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DJI’s Mavic Air 2 shoots 8K Hyperlapse – but will you be able to view it?

30 May

Want to use the DJI Mavic Air 2’s new 8K hyperlapse feature? This how it will look on most computers right now unless you download a specific video player.

Earlier this month, we reviewed DJI’s latest consumer-grade drone: the Mavic Air 2. The compact machine boasts an array of features normally reserved for higher-end, professional-grade drones. Notably, DJI touted the fact that the Mavic Air 2 now offers users the ability to capture 8K hyperlapse video.

When conducting our initial review, we were only able to test out 1080p hyperlapse, which is also available on the Mavic 2 Pro and Zoom models. The day the Mavic Air 2 was officially made available to the public, DJI released a firmware update that included the ability to capture 8K footage. When trying it out this past week, the process was straightforward enough. However, I found it impossible to view the recorded hyperlapse clips on a computer.

This is what the 8K hyperlapse clip pictured above should look like (screenshot captured using sPlayer software). DJI is currently working on a firmware update to improve compatibility, expected in early June.

At first I thought the files, taken on different memory cards and uploaded to both my MacBook Pro and iMac, outfitted with recent OS updates, were corrupted. As it turns out, the problem wasn’t computer-related.

The Mavic Air 2’s 48MP camera is what makes 8K footage possible. In hyperlapse mode, the drone takes a series of photos and automatically stitches them together to produce a short time-lapse video. 48MP photos consist of four 12MP images stitched together. At this time, half of these photos aren’t showing up. This creates the checkerboard effect seen in the first image when the footage is played back.

It appears that YouTube does handle the Mavic Air 2’s 8K hyperlapse videos correctly. Want to try playing the original video file on your own computer? You can download it here.

8K hyperlapse video clips will successfully playback using sPlayer software, which is free to download and available for both Windows and Mac. DJI tells us that it’s aiming for an early June firmware update that will allow 8K hyperlapse footage to be more widely compatible with other software. Additionally, a 4K hyperlapse update is expected to arrive in ‘late June or early July’, and 2.7K hyperlapse at a later date.

If you’re new to creating hyperlapse videos, keep in mind that recording 1 or 2 clips can take up most of your battery life – depending on the length of your shooting interval and the overall video clip time selected. The Mavic Air 2 battery boasts a maximum of 34 minutes flight time. The minimum interval between shots for 8K hyperlapse is 6 seconds, versus 2 seconds for 1080p. As a result, a 5 second clip at a 6 second intervals will take 12 minutes, 30 seconds to record.

If you’re eager to shoot 8K hyperlapse footage with your Mavic Air 2, you may want to hold off a bit. As of now, you’ll either need to download sPlayer to view it or wait a bit for the next firmware update from DJI.

Articles: Digital Photography Review (dpreview.com)

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Wet plate photographer shoots portrait of subject 4000 miles away via Zoom

08 Apr

Life is difficult when you are a portrait photographer and social distancing restrictions prevent face-to-face meetings with anyone beyond the people you live with. Not one to let a global virus pandemic get in the way of a good picture, Shane Balkowitsch combined modern and ancient technology to create a wet-plate photograph of a friend who was almost 4000 miles away using video-conferencing application Zoom. From his studio in Bismarck, North Dakota, Shane photographed Morgan Barbour in London, England, as she streamed video of herself to his computer screen – which he photographed using a 10x8in large format camera with a wet collodion plate loaded in the back.

Morgan in the Zoom video conference on Shane’s screen

Shane tells DPReview that the idea came about when Morgan asked him to make a wet plate image of her. He was going to copy a previous print he had made of her, but having just been introduced to video conferencing the week before it occurred to him that he could make the picture ‘live’ using the computer screen. He sent instructions to Morgan about how she could set up the lighting in her house to create a silhouette and they had a conference call to make the shot.

‘I’d never shot this way before’ Shane explained ‘and I didn’t know what to expect, so I decided that instead of trying to capture a “well lit” portrait we could go for a silhouette. It would take us back to when photography was first invented and the very simple, honest photographs of 180 years ago when photographers were just trying to get any proof of the photograph.’

‘The two plates we made are rather lovely in their simplicity and mood. Our first attempt, which is now known as “A Distance Exposure In Isolation”, is the better of the two. The light reflecting off her upper body adds just the right degree of femininity for me.

Shane tells us that he would usually expect an exposure of ten seconds for his wet plate portraits but this one needed Morgan to remain still while he counted down a full minute.
‘I wasn’t sure how the image on the screen would come out, or if it would come out at all. The wet plate process relies on ultraviolet light to make the exposure, and I didn’t know whether there would be some sort of UV filter on the monitor to protect users’ eyes. Fortunately, however, that turned out not to be the case. It still needed six times the usual exposure to activate the silver on the plate though, and that was for a backlit silhouette. If I’d wanted to get detail in her face I’d probably need two to three minutes.’

Shane says he is stunned by the mixture of technologies that exist 170 years apart, and how the light traveled from Hampstead in London to his Bismarck studio 3961 miles away. ‘There’s no truth in the light I recorded!’ he exclaims. ‘It has been transfigured and translated so many times. It passed through the background in Morgan’s house to reach her phone, where it was converted into zeros and ones to travel across the globe via the internet before reaching my screen. Here it was turned back into light again before passing through my lens and on to the plate. It’s amazing.’

The final image – note the cursor in the top left corner. A sure clue to the mix of technologies

To avoid capturing the texture of the screen Shane says he focused on the outline of Morgan’s lips and nose, and then pulled the focus back a little to blur the pixels of the screen and to create a softer feel to the picture. ‘I didn’t know if I’d get reflections off the screen too, but they don’t seem to show in the picture. There was an odd mark on the plate that I noticed as the image developed. I didn’t know what it was at first, but when I came to remove it I realized it is the arrow cursor from my computer left in the picture area by mistake. Kinda funny!’

Shane’s darkroom, where he sensitizes and develops his plates

Shane will have the chance to practice the process once again this Friday as a model from New York has contacted him since seeing the pictures of Morgan to have her portrait taken. ‘We’ll see what we can come up with. We just got off the phone together, we have never met but she has wanted to have her portrait taken by me for some time.’
Shane says ‘If we ask ourselves, “why would you even attempt this?” the answer is simple – out of necessity. I am usually booked 7-8 months ahead for my Friday sessions in my natural light wet plate studio, but right now I’m having to cancel all those sittings. Now I can shoot remotely. Take that Coronavirus! You think you can stop us from creating? I think not.’

Self-portrait with one of his wet plate cameras

Below you can see the video of the conference call during which Shane made the picture, which also shows the process of sensitising the plate and developing it after the exposure. You can see more of Shane’s wet plate work on Instagram and on his website.

Shane may be the first to shoot a wet plate image directly from a live subject on computer screen, but Robert Matheson used a similar process to record portraits from a live image projected onto a wet plate during the interview below.

Articles: Digital Photography Review (dpreview.com)

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The EOS-1D X Mark III shoots Canon’s best-ever JPEGs

23 Mar

We knew that the sensor Canon had put into its flagship EOS-1D X Mark III DSLR was going to be a good one, and we’ve put it in front of our studio test scene to see how it stacks up against its sports-shooting peers.

Raw and JPEG performance

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Right off the bat, we can see good detail capture$ (document).ready(function() { $ (“#icl-4993–867727231”).click(function() { ImageComparisonWidgetLink(4993); }); }) for this class of camera at lower ISO values$ (document).ready(function() { $ (“#icl-4994-672421372”).click(function() { ImageComparisonWidgetLink(4994); }); }), but that’s not really a surprise. These cameras need to just work, in any situation, and the EOS-1D X III delivers in extremely low light$ (document).ready(function() { $ (“#icl-4995–734843880”).click(function() { ImageComparisonWidgetLink(4995); }); }) with noise levels noticeably lower than its predecessor. The Sony has a resolution advantage, but when we downscale all the cameras to a common resolution, the Canon still looks impressive$ (document).ready(function() { $ (“#icl-4996-1281065173”).click(function() { ImageComparisonWidgetLink(4996); }); }). However, the Nikon D5 continues to reign supreme as higher ISO$ (document).ready(function() { $ (“#icl-4997-1755766028”).click(function() { ImageComparisonWidgetLink(4997); }); }) values approach absurdity$ (document).ready(function() { $ (“#icl-4998–2071627873”).click(function() { ImageComparisonWidgetLink(4998); }); }).

Sports shooters and photojournalists also value good JPEGs$ (document).ready(function() { $ (“#icl-4999-1823666868”).click(function() { ImageComparisonWidgetLink(4999); }); }), as they will often be either forbidden from sending in edited Raw files, or they need to get a smaller file off to their editors as quickly as possible. While the JPEG engines on these cameras are all very customizable, we can see the default values Canon has dialed in are improved. The text here is noticeably less ‘blob-y’ than the 1D X Mark II, and the Mark III holds onto fine detail$ (document).ready(function() { $ (“#icl-5000-731235669”).click(function() { ImageComparisonWidgetLink(5000); }); }) better across the scene$ (document).ready(function() { $ (“#icl-5001-634885912”).click(function() { ImageComparisonWidgetLink(5001); }); }). The new camera is using finer radius sharpening, which is emphasizing (and not over-writing) the finest detail that it’s capturing. It’s still not quite a match for the Sony a9, though.

The Mark III also strikes a better balance than its predecessor between noise reduction and detail retention in JPEG at higher ISO values$ (document).ready(function() { $ (“#icl-5002-1799783590”).click(function() { ImageComparisonWidgetLink(5002); }); }). It’s an impressive showing$ (document).ready(function() { $ (“#icl-5003-14569280”).click(function() { ImageComparisonWidgetLink(5003); }); }), but again, not quite a match for Sony’s context-sensitive noise reduction.

Now it’s true that the 1D X III also shoots HEIF files, meant for high-dynamic range displays. These files show noticeably more dynamic range than the company’s JPEG files, and we’ll be delving more into this in our full review.

Now, let’s take a look at dynamic range on the next page.

Articles: Digital Photography Review (dpreview.com)

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Sony’s speedy Xperia 1 Mark II shoots 20 fps with AF/AE technologies borrowed from the a9

24 Feb

Sony has announced the Xperia 1 Mark II, with improvements to the Mark I’s rear triple camera array and class-leading burst shooting mode. Technology borrowed from the company’s professional Alpha 9 full-frame interchangeable lens camera allows the Xperia 1 Mark II to shoot at up to 20 fps while maintaining continuous autofocus and auto exposure. Sony’s excellent real-time eye AF tracking for human and animal subjects is included and, like the Sony a9, autofocus and auto exposure calculations are performed at 60 times a second.

The Mark II maintains a similar triple camera to its predecessor’s, but with some notable enhancements. The main camera now uses a 12MP 1/1.7″ sensor, which is pretty big by smartphone standards, collecting nearly 50% more light than the 1/2.55″ sensors found in competitors from Apple and Google. It has a slightly wider 24mm equiv. F1.7 lens in front of it, which is optically stabilized.

It now uses a 12MP 1/1.7″ sensor –
pretty big by smartphone standards

The main camera uses dual photo-diode phase detection AF with 70% coverage, and a new 3D time-of-flight (ToF) camera helps improve autofocus performance, particularly in low light. No word yet on whether or not the ToF camera is used to improve the depth map generated from the dual pixel sensor for the camera’s bokeh mode.

The telephoto module is now more ‘telephoto’, with a 70mm equivalent field-of-view, up from 52mm. The lens aperture remains the same at F2.4, and only sparse phase-detection, as opposed to dual pixel, autofocus is available, meaning you can expect some hunting, particularly as light levels drop. Optical image stabilization is available on this module. A 16mm equivalent F2.2 camera provides an ultra-wide field-of-view, and the dual pixel design of its 1/2.6″ sensor allows it to achieve fast autofocus performance.

Neither of these modules offers 20 fps burst rates or 60 fps AF/AE calculations, nor does either support real-time eye AF for humans and animals. It’s worth noting though that the Xperia 1 did support eye tracking for humans with its telephoto module, so we suspect some form of eye detection AF will be available on the 70mm equiv. camera, particularly as it would benefit the phone’s bokeh mode.

The Xperia 1 provided a user interface tailored to pro video shooters, and the Mark II introduces a similar UI for still photographers. Photo Pro mode as Sony is calling it doesn’t replace the standard, more simplified camera app, but is offered in addition to it, with direct touch access to exposure settings. Here Sony is aiming for a consistent user experience across its phones and ILCs. Other UI improvements have been made; for example, you can now simply tap on either a human or an animal in your scene to instantly switch between human and animal eye detection.

The Xperia 1 Mark II maintains the unusually wide display format that the Mark I used, offering a 21:9 6.5″ HDR OLED. Sony claims a color gamut wider than DCI-P3, and a peak brightness of 1000 and 400 nits for 1% and 100% APL (average picture level), respectively, for HDR content. Direct white balance controls are now available for the display, allowing you to choose a desired correlated color temperature. A new ‘motion blur reduction’ mode allows the display to be driven at a 90Hz refresh rate, for smoother scrolling and animation, and Sonly also claims the display has enhanced touch sensitivity, which may mean a higher touch sampling rate.

‘Photo Pro’ mode allows you to see and access common shooting settings like shutter speed, AF mode, and even emulate buttons like AF-ON and AEL. To switch between human and animal eye AF, simply tap on the desired subject.

On the video front, Sony has added 60p and 25p frame rate options to its class-leading 4K HDR mode, making it one of only a handful of smartphones on the market capable of true 4K/60p HDR capture. Like the Mark I, video is encoded using HEVC, with an HLG gamma curve and 10-bit encoding in the wide BT.2020 color space. And whereas previously only center-priority AF was available in video, the Mark II allows you to tap on any subject to rack focus to it. No word yet on whether face or subject tracking are available when shooting video.

In a rare move for modern phone makers, Sony has decided to bring back the 3.5mm headphone jack. The Mark II also offers two front-firing stereo speakers, and Dolby Atmos playback is available. Sony claims the signal:noise ratio of audio has been improved, with a ten-fold reduction in noise. The Xperia 1 Mark II is also the world’s first smartphone to feature 360 degree reality audio.

The Mark II retains its predecessor’s IP 65/58 rating, meaning it’s completely sealed against dust, and will also withstand lower pressure spray as well as total immersion in water. Gorilla Glass 6 protects both the front and rear of the device.

Sony Xperia Pro development

Also under development is an Xperia Pro, which will essentially be an Xperia 1 Mark II with 5G mmWave connectivity optimized for fast upload speeds to assist in a professional workflow. Sony says the device can be used as a high-resolution, color-accurate monitoring device for a dedicated camera via HDMI connection, and will also be able to beam high bit-rate video feeds for broadcast.

No pricing or availability has been given for the Xperia Pro or Xperia 1 Mark II at this time.

Articles: Digital Photography Review (dpreview.com)

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Photography Gear You Will Need for Different Types of Photo Shoots

28 Jan

The post Photography Gear You Will Need for Different Types of Photo Shoots appeared first on Digital Photography School. It was authored by Lily Sawyer.

Have you ever wondered if there is specific photography gear that you will need for different types of photoshoots?

dps-photography-gear-you-will-need-for-different-photoshoots

It has now been over a decade since I started shooting professionally. Over the course of that time, I have often been asked for advice on what camera to buy to take professional images. Now, if you’re into photography, I think you’d agree with me that this is the wrong question to ask. There are far more important factors to consider when taking an amazing image rather than the latest shiny camera.

My answer to the above question is always the same: it’s not the camera (given that camera manufacturers churn out new models year in year out). But instead, it’s two other things – the lens and the photographer.

dps-what-gear-to-bring-for-different-photoshoots

A camera is no good if the photographer doesn’t know how to use it properly to achieve the image they have in mind. Equally, what good is a new latest-tech camera if the lens used for the purpose is not the correct lens? An example being, using an ultra-wide lens to capture a portrait.

Therefore, the better question to ask is, “which is the appropriate lens to use for a particular photoshoot?”

dps-photography-gear-you-will-need-for-different-photoshoots

In other words, it is crucial that you, as the photographer, match your gear to the needs of the photoshoot. This will enable you to achieve the image you have in mind.

This article discusses the photography gear you will need for different types of photoshoots.

However, I know that we each have our own ways of doing things and our own preferences, so bearing this in mind, what I have written below are suggestions and based on what I do as a photographer.

What’s in my gear bag depends on what I’m shooting. I have a variety of photography bags for this reason. As a side note, it is worth investing in proper photography bags to protect your gear.

The Staples

photography-gear-you-will-need

But first, the staples. If you are (or want to be) a professional photographer, this is my recommended minimum photography gear you will need.

For photoshoots, always carry at least 2 camera bodies, ensuring you have one for back-up in case something happens to the other one.

Make sure you sync the times for both cameras, and that the settings are the same.

Also, fully-charge your batteries in both cameras. My cameras are all full-frame. If you have a camera with a crop sensor, this changes the way you capture your images. Here is a helpful article on the difference between full-frame and crop-sensor cameras.

On top of the camera and lenses, I always bring at least 2 flashguns with me and make sure I have spare batteries (or fully charged if they are rechargeables). I use a diffuser cap with my flashguns and generally use these to bounce light both indoors and outdoors rather than directly at the subjects unless I’m shooting backlit.

1. Family photoshoot

dps-photography-gear-you-will-need-for-different-photoshoots

In general terms, the ideal set of lenses for a family photoshoot includes a wide, medium, and a long range of lenses.

My preference is for prime lenses, as they are usually small and handy, and give me sharper and cleaner images.

Good prime lenses can be heavy and also a little expensive. I carry the 35mm f/1.4G, 85mm f/1.8G (also available in 1.4G) and the 105mm f/2.8G. Because these are used on a full-frame camera, the lenses capture their expected focal range accordingly, that is, that a 35mm lens has a 35mm effective field of view. If your camera has a crop sensor with a crop factor of 1.3x for example, then the 35mm will have an effective field of view of a 46mm, the 50mm will have the 65mm and the 105mm will be 135mm. Therefore, you would then need to consider more wiggle room when shooting.

These are important to bear in mind, especially when shooting in small spaces indoors.

The 105mm gives not only a long-range but also macro capability. I like having a macro lens with me, which works wonderfully to capture details.

You can also have zoom lenses in your bag instead of primes. Zoom lenses can be very versatile. For example, the 24-70mm lens will allow you to capture wide and medium-range images with just one lens.

However, they are a little bulky in comparison to primes, especially if the lens is professional and has a fixed aperture. That would also mean better optics, and it would be heavier too.

If you just want to use one lens that covers this range, then there is the 24-105mm Canon lens option.

2. Event Photography

dps-photography-gear-you-will-need-for-different-photoshoots

For events such as birthday parties, product launches, conferences, and suchlike, my preference is to go for zoom lenses rather than primes. Events are usually fast-moving, and I don’t have the time to keep changing lenses.

Often I will have both cameras on me with a double rapid strap. One camera will have the 24-70mm, and the other has the 70-200mm. These are usually sufficient.

I always carry a macro with me, though, just in case. However, with both bulky zooms that cover wide to long-range, I use my nifty 60mm micro lens for extreme close-up and macro shots.

In addition to the above, I also carry with me wireless transceivers that enable me to shoot with off-camera flashes. Transceivers are wireless transmitters and receivers that enable you to control your flash remotely. This also means you need stands for the flashes. So, carrying a monopod and a gorilla pod, or a tripod if you need more stands.

3. Weddings

dps-photography-gear-you-will-need-for-different-photoshoots

If I’m shooting a wedding alone, I pack all the above minus the 35mm and the 50mm as the zooms already cover these focal ranges.

Needless to say, I pack my entire arsenal and the kitchen sink when shooting weddings with a second photographer, as with two of us, more gear and back-ups are needed. That means at least four camera bodies, at least six lenses, a minimum of four flashes (sometimes six), and all the transceivers and stands required.

I have written an article on wedding photography gear you will need when starting out on here.

4. Portraits

dps-photography-gear-you-will-need-for-different-photoshoots

Portrait photography is a specialty that requires a different set of lenses.

For flattering images of a person, I would always use the 85mm for headshots, the 50mm for medium shots, and the 35mm for full-body shots.

You may not need to use all three, so plan ahead of what you might be shooting, so you don’t bring unnecessary gear.

Again if you want the zooms as opposed to the primes, you could always use the 24-70, 24-105, and the 70-200. Just make sure that you shoot within the range mentioned above as a guide.

Longer focal ranges compress the background resulting in a more flattering look compared to using a wide lens. For example, if you use the 24mm, you are shooting so close to the person, you will end up with image distortions.

Depending on the portrait session, I may or may not use off-camera flashes which would require the transceivers. A small reflector is also really handy for portraits, especially when controlling shadows. I have written an article on gear essentials for portrait photography when starting out here.

5. Landscape

dps-photography-gear-you-will-need-for-different-photoshoots

Landscape photography is the opposite of portrait photography, and the lenses and accessories required are different.

You would need wide lenses, such as a 16-35mm or a 24mm to capture wide, expansive shots. You may also want to invest in a telephoto to capture long landscapes with great background compression if you are shooting mountains, for example.

If you plan on doing long exposure photography to achieve soft, blurred waterfalls and waves, you will also want to invest in a tripod and some filters, such as ND and graduated filters. This will enable you to reduced the amount of daylight coming into your lens so that you can slow your shutter speed down without completely over-exposing your image. You would also need a cable or remote shutter release so that you don’t introduce camera shake by pressing the shutter button.

To find out more about landscape photography, read these helpful articles here.

6. Travel

dps-photography-gear-you-will-need-for-different-photoshoots

When speaking of travel, my only experience in this type of photography is family holidays. For professional travel photography, read these articles.

If you are just after good holiday photos that capture memories of your family, then I can help with that. I have tried various holidays with only one lens. One time I just took the 85mm. Another time, I took just the 35mm, the 50mm on another holiday, and, more recently, the 60mm. Following on from these experiences, my personal travel lens is now the 60mm.

The 50mm is also a favorite.

7. Product

dps-photography-gear-you-will-need-for-different-photoshoots

Occasionally, I do some product photography. My go-to lenses for these are the 24-70 and the 60mm micro.

I use off-camera flashes and transceivers and some flags. When shooting small items in a white seamless background, using a white lightbox will help you achieve this easily.

For more tips on product photography, read this article.

8. Interiors

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For interior photography, my go-to lenses are the 24-70mm and the 50mm. You can read more in-depth as to why I use the 50mm here and how I use the 24-70mm especially for shots of an entire room scene.

dps-what-gear-to-bring-for-different-photoshoots

I hope this article and the further links provided have helped you think through what photography gear you will need for different types of photoshoots. If you have any suggestions to add, write them on the comments below.

The post Photography Gear You Will Need for Different Types of Photo Shoots appeared first on Digital Photography School. It was authored by Lily Sawyer.

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DIY large format camera ‘Bertha’ shoots massive 1.1 x 1.1-meter slides

03 Jan

The Branco Ottico team in Italy has showcased ‘Bertha,’ a giant large format camera that can be used to capture 1.1 x 1.1m (3.6ft) slides. A report about the camera’s creation, as well as some images of the assembly process, were recently shared over at DIY Photography. The team explains that Berta is designed to ‘create unique works’ using the ROBA APPOSTA inversion kit chemical process created by Branco Ottico.

Bertha features a modular aluminum frame, a bellows draft measuring around 4m (13.12ft) in length and a 1000mm F6.3 lens. The camera can be used to capture portraits in macro mode, according to the team, which says they also have a mobile darkroom for capturing portraits outdoors. The team will tune the camera in early 2020, then take it and the mobile darkroom on a tour to capture portraits of people on the road.

Articles: Digital Photography Review (dpreview.com)

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Photographer Brandon Hill shoots portraits with the Sony Xperia 1 and Xperia 5

23 Dec

Sony’s Xperia 1 and Xperia 5 smartphones offer powerful photo and video features, including advanced face and eye-detection autofocus technologies inherited from Sony’s Apha-series mirrorless cameras. Sony’s Eye-AF works by analyzing the scene in front of the camera in real-time, and identifying and focusing on human eyes. If the camera or subject move, detected eyes and faces are tracked within the frame. A green square shows that an eye has been identified.

Portrait and commercial photographer Brandon Hill took the Sony Xperia 1 and Xperia 5 to House Studios recently, here in Seattle, to see how they performed. During a busy portrait shoot, Brandon worked with model and athlete Krista Armstead to put together several shooting scenarios, including indoor and outdoor lighting, and even a trampoline, to test the phones’ high-speed shooting and 4K video capabilities.

Sony Xperia portraits – pictures by Brandon Hill

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This is sponsored content, created with the support of Amazon and Sony. What does this mean?

Articles: Digital Photography Review (dpreview.com)

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TFP Shoots – What They Are and When to Use Them

13 Dec

The post TFP Shoots – What They Are and When to Use Them appeared first on Digital Photography School. It was authored by Anabel DFlux.

Trade work (or TFP shoots) is probably the topmost contentious subject in the photography world, paired with the everlasting pricing debate. However, there are several big reasons to consider TFP shoots, just as there are some valid reasons to laugh at the suggestion!

Every artistic profession requires a level of ‘paying your dues’ so to speak. As is the catch-22, “you need a job to get experience, but you need the experience to get a job.” We are a bit luckier in the artistic profession as art is a more collaborative effort that can involve the trading of services. In photography, this is known as TFP, or “trade for print.”

Here is our guide to TFP shoots, when to use them, and when to avoid the inquiry.

What is a TFP Shoot?

Anabel DFlux on set with rock band Killin Candace

A TFP shoot is a photo shoot that is not compensated monetarily, but instead, as a trade of services. Everyone donates their time – models, stylists, and photographers – and all parties are welcome to use the resulting images for their own purposes or self-gain.

It’s just a fancy way of saying that the team will work for free but receive images they need for xyz reason with permission to use them.

The key to TFP shoots is that all parties receive an equal benefit within the collaboration. Most often, that means that the photographer can use the images to advertise their photography services. Stylists can add them to their portfolio and can advertise. The model can also use the images in their pursuit of more modeling work.

As a general statement, TFP shoots are good for portfolio-building, education, bringing a personal collaboration to fruition, and genuine exposure and resume addition and for increasing credibility.

Pros of doing TFP shoots

Explaining how to do TFP shoots is a bit of a delicate matter. So to begin, here are the Pros of doing TFP shoots:

Portfolio-building

Model: Kevin Thrasher

If you lack a solid portfolio, or a portfolio at all, TFP photo sessions are an excellent way to build that book very fast.

Portfolios are of the utmost importance in this industry, and ensuring you have a solid body of work should be one of your top concerns if photography is to become your profession.

You will likely find yourself doing several TFP shoots when starting out for this very reason.

A learning experience

Model: Alex Crescioni

The educational aspect of TFP shoots goes hand-in-hand with portfolio-building. TFP shoots are a great way to learn, try something new, and experiment with your craft.

You don’t want to go into a client session unprepared, nor should a paying client be your guinea pig.

Bringing an idea to life

Model: Gaiapatra

As for bringing a personal collaboration to fruition, art is for yourself as much as it is for others. If you have an idea, and that idea jives with another person, a collaboration is a great way to keep yourself creatively motivated and inspired. These tend to be TFP shoots by nature.

Worthwhile exposure

Model: Luna Marie with Maksa from the JABCECC

Exposure has become such a deeply hated word in the artistic world. This is due entirely to abuse and misuse in the art world. I am in full agreement and stand firm with paying everyone their worth. Unfortunately, the world isn’t idealistic. There is a fine balance between encouraging the end of improper practices and looking out for yourself and your needs.

Looking at it from the perspective of marketing, branding, and other fundamental business concepts, there are certain TFP shoots that you should do for exposure. These shoots tend to involve a certain level of prestige, in which your participation really will put your work in front of a broader audience.

Also, partaking in higher caliber sessions will build a trustworthy reputation and your credibility in a highly competitive industry.

Cons of doing TFP Shoots

Now that we’ve covered the pros, here are the cons for TFP shoots:

Devaluing your work

Model: Brin Hamblin

There does come a bit of an issue if you get known around town as the TFP photographer who offers some exceptional work for no pay. You’ll get offers left and right, and all will end with “collaboration,” which translates to “do this work for free because I need it and don’t want to pay for it.”

If you give in to these pressures, you’re effectively devaluing your own work’s worth.

There has to be a limit to when you’ve well surpassed the need for TFP shoots. I stopped doing TFP many years ago when my resume far surpassed its need and have not looked back since. That is because photography is a career for me, not a hobby.

The public misuse of TFP shoots

TFP Shoots – What They Are and When to Use Them

The public has taken hold of the TFP phrase recently, and decided they are entitled to them too.

TFP has, and should always be, a term for those within the industry looking for a mutually beneficial work opportunity.

Your neighbor begging online for a TFP family session for their nephews is not TFP – that’s “work for free.”

Your sister’s friend’s wedding inquiry should not be “TFP” – that is their wedding day! Not a styled shoot!

The public should not get TFP shoots – plain and simple. This goes back to the previous point of “devaluing work.”

What is the happy medium?

TFP can be pet shoots too!

The key to keeping a happy medium for your own artistic pursuits and endeavors is to know when to say no. That’s really all there is. If you want to embark on TFP shoots for your own reasons, go ahead and organize one! However, if you aren’t looking to pursue TFP, say no.

Understand your worth when someone approaches you, and determine what course of action is the best one to take.

My general rules are:

“If someone approaches me unsolicited, I will send over a rate sheet.”
“If someone responds to a solicited TFP casting, then that’s a different story.”

Tips for a smooth TFP shoot (if you go down this route)

Models: Spencer Hayden and Bina Monique

Despite no money exchanging hands, general business principles still apply.

Here are some quick tips for successful TFP shoots:

Have open communication detailing your needs, wants, and expectations for the photo shoot.
Set boundaries. Clearly express what the result of the photo session will yield, and listen to the model’s limitations as well. Be respectful.
Have everything in writing! A TFP contract is a great idea and will protect both the model and the photographer.
Make sure to have model release forms, property release forms, or any other necessary paperwork on hand.
Have fun, be professional, and make beautiful art!

Final thoughts

Models: Carrie Martinez with Nova the wolfdog

At the end of the day, how you run your business or your artistic craft is at your own discretion.

With that said, I did want to mention for the aspiring photographers out there: Just because a photo session is a trade shoot, doesn’t mean that your professionalism should fly out the window. You do need to treat this session like a job, which means being punctual, being on your best behavior, and delivering upon your end of the bargain.

Have you participated in any TFP shoots? What was your experience? Share with us in the comments.

The post TFP Shoots – What They Are and When to Use Them appeared first on Digital Photography School. It was authored by Anabel DFlux.

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Michael Bonocore shoots Eagle hunters in Mongolia, with Sony a7R IV

19 Nov

The Sony a7R IV is a 60MP full-frame mirrorless interchangeable lens camera, which offers a suite of powerful stills and video features.

We follow photographer Micael Bonocore as he tells the story of Igram Askar, a young eagle huntress in Mongolia. Everything in this video was filmed and photographed using the Sony A7R IV.

Sony a7R IV in Mongolia

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This is sponsored content, created with the support of Amazon and Sony. What does this mean?

Articles: Digital Photography Review (dpreview.com)

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Styled Photo Shoots with Suppliers: How, Why and What You Get

12 Nov

The post Styled Photo Shoots with Suppliers: How, Why and What You Get appeared first on Digital Photography School. It was authored by Carl Spring.

When it comes to business, the word-of-mouth referral is still king (or queen). Obviously, your past clients will be a great source of referrals, but one of the best sources of leads for a working photographer is to get referrals from other suppliers. But what can you do to make sure that you are the first business on the lips of local suppliers? The simple answer is to work with them. The best way to do this is with styled photo shoots.

This is the result of a group of talented suppliers coming together. When you see the results, any issues melt away.

Now, as I mainly work in wedding photography, I will base this article on wedding suppliers. However, this can easily transfer over to portraits and, with a little imagination, various other fields of photography.

How do I begin?

Well the first stage is a portfolio – this is key to working with suppliers. They will want to know that you can deliver the images and that they aren’t wasting their time (and in many cases money) working with you.

What do I mean by their money?

Well, a wedding dress will generally need dry cleaning after a shoot, a florist will have to prepare flowers for the shoot that will die pretty soon afterward. Also, a venue will have to turn down bookings for the day that you hold the shoot there.

Obviously, there are time factors involved for everyone (including you), so bear this in mind. You will tend to work after the shoot on editing, whereas others will be working in the lead up to the day.

If you don’t have a portfolio, you can use friends and family to create your own styled photo shoots. Use a venue you have access to, and minimize your outlay in other ways too. Use supermarket flowers instead of paying for styled bouquets, for example. It’s a hard reality, but without work that you can show people, you won’t get very far.

You have to remember that these people are professionals. Most people do not have time to risk on a styled photo shoot with somebody with no portfolio. It takes time to build, but it is not a stage you can skip.

This totally unplanned styled photo shoot took place at a wedding fair. Having your gear and simply asking the question can get you great results.

The contact

Next is the hard part for some, contact a supplier you want to work with. I generally find email works best. Politely offer to meet up (I also bribe them with cake) and discuss an idea you have for a styled photo shoot. Make sure you compliment them on their work and be charming and polite.

Be prepared for a lot of “thanks, but no thanks” or sometimes no reply at all. By all means, follow up with a short, polite email a few days later, but that’s it. Some people don’t have time, some have people they already work with, and some simply don’t like your style.

Grow a thick skin, accept it, and move on. Eventually, though, you will find someone willing to chat. Just be patient and try not to get down in the dumps with rejections. It’s nothing personal; it’s business.

The initial meeting

Congrats, you have someone interested. The next step is meeting up.

The important thing here is to go with ideas, but be flexible. Always send a courtesy text or email the day before. A little tip is to call them when you are nearby and see if they want a coffee bringing in, or turn up with some treats. It’s just a nice thing to do, and, personally, I always remember people who give me free treats!

You will probably be nervous, but remember, they wouldn’t have come if they didn’t want to be involved. Talk over ideas and develop an outline plan. If they agree, you are on your way! Always follow meetings up with an email so that everyone is clear about what the idea is.

If you are starting out, a great way to expand your network is to ask the person you’re meeting if they have other suppliers they work with, people who model for them before, etc. Not only does this save you some hassle, but it expands your network as the other suppliers are being introduced to you by someone they trust.

Reading that last sentence back, it sounds like the wedding industry equivalent of the mafia.

Not Exactly the Mafia, but a great group of people to work with.

Once you have one…

Once you have one supplier on board, it always seems to get easier. Your initial supplier may recommend some other people to involve. Alternatively, you can now email people telling them “Brand X and I are planning a styled photo shoot…”.

Pretty soon, things will come together and you will have a team of people on board. Now comes the hard parts.

Co-ordination

Having a group of people wanting to work on a project is great. But, now comes the hard part – coordinating them all!

This can be a nightmare.

My advice is to set up a chat on your social media of choice, where everyone can chime in.

The most important part of the coordination is sorting out a date that works for everyone, which can be a nightmare in itself. There is no advice I can give here. You simply need to throw out dates until you can all agree.

There can be a case for swapping out a supplier if one person cannot make a date. But it is hard to tell people who have committed that you need to look for someone else who is more available.

Patience is key. Be prepared to keep working until you get the date.

Plan B (and C and D)

Problems are par for the course on styled photo shoots, no matter how amazing the final images look across social media.

In my experience, models are most likely to drop out of shoots first, but it can be anyone at any time, for any reason. Try to plan for issues as best as you can. What will you do if it rains on the day you planned your outdoor shoot? Not a problem, you have 3 more dates locked in for such things. What happens if you turn up to your woodland location, and there is a cycle race? (This actually happened to me.) Not a problem, you have two other locations where you can shoot.

Problems can (and will) occur. Just plan for them and be prepared to change to plan B at a moment’s notice. Usually, you can overcome these problems, but only with planning. Speaking of…

This wasn’t the original model. She only came on board two days before the shoot. However, you could not have asked for a better model to work with.

Entertaining everyone’s ideas

You need to nail down the overarching theme for the shoot quickly. The person who organizes the shoot (i.e., you) will decide on the theme and its use when initially chatting about the plan.

Once decided, Pinterest is a godsend. Set up a shared board, then get everyone to add things to it. From here, you can all pick a favorite selection to become the final mood-board.

Things will need to be flexible, as everyone has a slightly different vision. Just make sure that everyone feels part of this process. By being invested in the planning stages, people tend to bring their A-game to the final shoot. Make sure everyone is on board, has had their say, and you have come to the final vision together.

Show them who’s boss (or know who is)

Somebody has to be the boss, and as the photographer, often people will look to you for guidance or to take charge. Be firm, but accommodating. You need to be the one to smooth things out when the stylist brings something floral she really wants in the shoot. Or the makeup artist tweaks the hair just a little. People can get stressed, and as the person in charge, your job is to keep everyone relaxed and keep the shoot rolling.

You are part teacher, part parent, part best friend to everyone on the shoot. Just be mindful of everyone’s feelings and try your best.

Now, this may not be your strong suit. You may agree that someone else takes needs to take the lead, but you do need to make sure someone is in charge of final decisions. Otherwise, the little issues can end up in an argument, and everything will go downhill from there.

One of the key things you need to do is get everyone’s details. You need a list of all suppliers, all their social media links, all websites, etc. because everyone who worked on the project should get be credited with any use of the images. Be sure that everyone agrees to this before they use the images.

A model in a bridal dress looks down, showing her makeup.

This shot was solely for the makeup artist. Making a list of shots people want before the shoot is always helpful, especially when you’re starting out.

On the day

Hopefully, everyone turns up at the right time and the right location. Depending on your shoot, you may have all of the suppliers stay for the whole shoot or just a few of them. Obviously, it can be nerve-racking shooting with people around (especially when starting out), but it is something you need to get used to.

Remember, you are the expert (even if you don’t feel like it), and you will create images that everyone loves. Think positively, act positively, and believe in yourself. As a pessimistic introvert, I find this hard, but there is no alternative. Be charming, polite, helpful, and try not to let any panic show.

Once on the shoot, you need to work smoothly. You may be panicking, and the camera may be having a meltdown. Internalize it! No matter what happens, you need to come across with an air of calm and show that everything is fine. Even if you are not the person taking charge of the shoot, as the photographer, you are the person who is in charge of the final product.

Before you shoot, take your time and make sure you are happy with the lighting, etc. Lastly, make sure that you check the details. There is nothing worse than realizing somebody left a plastic bag in the background of the shot that you didn’t notice. Just check carefully and try not to get carried away.

Whilst I would not advise showing every shot to those on the shoot, I would advise to show them some that you nail. Especially early on. By doing this, it shows everyone you have got some great images, and it will relax everyone, yet make them work harder. Always check with the model too. Make sure they are happy with the photos. They may notice some things that you miss. They also tend to relax when they see the first photo of the shoot they like.

A public location can cause problems. Just out of shot are a couple of hecklers. On the plus side, the model did get a couple of marriage proposals.

After the event

Get the images to everyone for picks as soon as you can after the shoot. It is tempting to put all images up and let people choose, but if you are not careful, you can end up with people all choosing different shots and leaving you with a mammoth editing job.

Really trim the images down. I aim for around 40 maximum from a styled shoot. This way, I put out images that I love. If you add images you are not sure about, someone will choose it as a favorite, and you will regret adding it to the initial edit.

From here, get everyone to make some selections. The key is to ask people to choose 3-5 each that they love. That way, you are not left with a massive editing job. If you tell everyone to pick as many as they wish, you will generally end up having to edit about 90% of the images you show them.

When it comes to editing, start with the ones that multiple people have chosen, then work your way through the rest. Again, the key here is letting everyone know where you are up to.

Try to get a few out straight away, but if life or work stops you from being able to edit the rest quickly, just let everyone know. They will be understanding. But if you don’t let them know, they will begin to wonder. Communication is key in a styled photo shoot, from the first conversation to the delivery of the last image.

When you share images, make sure you credit everyone. Make sure you do exactly what you said you would and make sure that you check everyone is happy. That way, it leaves a good lasting impression, which is what you want.

What do you get?

There is a lot of time, effort, and occasional headaches involved in a styled photo shoot. Is it worth it? Yes.

The aim of this is to spread your name. If the dress shop has an appointment the next day, they may strike up a conversation about photography. If they do, they will likely speak of you. If you do a good job, your name will be the first one that comes up whenever they discuss photographers.

You will be seen on several companies’ social media, which again can turn into followers and customers.

Most importantly, you are putting your name out there as someone who takes great photos, is great to work with and you are widening your network. It may not count as money in the bank straight away, but it will eventually.

The more people who know your name, the more people will speak it. The more who speak it, the better known you become. Add in the fact that they will speak of you in high regard (if you delivered on the shoot), and you have a recipe for success.

Have you worked on styled photo shoots with others? What was your experience? Share with us in the comments section below.

The post Styled Photo Shoots with Suppliers: How, Why and What You Get appeared first on Digital Photography School. It was authored by Carl Spring.

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