footage. Based on years of experience developing predictive technology, a newly optimized Titan Stabilization Algorithm reduces the need for manual user input while compensating for user movement and optimizing the gimbal tilt and angle. Additionally, a new SuperSmooth mode provides another level of camera stability, especially for compensating longer focal length lenses of up to 100mm.
Simple to set up, easy to operate, and highly customizable, DJI RS 2 was created to allow filmmakers to adapt their system to their filming needs while feeling confident it will easily integrate into their workflow. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A fine-tune balancing knob allows for even more precise balancing of the camera payload. The built-in 1.4” color touchscreen can display camera data, gimbal settings, or a live feed from the camera. Supporting 11 different languages, the ultra-bright screen can also initiate key functions such as ActiveTrack and intelligent shooting modes. The built-in front dial above the trigger allows for precise focus control and complements a DJI Focus Wheel mounted on the RSA port to create two-channel focus and zoom.[] DJI RS 2 also turns into a versatile tool that can be attached and used with other systems such as jibs, car attachments, and sliders. Two RSA ports double as NATO ports so that users can mount accessories and attachments such as grips and a remote controller.
DJI RSC 2: Filmmaking Unfolds
A completely new and portable folding design makes DJI RSC 2 easy for creators to carry everywhere without adding additional weight to the gear list. Additionally, the folding design provides creative ways to use the gimbal such as vertical filming without additional accessories, as well as a new Briefcase mode, where the main gimbal arm can be loosened and slung forward to provide unique shooting angles. Durable materials like steel are used on vital and frequently used components, while lightweight materials such as aluminum reduce overall weight. DJI RSC 2 weighs in at 1.2 kg (2.65 lbs), nearly 35% less than the original Ronin-S, and has a folding footprint of 180×190 mm, the same size as a sheet of A5 paper. The built-in battery offers an impressive 12 hours of battery life and – like DJI RS 2 – the new quick-charge function directly to the battery handle has been added for urgent situations.
DJI RSC 2 remains lightweight and portable, featuring stronger motors to support a tested payload of up to 3 kg (6.6 lbs). This increased dynamic payload supports popular mirrorless cameras along with heavier combinations like the Panasonic S1H and a 24-70mm lens. Using the same advanced technology as DJI RS 2, the newly optimized Titan Stabilization Algorithm generates a new level of stability – smoothing out fine details in conjunction with the motorized gimbal for some of the most advanced stabilization on the market. DJI RSC 2 is compatible with a wide array of camera models so users can get the most out of the system. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A 1” built-in OLED screen displays camera data with the ability to adjust settings directly.
Multifaceted Gimbals Supported by an Advanced App and Accessories
DJI RS 2 and RSC 2 were designed to expand beyond single-handed stabilization into tools that can be customized with additional accessories to achieve the desired shot. These accessories include a cheese plate, Focus Wheel, 3D Focus System, Twist Grip Dual Handle, RavenEye Image Transmission System, Tethered Control Handle, counterweight systems, and more.[] For remote operation, both DJI RS 2 and DJI RSC 2 can use ActiveTrack 3.0 when the RavenEye Image Transmission System is connected, sending a 1080p/30fps low-latency feed to a mobile device using the Ronin app from up to 200 meters away.
Vital features and functions can now be controlled and adjusted over long distances with the Ronin app such as gimbal movement using the virtual joystick and Force Mobile, where the gimbal mimics the mobile device’s movement. For solo operators using manual-focus lenses, the 3D Focus System uses state-of-the-art TOF sensors mounted above the camera to provide autofocus. This enables a single shooter to capture smooth and cinematic footage using a manual lens, without relying on a second camera operator or focus puller.
Pre-Programmed Movements and Features That Make Stories Come to Life
DJI RS 2 and RSC 2 expand on their predecessors’ suite of creative modes, movements, and features with tools to help capture content that stands out, including:
- *New* Time Tunnel: The system performs a 360-degree roll while capturing a hyperlapse, adding a level of creativity to footage.[]
- Flashlight: The system tilts the camera all the way forward so users can grip the base like a flashlight.
- One-Tap Portrait Mode: The gimbal quickly orients the camera into vertical shooting for professional-level social media content.
- Panorama: After configuring sensor and focal length, choose a start and stop point for panoramas up to gigapixel size.
- Roll 360: The gimbal enters into the Flashlight position and rolls the camera system 360 degrees.
- Timelapse: This classic feature shows subtle changes over durations of your choosing.
DJI Care Refresh
DJI Care Refresh is now available for both DJI RSC 2 and RS 2. For an additional charge, DJI Care Refresh offers comprehensive coverage as well as up to two replacement units within one year. Receive your replacement even sooner with DJI Care Refresh Express. DJI Care Refresh also includes VIP after-sales support and free two-way shipping. For a full list of details, please visit https://www.dji.com/service/djicare-refresh.
Price and Availability
DJI RS 2 and DJI RS 2 are available for purchase today from authorized retailers and on www.store.dji.com. Each product offers purchase options for a standalone gimbal and a combination pack that includes additional accessories. The standalone DJI RS 2 is available for the retail price of $ 849 USD, and the standalone DJI RSC 2 is available at the retail price of $ 499 USD. The Pro Combo includes additional accessories such as a phone holder, Focus Motor, RavenEye Image Transmitter, dedicated carrying case, and more. The DJI RS 2 Pro Combo is priced at $ 999 USD, and the DJI RSC 2 Pro Combo is priced at $ 739 USD. Full details on this can be found below.
Articles: Digital Photography Review (dpreview.com)
Shooting Stock Photography: Getting the Most Out of a Single Subject
10
Sep
The post Shooting Stock Photography: Getting the Most Out of a Single Subject appeared first on Digital Photography School. It was authored by Charlie Moss.
Most photographers who experiment with shooting stock photography quickly become disillusioned. They struggle to see a return on their time and financial investment. Even worse, they turn to fellow photographers for advice and are often told that the stock photography market is dead.
But that isn’t the case. There is still a market for stock photography.
However, to create a revenue stream from shooting stock photography, you need to work smarter. That way, you’ll have a more significant library of images with less investment, and you’ll be able to build a revenue stream from your images much quicker.
What is stock photography?
Stock photography is where a photographer takes images that they’ve already shot and makes them available to businesses for licensing.
In return for a fee, the client can use the pictures in their book or on their website. It usually works out cheaper for the client to use a stock photograph than to commission a photographer to go out and shoot a similar image.
The images are usually managed by an agency, who handles all of the marketing and administration.
Is stock photography dead?
This is the first question that photographers often ask me when they find out I’ve been shooting stock photography for over a decade. I am a relative beginner in the world of stock photography, but I can tell you that, in my experience, it is very worth exploring the stock photography market.
Canon 350D | Canon EF 55-200mm f/4.5-5.6 | 50mm | 1/125 sec | f/8.0 | ISO 200 | Strobe Lighting
Anyone thinking about shooting stock photography needs to understand that it is a long game to play. You shouldn’t expect instantaneous results. It may take a couple of years to start seeing regular sales that you can predict in your business plan.
But don’t let that put you off. Time spent on photographing and submitting images to stock libraries is an investment in your future income.
Where do stock images come from?
There have always been photographers dedicated to shooting stock photographs. However, many photographers have made a good side income by submitting images that came from other shoots or jobs.
Fujifilm X-T20 | Fujifilm XF 35mm f/1.4 R | 35mm | 1/350 sec | f/2.0 | ISO 200 | Window Light
In doing this, photographers have made their images work harder for them by pulling double-duty. The photographer has been paid for their time to shoot the initial photographs. But then they may also get paid for the images again when they are licensed from the photographer’s stock agency.
If you are shooting images specifically for your stock library, then you need to make sure you optimize the way you shoot. Getting a wide variety of photographs from a single subject is the key to quickly seeing regular payments with minimal investment.
Getting more from a single subject
If you have purchased a prop to photograph for your stock photography library, then it makes sense to get maximum return on your investment.
This advice will also work for hiring models or visiting particular locations; just take the general principles and apply them to your subject.
I often shoot stock photography images alongside fine art images. By using the same subject with different props and compositions, you can shoot a wide variety of pictures in a short space of time.
Understand what each stock photography agency that you submit to is looking for. If you shoot a variety of images in different styles, you can then send them to various agencies.
In a food photography shoot, it is quite possible to shoot for a wide range of stock photography agencies during the same session. You could shoot a shot for a cafe to market themselves with on social media. You could also shoot an image for a food magazine or recipe book. You could perhaps shoot a fiction book cover, an educational textbook image, and some creative images for bloggers to use.
Above are some of the images from a shoot I did with a single subject. I made sure to shoot with both light and dark backgrounds, as well as both modern and more rustic backgrounds. Image buyers want to purchase photographs that will fit with the feel of their brand. The more options that you can give them, the better.
Think about where your images could be used
Don’t forget to shoot in both landscape and portrait format for your stock images. You never know where your image will end up. While a fiction book cover will almost always need a vertical image, a magazine or a blog could use either vertical or horizontal images depending on the page layout.
Another tip is to shoot images that have space for text to be added later. Think about a magazine front cover. It has room at the top to put the name of the magazine. But it also has plain or out-of-focus areas on the side to write the headlines. Browse through magazines and books to understand more about the kinds of images that get purchased and published.
Where to start with shooting stock photography for profit?
As I often say: Just start somewhere.
Research the kinds of images that different stock photography libraries are interested in. Agencies will usually have blog posts on their sites listing the pictures that they’re looking for. And then get shooting.
If you’re shooting stock images of small objects, then try creating some different backgrounds so that you can easily change them out while shooting.
That way, you can create multiple styles of photographs in the same session. If you’re shooting models, then scout out locations that have a number of different backdrop styles within a few minutes of each other.
But what you really need to do is shoot images and get them placed with stock photography agencies. If your images aren’t out there and in front of the eyes of potential clients, then you won’t sell any at all! You can refine your workflow later.
Have you had much success with shooting stock photography? Let us know how you’ve got on in the comments!
The post Shooting Stock Photography: Getting the Most Out of a Single Subject appeared first on Digital Photography School. It was authored by Charlie Moss.
Canon releases FW 1.1 for EOS R5, with bug fixes and improvements to video shooting time
27
Aug
Canon has released firmware 1.1 for the EOS R5. Alongside a flurry of minor bug fixes, the new firmware also promises to improve video shooting times. We’ve had the new firmware for a few days, and prepared a test.
Check out Jordan’s take on the new firmware in the video, above, and see below for Canon’s official description of the changes in FW 1.1 and a link to download it.
Download firmware 1.1.0 for the Canon EOS R5 (Canon USA)
Press release:
Firmware Version 1.1.0 incorporates the following fixes and enhancements:
- Useful messaging is now displayed when [HDMI display?Camera+External monitor] and [Overheat control: on] settings are enabled.
- When using certain RF lenses for movie shooting, the in-lens image stabilization mechanism has been improved.
- Fixes a phenomenon in which the “Slow Synchro” setting screen is not accurately displayed, when the language is set to English.
- Fixes a typo displayed on the communication setting screen, when the language is set to Korean.
- Connectivity during FTP transmission has been improved.
- Fixes a phenomenon, in which the card access time may take longer, when using certain CF express cards.
- Temperature detection and shooting time control in video shooting have been improved. In addition, the total shooting time when the short-time recording and power-on/off are performed repeatedly at room temperature is improved.
- The phenomenon in which the movie recording time available is not correctly displayed when the Date/Time/Zone is not set has been corrected.
*The firmware scheduled for release in early September will incorporate the following improvements for the RF100-500mm F4.5-7.1 L IS USM.
-Supports 6-stop image stabilization. (CIPA-compliant)
-Improves IS capabilities when performing continuous shooting under specific conditions.
Firmware Version 1.1.0 is for cameras with firmware up to Version 1.0.0. If the camera’s firmware is already Version 1.1.0, it is not necessary to update the firmware.
Articles: Digital Photography Review (dpreview.com)
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