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Pros an Cons of Shooting Alone Versus Being a Group Photographer?

06 Mar

An age-old question in life, not just photography, is are you a pack animal or a lone ranger? Everyone reading this will have their own answer to this question, it’s not even a black and white answer. In this article, the question posed is whether you shoot alone or are more of a group photographer?

Let’s take a look at the two different approaches to doing photography, and then compare them to see which one is better. Whether one is better is really just subjective, but depending on your favored form of photography you’ll certainly have a preference.

Do you Shoot Alone or are you More of a Group Photographer?

Joining other photographers is great, although they sometimes get in your shot!

Photographing solo

The preference for many photographers is to photograph alone. There are a lot of good reasons why this is best, so let’s take a look at a few of them:

  • Get into the zone – To achieve the best photos, being distracted by others is rarely a recipe for success. Photographers will often get into a zone where a heightened sense of the environment around them will lead to better photos.
  • Set your own schedule – When you visit a place, and how long you spend there are very important factors in photography. Whether you’re a street photographer waiting for that perfect moment, or a landscape shooter photographing blue hour, the schedule matters.
  • Choose where to visit – Equally important, and related to the point above is where you choose to visit and shoot. Even if you travel with a fellow photographer, they may well want to visit a different place to suit their style of photography. Shooting alone allows you to be totally focused on your goal.
Do you Shoot Alone or are you More of a Group Photographer?

Photographing alone is the favored choice of many photographers, it helps you get more in the zone.

  • Get your own angle – There will never be another photographer standing in the way of your composition when you photograph alone. Equally, you don’t need to worry about getting in the way of someone else, or getting to the best angle second.
  • Curate your own photo –  Those who do portrait photography will know that creative control of the pose and position of your model are key. As is forming a close working relationship with your model. When photographing without other photographers these things are easier to achieve.
  • Learn from your own mistakes – You’ll make mistakes along the way, even those with experience do. It might mean adding to your knowledge after you have made your mistake, but the next time you photograph this self-improvement will take you up a level.
Do you Shoot Alone or are you More of a Group Photographer?

The chance to work one to one with a model means you can work on your own concepts and ideas.

Photographing with a group

Of course, sharing your photography with others has some drawbacks, but there are also a lot of positives to photographing with other people. So whether you’re a solo or group photographer take a look at this list, and decide for yourself if you can benefit from joining a group, even if only occasionally.

  • Share your experience – The act of exploring and seeing a new place is often more pleasurable when you have company. You may even be able to model for each other if the location would be better enhanced with a person in the scene.
  • Pool your resources – Photography can be expensive when it comes to equipment, model hire, and location rental. These costs can be cut considerably by joining forces with other photographers.
  • Share knowledge – One of the very best ways to learn about photography is from other photographers, that’s why you’re here right? Whether you’re experienced or new to photography you’ll find everyone can offer advice or tips that could improve your work.
Do you Shoot Alone or are you More of a Group Photographer?

Joining a group of photographer allows you to dip into their pool of knowledge.

  • Safety – Carrying an expensive piece of camera gear? Heading out late at night for some photography? Having a few people with you when you photograph makes it a lot safer.
  • Collaborations – To create a group project, you need a group! So getting to know some fellow photographers will facilitate this. Likewise, photographing a model often takes more than one person, sharing duties to hold the light stand helps a lot.
  • Share your photos – Groups of photographers often share their work either each other. Sharing your photos is a great way to improve your photography, as you often get feedback on the photos you have shared.
Do you Shoot Alone or are you More of a Group Photographer?

This group of photographers was on a photo walk which I organized.

Do you Shoot Alone or are you More of a Group Photographer?

This is a photo taken on that photo walk, it was later shared with the participants through social media.

Being a solo or group photographer, which is best?

There are lots of pros and cons for shooting alone or with a group of photographers. The best answer is to make time to do both. Join a group perhaps once a week, and photograph by yourself on other occasions.

The genre of photography you do will also have a big impact on your choice, portrait photographers using strobes often need a team. On the other hand, if you’re a landscape or street photographer photographing alone may be best.

There is a middle solution though. The group doesn’t have to be large, perhaps only two or three. When all the photographers share the same interest, it can be just like photographing alone, only you have a group.

Do you Shoot Alone or are you More of a Group Photographer?

Are you a solo or group photographer? Why not be both? My friend and fellow dPS writer Pete DeMarco is someone with whom I’ve often photographed. We allowed each other enough space to photograph “alone” but then meet later after we’re done shooting.

Do you Shoot Alone or are you More of a Group Photographer?

Myself and Pete enjoy taking cityscape photos, so meeting up to do the same style of photography makes sense.

What kind of group should you join?

There are plenty of types of groups that you can join if you’re interested in meeting some new people. Not all of them even require you to meet other photographers in person, we do after all live in a digital global age. So let’s take a look at a few possibilities.

  • Attend a photo walk – These are often one-off events and can involve large crowds. They’re great for meeting a lot of new faces, not always so good for taking the best photo. A very well known event like this is Scott Kelby’s worldwide photo walk, held once a year. An alternative idea to a photo walk is a potluck photography party, why not try it out?
Do you Shoot Alone or are you More of a Group Photographer?

This steel wool fire spinning photography event was organized by a photography club.

  • Join a photo club – A great way to meet other photographers on a regular basis, and therefore learn from them. Groups like this often organize photography outings or perhaps hire a model for the club members to work with and photograph.
  • Online communities – In reading and participating with this website you are part of a photography community. Even though not in person, participating online is a great way to gain knowledge. There is always the possibility of travel as well, you can meet people on a trip perhaps.
  • Take part in a workshop – Meeting other photographers on a workshop is a great way to socialize, and learn at the same time.
Do you Shoot Alone or are you More of a Group Photographer?

Joining a group of photographer allows you to share the cost of hiring a model. It also means you lose control of pose and position. You also need to avoid getting into each other’s photos.

Are you a solo or a group photographer?

So which kind of photographer are you? A solo or a group photographer? Are there any other reasons why you like to photograph alone, or in a group?

If you photograph alone, why not reach out to a group and become part of a community. Although it’s nice to photograph alone, there is a raft of benefits to joining up with others. You’ll likely make some new friends, the type you can form a close friendship with through a shared interest.

The post Pros an Cons of Shooting Alone Versus Being a Group Photographer? by Simon Bond appeared first on Digital Photography School.


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RAW Versus JPEG – Which one is right for you and why?

04 Mar

Most cameras today can shoot pictures in one of two main formats: RAW versus JPEG. The debate about which format to use is as old as digital photography itself and the internet is rife with articles, blogs, videos, and seminars illustrating the differences between the formats as well as opinions regarding which one to use.

Ultimately the question of which is the correct choice becomes steeped in subjectivity. There is no single objective correct answer, which is a lesson I learned over the course of many years. Instead of asking which option is right, the real question should be which option is right for you.

RAW Versus JPEG - Which one to use and why?

Straight-out-of-camera JPEG file.

Differentiating between the formats

Understanding the difference between RAW and JPEG file formats is a bit tricky since both appear somewhat similar at first glance. Afterall, when you load either file type into Lightroom or another photo editor you see pretty much the same thing.

However, when you take a picture in RAW you are saving as much data as your camera sensor can possibly collect. Whereas a JPEG file discards some of the data in favor of creating an image that takes up less space on your memory card and is easy to share. With RAW files you gain a huge amount of flexibility in terms of editing the file, and a lot of photographers prefer this as a way to get the most out of their images.

RAW is somewhat comparable to analog film in that RAW files can be manipulated, massaged, and modified to bring to life details from dark areas, recover crystal-clear clouds from what you thought was an overexposed skyline, and improve images dramatically in almost every way.

JPEG files don’t offer nearly as much flexibility, but they do have some significant advantages in their own right. The most notable of which is a much smaller file size and ease of sharing, since JPEG files don’t need to be converted in a program like Lightroom, Photoshop, Luminar, etc.

RAW Versus JPEG - Which one to use and why?

It wasn’t RAW or JEPG that helped me get this photo. It was an understanding, developed from years of practice, of how light, aperture, focal length, and other parameters can be manipulated to create a compelling image.

The important thing to note is that neither format is inherently better than the other and each has its uses. To illustrate what I mean I’m going to share a bit from my own experience.

Starting from scratch

My own journey through the RAW versus JPEG continuum started shortly after I got serious about digital photography many years ago, in a manner not dissimilar from many photographers. When I got my first DSLR I didn’t know anything about RAW and instead fiddled with different JPEG settings in order to find a balance of quality and quantity.

I eventually settled on the Medium size and Medium compression so as to make sure I could take well over 4000 images before running out of space on my memory card. I had heard about the RAW setting but ignored it since it would only let me fit a couple hundred shots on my memory card which seemed silly compared to several thousand.

RAW Versus JPEG - Which one to use and why?

As months went by, I became intrigued with the flexibility offered by the RAW format despite the larger size of each image file. I learned to edit my pictures in Lightroom by changing White Balance, boosting the shadows, editing color filters in the black and white mode, and even applying Radial and Gradient filters.

I soon realized that the trade-off in file size was worth it because I could do so much more with my images in post-production. “Who wouldn’t want to shoot in RAW?” I asked myself. I also often engaged other aspiring photographers in the discussion of shooting RAW versus JPEG while believing that RAW was clearly the superior format.

RAW Versus JPEG - Which one is right for you and why?

Original picture, shot in RAW format.

RAW Versus JPEG - Which one is right for you and why?

Finished version after some editing in Lightroom. If the original was shot in JPG I never would have been able to get a final result like this.

It didn’t take much longer until I was shooting everything in RAW. My kids eating breakfast, my family vacations, formal portrait sessions, random nature shots of animals and leaves…you name it, I shot it in RAW. Shooting in JPEG, I told myself, was for suckers who didn’t know any better!

Each time I loaded yet another round of my RAW files into Lightroom (while getting something to drink and finding a place to put my feet up while the initial previews loaded) I knew that no matter what the pictures looked like I had the absolute best photo quality money could buy.

I was enamored with the RAW workflow and editing flexibility. Shadows too dark? No problem, just lighten them with a few sliders. White Balance a little off? Sky looking a bit too gray? Spots from dust on the lens? Too much noise from shooting at ISO 12,800? All these worries could be erased with a few clicks and sliders, and my images would be instantly slowly transformed from adequate to awesome.

RAW Versus JPEG - Which one is right for you and why?

Cracks in the facade

As the years went on I found myself learning, growing, and changing as a photographer, but ironically enjoying the editing process less and less. I recall the distinct and overwhelming feeling of photographic oppression settling in as I returned home from family trips only to load my RAW files into Lightroom and be faced with hundreds of minor edits to make on each one before I was satisfied with the results.

To combat this I made a develop custom preset that contained basic adjustments such as highlight/shadows, sharpening, and clarity and applied that to every single one of my pictures upon import.

Weeks would often go by before I would be ready to share my pictures because I was stuck in the rut of meticulous editing. Even a simple birthday party for my son’s friend turned into a month-long wait because I didn’t want to share any pictures unless they were adjusted to perfection. With a family and a full-time job, the act of tweaking my images became more of a burden than an enjoyment.

RAW Versus JPEG - Which one is right for you and why?

I did not like the idea of tweaking hundreds of RAW files just to enjoy pictures of my family.

What I came to realize after years of doing this was that I simply wasn’t interested in reaping the benefits of shooting RAW for my own personal photography. For client work, I continued to shoot RAW in order to make sure the end results were as good as they could possibly be.

But for nearly all of my own personal pictures, I got to a mental state where I simply didn’t care about editing each and every single picture. Occasionally I would make some cropping adjustments, but I realized I was pretty happy with the results I was getting straight out of my camera.

I didn’t dare shoot in JPEG though because Real Photographers Shoot RAW…or so I thought. I didn’t want to admit that RAW wasn’t really doing much for me, and I thought shooting JPEG was tantamount to admitting I didn’t know what I was doing. That I couldn’t handle the ropes of what it meant to be a true photographer, a true artist.

A revelation occurs

This state of confusion and self-doubt continued until late 2017 when I came across this video from Tony Northup.

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Watching that was somewhat of a revelation and helped me realize that I wasn’t any less of a photographer if I shot in anything but the RAW format. While there’s certainly something to be said for capturing images in the highest possible quality, there is also something to be said for speed and convenience – both areas in which JPEG excels.

What I have realized as I looked back over my images from the past several years is that I’ve gotten significantly better at the aspects of photography that shooting in RAW can’t fix at all. I’ve learned about composition, lighting, capturing emotions, when to shoot, how to ask for permission from strangers, and even how to share images online in a more effective manner.

I have learned to put my camera down and enjoy the moment, and I’ve learned that not everything in life needs to be photographed ad infinitum. RAW can’t help if my kids are out of focus or if my angles are bad, and I’ve learned to pay better attention to my light meter and exposure settings so I don’t need to recover highlights and shadows in post-production like I did when I started out.

RAW Versus JPEG - Which one is right for you and why?

Straight-out-of-camera JPEG.

Permission to be imperfect

More importantly, I have come to a place as a photographer where I don’t need each and every one of my pictures to be perfect. When I look through photo albums from when I was a kid almost none of the images are ideal. Many are a little under or over-exposed, the framing isn’t always right, and there’s plenty of red-eye issues that could use fixing thanks to my dad’s copious use of his external flash. But it’s the emotions, the feelings, the memories, and the people in those images that really matter the most to me.

When I scroll through images from 15 years ago when all my wife and I had was a cheesy little pocket camera, I don’t care that most of them are low-res JPEG files. It’s what’s in the pictures that matter, and nowadays I’d rather spend my time capturing good photos than editing my RAW files.

RAW Versus JPEG - Which one is right for you and why?

A photo of my friends and I on a high school trip to Disney World in 1997. It may not be perfect but I don’t need it to be. It’s the people and the memories I care about, not whether it was shot in RAW or JPEG. (Spoiler: it was shot on film!)

Enabling the JPEG option on my camera has felt like a breath of fresh air, and I’m back to enjoying photography in a way I haven’t done in years. I’m experimenting with my Fuji camera’s built-in ACROS and Classic Chrome film simulations, and I’ve even created what basically amounts to a Lightroom preset in my camera by adding some highlight/shadow/sharpening adjustments using the various menu options. It’s great fun, requires no extra Lightroom editing, and I’m back to enjoying photography the way I used to so many years ago.

Choose both

Above all else, it’s important to understand that shooting in RAW versus JPEG does not have to be a strict dichotomy. It’s taken many years, but I now feel comfortable knowing when to use RAW, when to use JPEG, and understanding the benefits and drawbacks of each. Even though I mostly shoot JPEG for casual snapshots I’ll occasionally switch over to RAW if I think the situation demands it.

RAW Versus JPEG - Which one is right for you and why?

I chose to use RAW instead of JPEG for this snapshot because I knew I would have to deal with some bright highlights and dark shadows, and I’d be able to finesse the image in Lightroom to get it how I wanted if I shot RAW.

Finding a solution that works for you

The reason there is no answer to the question of whether to use RAW or JPEG is that every photographer must figure out his or her own approach. For me, shooting JPG is just fine in most situations. One could argue that I’m not getting as much out of my images as I could be, and perhaps that is indeed true.

But if using RAW causes me to dread the process of editing and abate my photography altogether then I would say shooting RAW actually results in me getting less out of my photos than I could be if I were using JPEG.

RAW Versus JPEG - Which one is right for you and why?

When doing formal sessions for clients I always use RAW even if I think I might not need it. It’s a safety net that has come in handy far too often.

Conclusion

I should also note that many cameras can offer the best of both worlds by letting you shoot in RAW+JPEG mode. If you like the JPEG file, great! And if not, you have the RAW file which you can edit to your heart’s content. If you’re on the fence this might be an option to consider, but beware that it will fill up your memory cards much faster than you might realize.

As I close I want to offer one final piece of advice, or rather, reiterate a point I hinted at earlier. Don’t let anyone tell you that your method, approach or viewpoint is not valid. If you like RAW, great! Go ahead and use it. If you prefer JPEG, you are no less of a photographer than someone who swears by RAW.

I would recommend learning as much as you can and experimenting with available options so you can make an informed decision. But at the end of the day, if you like the results you’re getting from your approach then, by all means, go ahead and do it. Now stop reading, get off the internet, pick up your camera, and go out to take some photos!

The post RAW Versus JPEG – Which one is right for you and why? by Simon Ringsmuth appeared first on Digital Photography School.


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Fujifilm X-H1 versus X-T2: what does the new camera bring?

24 Feb

Introduction

The Fujifilm X-H1 sits at the top of the company’s APS-C lineup, lifting expectations and capabilities beyond what was offered by the X-T2 that previously held the position.

The price and feature set, as much as Fujifilm’s claims, make clear that it’s an additional model, rather than a replacement. So just what’s changed? What’s been added and who does the new model make sense for?

Video

The X-T2 offers 4K video, but the X-H1 takes things to a different level.

Virtually every aspect of the X-H1’s video feature set is upgraded compared to the X-T2. Thanks to its larger internal volume it can shoot 4K for longer (15 mins compared to 10), and while the two cameras both impose a modest 1.17X crop, the X-H1 boasts a maximum bitrate of 200Mbps and the option to shoot F-Log internally.

The X-H1’s new ‘Eterna’ film simulation preset is intended to provide a quick and easy way to shoot gradeable, wide dynamic range video footage. For the first time, you can apply dynamic range ‘DR’ expansion settings in video mode on the X-H1, too. When combined with the DR400%, setting, footage shot using the Eterna preset, Fujifilm says it should deliver a total of 12EV of dynamic range.

Video

Less obvious improvements, but equally significant to serious videographers include a video-specific shutter speed of 1/48sec, which will give a 360, 180 and 90 degree shutter angle for 24, 30 and 60p footage. If you don’t know what that means, don’t worry about it. But if you do, you’ll appreciate it. Likewise support for time code display, and silent touch operation, which enables exposure control via the rear touch-screen.

Missing are any kind of exposure warnings, which (we’re told) would put too much stress on the X-H1’s processor.

Revamped AF system

While it uses the same 24MP APS-C X-Trans sensor as the X-T2, the X-H1’s on-sensor phase-detection autofocus system has been seriously upgraded. The most obvious improvements are to low-light sensitivity and focus tracking. The X-H1 can now focus down to -1EV (compared to the X-T2’s limit of 0.5EV) and phase-detection AF should work even at effective apertures as small as F11 – i.e. when shooting at the long end of the XF100-400mm F4.5-5.6 zoom, when combined with a 2X tele-converter.

In terms of tracking, Fujifilm quotes a substantial increase in autofocus hit-rate when faced with low contrast subjects and more reliable tracking during continuous bursts of images. Unlike the X-T2, the X-H1 can also continuously focus while zooming. Both the X-T2 and X-H1’s autofocus systems look for horizontal, vertical and high-frequency detail, but whereas in the X-T2, this information is processed in series, the X-H1’s AF system benefits from parallel data processing. Quite how Fujifilm has managed this without upgrading the X-H1’s processor (which is the same as the one used in the X-T2) is a mystery to us, but it’s impressive.

New body design

In terms of its external appearance, the X-H1 looks like a mid-point between the X-T2 and the medium-format GFX 50S. And in a sense (apart from the APS-C sensor) that’s exactly what it is. Fuji intends the X-H1 to be more ‘friendly’ to DSLR users, hence the larger grip and top-plate mounted LCD. The LCD squeezed out the traditional Fujifilm exposure compensation dial, but exposure compensation (if applied) is permanently displayed on the LCD, even when the X-H1 is turned off.

Bigger, heavier, tougher

The X-H1 is a bigger camera than the X-T2 (140 x 97 x 86mm versus 132 x 92 x 49mm) and substantially heavier (673g versus 507g – with a card and battery). The magnesium-alloy body shell of the X-H1 is 25% thicker than the X-T2, too. It’s also more scratch-resistant, and substantially stronger. As well as being physically stronger, the X-H1’s body is well sealed against the elements, with 68 seals around body seams and control points.

Quiet mechanical shutter

The X-H1’s shutter has been redesigned to offer a damped mechanical shutter mode, and electronic first-curtain (EFC) to reduce any risk of shutter shock.

The other advantage is that this makes the shutter itself quieter. In use, both the X-T2 and X-H1 are pretty discreet cameras, but the X-H1 definitely has the edge in situations where the click of a shutter would be unwelcome.

Improved EVF

The X-T2’s electronic viewfinder is excellent, and the X-H1’s EVF is even better. It’s fractionally smaller than the X-T2’s finder (0.75X magnification compared to 0.77X) but brighter, and it offers a higher resolution of 3.69 million dots (compared to 2.36 million). A subtle but welcome improvement is the increased responsiveness of the eye-sensor, too. The X-H1’s eye sensor can react in as little as 0.15sec, when your eye is raised to the finder (compared to the X-T2’s 0.4sec).

Touch-sensitive rear LCD

The X-H1 features the same articulating 1.04 million-dot rear LCD as the X-T2, but it’s touch-sensitive, allowing you to do all kinds of things, including place your desired AF point by touch, and quickly review and zoom into captured images with a fingertip.

The touchscreen also enables the X-H1’s silent movie shooting operation, which is intended to avoid the vibration and potential for operational noise associated with mechanical click dials and buttons.

In-body stabilization

Despite claiming in the past that it couldn’t be done, Fujifilm has added a 5-axis in-body stabilization system to the X-H1. In general, Fujifilm’s faster primes – without OI.S. – should offer slightly better stabilization as a result of their larger imaging circle, but ~5EV of correction will be achievable with almost all XF lenses. The X-H1’s IBIS also works in video mode, which makes it more useful for ‘run and gun’ shooting, for example with the company’s excellent new MKX cine zooms.

Flickr reduction

New in the X-series is flicker reduction for stills shooting. We’ve seen this function before in high-end DSLRs, and it works very similarly here: analyzing the fluctuation in brightness of certain artificial light-sources and timing exposure for the peak brightness. This avoids constantly fluctuating brightness when images shot in the same continuous burst. Continuous shooting speed is capped at 7fps in this mode with electronic first-curtain shutter, and 5.5fps with conventional mechanical shutter.

Most useful when shooting indoor sports, flicker reduction is another feature that either you need it or you don’t, but if you do, you really do.

Dynamic Range Priority mode

Fujifilm has been putting ‘DR’ dynamic range expansion settings in its mirrorless and compact cameras for years, but the X-H1 expands on this (no pun intended) with a ‘Dynamic Range Priority’ mode.

This has two settings: weak and strong, which use the camera’s existing DR modes in combination with flattening of the highlight and shadow ends of the tone curve. This gives a flatter, wider DR version of DR200 and DR400% modes, respectively. There’s also an ‘Auto’ setting that selects which level to apply.

Bluetooth + Wi-Fi

As well as built-in Wi-Fi, the X-H1 also includes low energy Bluetooth (BLE) for full-time connection to a smart device. This can either be used to auto-transfer all the images to your smartphone (either at full resolution or as 3MP downsized versions), when you turn the camera off.

Alternatively the Bluetooth connection should make it faster to reconnect the Wi-Fi if you want to choose which files to send.

Same sized battery

The X-H1 has been beefed-up in many respects, compared to the X-T2, but it still features the same battery. In one sense this is great news for X-T2 owners who might be thinking about upgrading to the X-H1, or adding one to their kit. However, the additional demands of the IS system sees the battery life take a small hit, compared to the older model. The X-H1’s CIPA rated battery life is 310 exposures per charge, compared to 340 from the X-T2.

Overall

The additional video features mean the X-H1 has even greater appeal to stills/video shooters than the already capable X-T2. However, the in-body image stabilization is in itself going to make the X-H1 look more attractive to some stills-only shooters.

As we’ve already seen in the comments, the increased size of the X-H1 is somewhat divisive. There are certainly ergonomic benefits to the larger grip but does mean the camera as a whole is substantially larger than previous X-series models. That said, Fujifilm’s range of APS-C specific lenses mean the combination of lens and camera is still smaller than the (often more basic) full frame models available around the same price.

Articles: Digital Photography Review (dpreview.com)

 
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Photography Equipment Comparisons – Entry-Level Versus High-End Gear Does it Matter?

16 Feb

Photographers tend to get obsessed with having the latest, greatest toys. But does it matter which camera or bits of equipment you use? If so, how much? Or is it more about how you use it, and the skills you possess?

Let’s take a look at three video comparisons of some of the top level photography equipment available and some entry-level options.

Rich photographer – poor photographer

I like the play on words here, hinting at the concept of the “Rich Dad Poor Dad” series of books by Robert Kiyosaki. In the video, the guys over at f-stoppers do a portrait shoot with two different sets of lighting equipment. One which costs nearly $ 10,000, and the “poor man’s” version which will run you about $ 425.

Can you see a difference in the final portrait results? No, I can’t see much difference either.

$ 1100 versus $ 5499

In this second video, Peter McKinnon looks at the virtues of both the Canon 80D ($ 1099) and the Canon 1Dx Mark II (Note: at the time of writing, this camera is listed at $ 5499). Is the latter worth five times as much? You decide.

If you are a sports shooter, you may need the extra frames per second rate the 1DX offers. But if you’re a wildlife photographer you may prefer the extended reach of the crop sensor in the 80D. Portrait photography can be done with either, but you likely don’t need to spend the extra money on the 1DX if that’s what you shoot.

Note: when the video was made the 1DX was likely priced higher, so please note the difference in prices in the video to current pricing.

Camera shootout – it’s not about the gear

In this last video let’s see what happens if two professional photographers each pick up an entry-level Canon Rebel T3i and hand their Canon 5D Mark IV to an amateur. They do a little shootout with the same model, in the same lighting conditions and studio. Let’s see who comes out on top.

The Canon T3i is discontinued, the price for the current model, the T6 is $ 449 with the 18-55mm lens. The Canon 5D Mark IV  is $ 3299 + $ 1699 for the 35mm f/1.4 lens shown in the video = total $ 4998.

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Your thoughts?

So what are your thoughts after watching the videos? Have you made the decision to invest in high-end lenses or a full frame camera body? If so, have you found it to fill your needs better – was it worth it? Let’s discuss in the comments below.

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Adobe RGB Versus sRGB – Which Color Space Should You Be Using and Why

11 Feb

How frequently have you been to your camera settings to switch between Adobe RGB and sRGB color space? Are you even aware of what these terms mean, or what exactly is a color space? Even I was unaware of these technical terms until a few years back but I quickly realized their importance.

What is a color space?

A color space is a part of the color gamut, which is basically the universe of color tones. So you can assume different color spaces to be planets of different sizes. Out of many planets, Adobe RGB and sRGB are two most commonly used color spaces in photography.

Depending on your preferences, you can choose the desired color space and get the best possible result out of it.

Adobe RGB Versus sRGB - Which Color Space Should You Be Using and Why

By The original uploader was Cpesacreta at English Wikipedia [Attribution or CC BY 2.5], via Wikimedia Commons

What are Adobe RGB and sRGB color spaces?

Adobe RGB is a bigger color space than sRGB as it is comprised of many more variations of color tones. This is one of the reasons that Adobe RGB monitors are vastly used by photographers – they can display more colors as compared to an sRGB monitor.

Monitors and printers

Adobe RGB monitors are used by a majority of modern day printer operators as well because they are capable of showing what a CMYK (cyan magenta yellow and key or black) printer color profile can produce. This helps the printer operator to ensure that colors that are being displayed on the Adobe RGB monitor shall be very close to the print that comes out of the CMYK color space printer (used for magazines and publications).

So being a photographer it makes sense that you use an Adobe RGB monitor so that you can edit your photos and see the actual colors that will come out in the prints.

Whereas, if you are sure that you will not get your photos printed in the near future then it does not make any sense to use an Adobe RGB monitor. If you only take photos for yourself or to upload them to the web, then an sRGB monitor is ideal for your purposes.

Adobe RGB Versus sRGB - Which Color Space Should You Be Using and Why

Camera shooting color space

But in order to view the actual colors of Adobe RGB or sRGB color space on your monitor, you need to capture the photo in that particular color space in the first place.

Unless you capture a photo in the required color space, be it Adobe RGB or sRGB, you cannot use that photo to its full potential. Shooting photos in the larger Adobe RGB color space allow you to capture more color tones, thus helping you see accurate colors on Adobe RGB monitors and in the prints. Whereas clicking in sRGB color space allows you to upload images to the web without any change in colors.

While shooting in one of these two color spaces each has their own advantages, there are few disadvantages as well.

Adobe RGB Versus sRGB - Which Color Space Should You Be Using and Why

Setting your camera color space.

Advantages and Disadvantages of shooting in Adobe RGB

Advantages:

  1. You get to capture a wider range of color tones in your photos.
  2. This color space is capable of displaying color tones that come out of a CMYK printer, thus ideal color space if you print your photos.

Disadvantages:

  1. When you upload a photo captured in Adobe RGB color space on the web, the colors get desaturated (and can look “off”).
  2. Adobe RGB monitors are costly, so in order to edit Adobe RGB color space image, you need to invest a lot in a monitor.

NOTE: You can convert an Adobe RGB color profile image into sRGB color space using software such as Photoshop and Lightroom.

Adobe RGB Versus sRGB - Which Color Space Should You Be Using and Why

Left: While exporting photos in Lightroom, you get the option to choose the color space. Right: In Photoshop, you can go to Color Settings and select the required option as your working color space.

Advantages and Disadvantages of shooting in sRGB

Advantages:

  1. When you upload a photo shot in sRGB color space, the colors remain the same and do not get desaturated, unlike an Adobe RGB image.
  2. A majority of monitors in the world use the sRGB color space and are not that expensive, unlike Adobe RGB monitors. This ensures that the colors that you experience on your monitor would be almost the same on any other sRGB monitor.

Disadvantages:

  1. As the color tones in sRGB are less compared to Adobe RGB, you do not get accurate colors in your prints.
  2. If you submit your photos for photography contests, there are chances that those photos will be viewed on an Adobe RGB monitor. This might reduce your chances of winning as a photograph captured and edited in Adobe RGB will look more pleasing to the judges.

Conclusion

Adobe RGB or sRGB, which color space to choose while shooting?

If you are a photographer who prints your photos often and you want to ensure that the colors are accurate in your prints, then you must shoot in Adobe RGB color space. Shooting photos in sRGB color space might give you a variation in colors that you see on your monitor and in the final prints. Also if you participate in online photography contests, it is safe to capture and edit photos in Adobe RGB color space.

But if you only capture photos to upload them on the web, then shooting in the sRGB color space is the ideal choice for you. If you upload Adobe RGB color space photos to the web, you will notice that colors get desaturated.

Adobe RGB Versus sRGB - Which Color Space Should You Be Using and Why

Left: This is how your photo gets desaturated when you upload Adobe RGB color space photo to the web. Right: When you upload sRGB color space photos, you get correct colors as seen here.

Nonetheless, to be on the safe side you can shoot photos in the Adobe RGB color space. If needed you can always use the file for prints, and if you wish to upload to the web then you can simply convert the color space using Adobe Photoshop or Lightroom.

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Aperture Versus Shutter Priority – Which Shooting Mode to Use and When

01 Feb

I too was once a beginner and I completely understand that how difficult it is to move into using Manual Mode directly from shooting Automatic. Thankfully camera manufacturers have also thoughtfully provided us with Aperture and Shutter Priority modes. These two camera shooting modes are possibly the best ways you can understand the nature and role of aperture and shutter speed.

Aperture and Shutter Priority are semi-automatic, or we can call them semi-manual camera modes. These two modes can help you get away from the fully automatic modes (P, Auto) and at the same time get you a step closer to using Manual Mode.

What is Aperture Priority Mode?

The Aperture Priority shooting mode allows you to take control of the aperture, whereas the shutter speed and ISO (if you are set on Auto-ISO) are still controlled by your camera. This means that you can adjust the amount of light entering into the camera through the lens. So using Aperture Priority you can set the aperture value as per your need and control the depth of field.

Aperture Versus Shutter Priority - Which Shooting Mode to Use and When

Unlike the automatic modes, this mode gives you the freedom to adjust the aperture value and set the amount of blur effect that you want in your photo.

When should you use the Aperture Priority Mode?

As we discussed, Aperture Priority mode allows you to control the aperture value, which ultimately affects the depth of field. This shooting mode is ideal if you wish to adjust the depth of field as per your desire, whereas leaving the shutter speed and ISO value selection up to the camera.

Situation 1: Portraits

While taking portrait or close-up shots, I am sure you would want to keep the subject in focus and blur out the background by choosing a large aperture (small aperture value). Using Aperture Priority Mode you can manually choose the required aperture value such as f/1.8 or f/2.8 to achieve a shallow depth of field.

Aperture Versus Shutter Priority - Which Shooting Mode to Use and When

Situation 2: Landscapes

While shooting landscapes or cityscapes, you might want to have both the foreground and the background very much in focus. This is only possible if you manually choose a small aperture (high aperture value). Aperture Priority Mode gives you the freedom to select desired aperture value such as f/16 or f/22 to get deep depth of field, while your camera takes care of the shutter speed and ISO value.

Situation 3: Low lighting

Suppose you are in a dim lighting condition and your photos are coming out underexposed. By increasing the size of the aperture opening (selecting a smaller aperture value like f/1.8), you can allow more light into the camera and capture a better-exposed photo. Read: 6 Tips for Getting Consistent Results Shooting in Low Light

Situation 4: Midday bright sunlight

If you are shooting in broad daylight and are getting overexposed photos while shooting in automatic mode, you can close the aperture opening. This means that by using a higher aperture number (like f/16), you can minimize the amount of light entering the camera through the lens.

Aperture Versus Shutter Priority - Which Shooting Mode to Use and When

What is Shutter Priority Mode?

As the name suggests, Shutter Priority mode allows you to take charge of the shutter speed. Just to brainstorm, shutter speed is the duration for which the camera shutter remains open for the light to enter the camera and ht the sensor. The slower the shutter speed is set on the camera, the more the light is received by the image sensor. Similarly, the faster the shutter speed the less light would hit the image sensor.

Aperture Versus Shutter Priority - Which shooting Mode to Use and When

While you are shooting in Shutter Priority mode, you have the freedom to adjust the shutter speed as per your requirement while the camera chooses the aperture and ISO value on its own.

When should you use Shutter Priority Mode?

As we just discussed, if you want to take full control of the shutter speed and experiment with your camera then this is the ideal camera mode. Let’s look at two situations when you are most likely to shoot in Shutter Priority mode.

Situation 1: Freeze a moving subject

If you want to freeze a fast moving bird, animal, or car in your photo, using Shutter Priority mode will allow you to do so by setting a fast shutter speed. A shutter speed of anything faster than 1/500th of a second is considered ideal for freezing an object, but this may vary depending on the speed of the subject. Your camera will judge the required aperture and ISO values as per the available light.

Situation 2: Showing movement

If you are out and planning to capture star trails, light trails, or blue hour photos, you would have to select a slow shutter speed so that the subject’s movement is well captured in the single photo. To capture long exposure photos, you must carry a tripod along to avoid any kind of shake.

Aperture Versus Shutter Priority - Which shooting Mode to Use and When

Situation 3: Dim lighting

If you are in dim lighting conditions you might get underexposed photos while shooting in automatic mode. By simply reducing the shutter speed (e.g. from 1/200th to 1/50th), you can allow more light into the camera and capture a well-exposed photo.

Note: Watch out for the shutter speed going too slow as to introduce camera shake into your image;

Situation 4: Broad daylight

Let’s suppose you are shooting in broad daylight and your camera is capturing overexposed photos while shooting in automatic mode. Here you can increase the shutter speed. This means that by using a faster shutter speed (e.g. from 1/200thh 1/1000th), you can minimize the amount of light entering the camera sensor.

Aperture Versus Shutter Priority - Which shooting Mode to Use and When

Conclusion

Using Aperture and Shutter Priority camera modes enables you to get familiar with how the lens’s aperture and the camera shutter works. These modes ensure that you get well-exposed photos with your desired selection of aperture value or shutter speed, unlike automatic mode (where the camera makes all the choices for you).

So if your utmost priority is to manually choose the desired aperture value in order to get a particular depth of field, then you must shoot in Aperture Priority Mode. Otherwise, if your priority is to choose a specific shutter speed to capture something creative with the available light (freeze or blur motion), then you must go with Shutter Priority camera mode.

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Portrait mode perspective: the iPhone X versus the Canon M100

22 Jan
With all the latest photo-centric smartphones including a form of Portrait mode, are interchangeable lens cameras still coming out on top?

It’s safe to say that Portrait mode, the artificial blurry-background generator on modern smartphones, isn’t going anywhere. And now that it’s here, it’s only going to get better. It’s an incredibly handy feature to have, and for the vast majority of users, is easily good enough that they may rethink the need to purchase a so-called ‘real’ camera in the future.

But ‘good enough’ is a subjective assessment. So, we set up a tripod and grabbed an accessible entry-level camera that’s specifically aimed at smartphone users, and did our own informal comparison. It turns out, though, that things aren’t all that simple.

The first comparison

We found through our informal exercise that the iPhone X’s built-in Portrait mode on its default camera app appears to roughly approximate the blur from shooting a 35mm F2.8 lens on an APS-C camera. In this case, we used the Canon EOS M100.

iPhone X in Portrait mode Canon EOS M100 w/ EF-S 35mm F2.8 @ F2.8

Unfortunately, the tripod needed adjustment of an inch or two to make sure the iPhone image and the Canon image ended up a broadly similar positioning of the subject in the frame (there may be some distortion or other corrective effects at work that we don’t have full insight into).

For this comparison, the iPhone X had HDR enabled in Portrait mode, and the M100 image was processed through Adobe Camera Raw using an adapted EF-S Macro 35mm F2.8 lens.

Apple also includes ‘lighting modes,’ so let’s see if that makes a difference in your preference.

The second comparison

iPhone X in Portrait mode with Contour Light Canon EOS M100 w/ EF-S 35mm F2.8 @ F2.8

Here, we re-processed the iPhone’s image to use the ‘Contour Light’ option. It gives the iPhone’s image a much more ‘purposed’ look to the light, almost as if there is an umbrella off-camera left, instead of just a window, while the Canon image looks the same, because, well, it doesn’t have ‘portrait lighting’ modes.

The third comparison

iPhone X in Portrait mode, Focos app set to F1.4 iPhone X in Portrait mode, Focos app set to F20 Canon EOS M100 w/ EF-S 35mm F2.8 @ F2.8

Lastly, there’s a free app called ‘Focos’ that allows you further tweaks on images taken in Portrait mode. You can even specify the level of blur you want, measured in approximate f-number. Here, we see the two ends of the spectrum currently included in the app, from ‘F1.4’ to ‘F20.’

What’s the big deal?

We’re approaching a time of reckoning for traditional camera manufacturers. Not only are computational cameras getting better, but they’re increasingly in people’s pockets, at the ready whenever they’re needed.

There are, of course, aspects of traditional cameras that phones can’t replace; the form factor, the controls, the feel of the thing. But those are increasingly diminishing requirements for a broad range of photographers (especially since, as you well know, everyone these days is a photographer).

But to remain relevant, these sort of software ‘tricks’ are something that camera manufacturers are going to need to think more and more about. There may yet come a time when, finally, you don’t absolutely need a bigger sensor for better results. And it’s not necessarily a matter of ‘if,’ but a matter of ‘when.’

Articles: Digital Photography Review (dpreview.com)

 
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8 Tips for Rocking the Photography Equipment You Currently own Versus Buying New Gear

17 Jan

“I really don’t need any more photography equipment in my gear bag”, said no photographer ever!

We all know that is this far from the truth. Even if you have not voiced this thought out in the open, you have certainly thought it. Especially when you see a photographer that you admire rave about a certain piece of gear that they absolutely cannot live without.

We, photographers, get very upset when strangers compliment our gear over our skill. Yet we seem to fall into that same trap when we don’t quite get the shot we really want.-If only I had that fast lens, if only my camera could handle a low light situation, if only I had image stabilization on my lens, or if only I had a camera that takes more frames per second, etc., etc., etc.

Rocking the Photography Equipment You Currently own Versus Buying New Gear

Before you get ready to give up on the gear you have, I encourage you to look at your pictures with a critical eye and analyze if it is truly a gear limitation versus user error or inexperience. Now, I am not saying that the user is at fault in every situation. I will admit that in some situations gear is very important. For example, photographing a leopard chasing down its next meal or that sports car as it races around the track.

But in most cases, depending on your skill level AND the intended use of your pictures, you can get the shot with the equipment you already own. Here are some tips to help you.

#1 Perfect your composition skills

There are several different composition techniques that you can use to take your photographs from boring to interesting. Often just a small change can create a big impact. Are you finding yourself using the same center focused composition time and again? Try using the rule of thirds instead. Are you always photographing at eye level? Change your perspective and perhaps photograph from top-down or at a 45-degree angle.

Rocking the Photography Equipment You Currently own Versus Buying New Gear

A cloudy gloomy day in Vridhavan, India gave me the perfect opportunity to capture reflections on this relatively still river. I intentionally chose an off-center composition to add additional interest to this image.

#2 Take your camera everywhere

If you are really serious about improving your photography, one of the first things to do is to understand your gear. The best way to do that is to take lots of photos. Take your camera with you everywhere you go.

If you really want to improve your photography, you have to take lots and lots of photos. By taking lots of pictures, you will start to understand how to use your camera in different lighting conditions and what works and what doesn’t. You can only do this if you give yourself many different opportunities to photograph different subjects in different lighting situations.

Take this a step further by actually taking and using the gear you want to perfect. If you own a DSLR but find it too heavy or cumbersome, then perhaps it is time to buy a simple point and shoot or smaller mirrorless camera.

Rocking the Photography Equipment You Currently own Versus Buying New Gear - horse photos

I am always carrying my camera to the barn where my kids learn horse riding. There are so many interesting stories that unfold and the lighting is quite challenging especially during winter so it gives me a chance to practice difficult lighting techniques as well!

#3 Learn to read and analyze light effectively

One of the most important elements of photography is light and yet it is amazing how many photographers don’t understand this important concept. Also, not all light is equal.

Light changes during the day and different types of light can affect images differently. Morning light is different from afternoon light which is different from evening light (a.k.a golden hour) which is yet again different from blue hour. In order to really improve your photography, you must learn to distinguish these different types of lighting situations and how to effectively work in each situation.

Dark and Moody Lifestyle Equestrian Photos - Rocking the Photography Equipment You Currently own Versus Buying New Gear

I saw this image long before I even took the photo. Just something about the light filtering from the right, the catch light and even the color of the horse just made this one of my favorite equestrian photos of all times!

#4 Use a tripod

A tripod is a very useful tool for you as a photographer. It opens up new opportunities for creative photography like low light or night photography. You can experiment with the light at night to capture really beautiful images.

A tripod can let you capture sharp images of non-moving subjects and blur out moving subjects, creating very interesting photographs. You can take this a step further by using a remote trigger that will also enable you to take long exposure shots without fear of camera shake.

#5 Learn to photograph in manual mode

Your camera is a pretty sophisticated piece of machinery with a pre-programmed brain (shooting modes). These modes can be found on the top dial of your camera and are generally labeled as P (Program), M (Manual), Av/A (Aperture Priority), and Tv/S (Shutter priority), plus other automatic modes.

Manual mode (or M on most cameras) is much like using an old film SLR, when they didn’t have buttons that do it all for you. Being the only option, photographers were forced to learn to use their cameras in Manual. In doing so, they fully learned how their cameras worked. Once you know how to properly use your camera, it becomes much easier to spot where you’re going wrong and to fix it.

Semi-automatic modes are good for some situations but, once you know how to properly shoot in Manual, you’ll find there’s no need for them and you’ll get better results on your own. Manual mode also gives you the freedom to make mistakes, freedom to bend the “rules” of photography, and in turn, gives you the freedom to excel in your art.

Car in a foggy day along a ridge road - Rocking the Photography Equipment You Currently own Versus Buying New Gear

Manual mode on your camera gives you so much flexibility in terms of getting creative, photographing in different conditions and also allowing you to experiment with different techniques.

#6 Find great locations to photograph

Don’t just sit at home and expect great pictures to happen. Find local and state parks or perhaps even national parks that might be close to you (by close I mean within an acceptable driving distance) and look for potentially good spots for photography.

When shootig landscapes, you will have to envision your image to see what could look good and what may not. For example, a still lake is a great way to produce a mirrored image where the clouds, trees, and other objects are reflected on the lake. For portrait photography, drive around and see if you can find locations that will look good in the background.

The great thing about portrait photography is that a good background is often easy to find like a white wall, an old building, or an interesting fence. Use your imagination and you will soon be finding great spots all around you.

Custer State Park Outdoor Photos - Rocking the Photography Equipment You Currently own Versus Buying New Gear

#optoutside and I guarantee you will find amazing things to photography. Just being outside in nature changes our perspective and lifts the mood!

#7 Understand basic post-processing

Exposure or brightness, contrast, color balance, and tone/tint are some of the basic things you can fix in an image. There are many free post-processing software out there in the market that you can use to make basic adjustments to your image.

If you want to learn advanced editing techniques there are many options for you like Photoshop, Lightroom, Luminar, etc. Adobe has great creative editing programs that are subscription based (a fee every month). Maybe invest in these programs on a trial basis and see if they will suit your editing needs.

 Custer State Park sunset photo - Rocking the Photography Equipment You Currently own Versus Buying New Gear

I have a certain style of how I like my photos and I always look for elements that will work well with that style. I have a relatively easy hand in terms of editing my photos – minor adjustments in exposure, contrast, tonality and shadows/highlights and I am done. My preference is to keep the natural look and feel of my images intact – just my personal style of photography!

#8 Photograph in RAW

If you are still using JPEG for your pictures, it is about time to move to RAW. Most of the newer cameras today are capable of recording images in RAW format, so give it a try. A RAW image is called “raw” for a reason – it is an unprocessed image with a lot more colors to work with than a JPEG image.

It might not look great at the back of the camera when you take the photo but when you import it into your editing software, you have a lot more options to adjust to give it the look and feel you want. One caveat is that RAW  images do take up more space than JPEG, so you might have to invest in memory cards with more storage and a larger hard drive.

Custer State Park Paddle boarding in Lake Custer - Rocking the Photography Equipment You Currently own Versus Buying New Gear

When we visited this state park, there were a lot of wildfires that were burning in the neighboring areas, so the sky had this general pink glow all throughout! By photographing in raw and editing in post, I was able to retain the look as I remember seeing the park when we visited!

Conclusion

I hope these tips help you understand your existing gear a little bit better. Sure, you may have reached a point in your career where an upgrade is absolutely required and essential.

If not, rather than investing more money in gear that you may not be ready for, try to improve your craft with what you have and a little extra effort.

The post 8 Tips for Rocking the Photography Equipment You Currently own Versus Buying New Gear by Karthika Gupta appeared first on Digital Photography School.


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Not quite as good? Nikon D850 versus Nikon D5 subject tracking

01 Oct

Video: D850 versus D5 subject tracking

Photographer Matt Granger’s YouTube channel is chock-full of videos that run the gamut from fairly technical testing to fun challenges and prize giveaways. But we took particular notice when, last weekend, he pitted his new Nikon D850 against his Nikon D5 in terms of autofocus tracking. (What can we say; we’re nerds.)

But why even bother? After all, the D850 and D5 purportedly have the exact same autofocus hardware—performance should be virtually identical. In fact, in our conversations with Nikon, we were told that the D850 includes an additional processor to handle autofocus calculations, just like the D5; they also claimed this processor was omitted from the D500.

More importantly, we were told flat out to expect ‘D5 levels of performance’ from the D850.

So why is it that, during an early shoot with the D850, Granger said, “I felt like I was getting more [images] well-tracked with the D5 than I did with the D850.” Cue the tests in the video below:

Granger performed both low-light and daylight tests. In the former, his subject moved primarily in the X axis (read: across the frame); in the latter, his subject moved in all three dimensions. Both cameras were set to shoot at 7fps (the D850’s max), and shared all other settings as well.

In both instances, Granger concludes that the D850 is simply not as good at tracking moving subjects as the D5.

In the first low-light test, he notes some hesitation: the AF point occasionally lagged behind the subject before catching up (though at 3:00, where he says the D5 does not exhibit this behavior, it looks like the D5 also hesitates a bit, but perhaps not as severely).

We’ve been told to expect ‘D5 levels of performance’ from the D850’s autofocus system.

In the second test, the D850 really struggled to track the subject as she moved between shade and direct sun, seemingly performing better if the subject was initially acquired in bright light.

Of course, Granger concludes that this disparity isn’t really a reason to ignore the D850 or cancel that pre-order. In fact, there have been similar claims across the interwebz of autofocus performance disparities between previous Nikon cameras that are supposed to share the same AF system (the D810 and D4S for example—although we haven’t dug into those). But it’s definitely something worth testing further.

So, given our recent coverage and in-progress full-review, what does the DPReview staff make of all this?

Our experience so far

For white water kayaking, we found the D850’s 3D Tracking to perform very well indeed.

We’ve been shooting a lot with the Nikon D850 over the past couple of weeks, and as with just about any recent high-end Nikon camera, we find subject tracking to work very well. Even though the D850 comes with that excellent AF selection joystick, sometimes we find it preferable to let the camera do some of the work for us.

In particular, when shooting white water kayaking in Oregon, 3D Tracking performed admirably. That shouldn’t be too much of a surprise, though, considering these are fairly distinct subjects, particularly in terms of color, when compared with their surroundings.

As with Matt Granger, though, we’ve been surprised by some of our own experiences while shooting with the D850. With both the D5 and even the D500, we’ve become accustomed to being able to initiate 3D Tracking on a subject’s eye for a tight headshot, and have the camera track it remarkably well as either the camera or subject moves.

This sort of candid kid shot is a situation in which accurate 3D Tracking or Sony’s Eye AF both come in very handy.

With the D850 though, we’ve noticed it is more apt to be ‘jumpy,’ in that it will jump from our subject’s eye to another portion of their face. Further complicating our assessment of this sort of behavior is that it seems to be inconsistent—sometimes the D850 will track perfectly, other times it gets distracted by something else in the scene.

We also noticed some inconsistency in a situation where we’ve historically been able to rely solely on 3D Tracking, namely: motocross. With the D850, we were able to get a ton of keepers using 3D Tracking, but sometimes, when we looked through our bursts and found that one perfect moment, it would be slightly out of focus because the AF point had jumped from one part of the rider or motorcycle to another.

When we switched to a type of zone focusing called D25, we came away with a better hit rate, so long as we kept the zone over our subject (Note: you would expect this result from just about any camera with advanced autofocus).

3D Tracking on the left nailed focus in this instance, but D25 on the right nailed focus more reliably, more often.

So what’s next?

More photos. Lots more photos.

We’ll be doing our standard autofocus treatment on the D850, including our bicycle tests and our close-range, low-light autofocus evaluation. We’ll also be seeking out sporting events in the Seattle area to see if we can draw some parallels between our usual evaluations and real-world shooting situation performance.

We should also note that, in both Granger’s testing and our own experience, we haven’t yet been able to use Nikon’s new battery grip for the D850. For it to be as even a comparison as possible, we’ll be looking to add the grip and the much more powerful EN-EL18a battery if at all possible.

Only more time and more testing will tell if the D850 can truly stand up to the D5’s autofocus performance, though we should reinforce that D5-level subject tracking is an awfully lofty benchmark to reach for. In our experience, it’s a benchmark that has remained out of reach of any camera to date, and whether or not the D850 measures up will be revealed in our full review.

Articles: Digital Photography Review (dpreview.com)

 
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How to Understand Reflected Versus Incident Light and Get More Accurate Exposures

14 Sep

Do you ever get under or overexposed photos when you use your camera’s light meter? Do you get frustrated that even in auto-mode you can’t get the correct exposure? That’s because there are two different type of light to deal with when taking a photo.

When you make a photograph the light is your raw material, which is why it’s important to understand how it works. It’s a very broad topic to cover, so for this article, we are just going to focus on the difference between incident and reflective light because that’s the key to getting your exposure right.

Incident versus reflective light


We all know this difference in a very intuitive way; let me give you an everyday example: when there is a sunny day, do you wear white clothes or black ones? Easy! You wear white or at least light colors, but why? If the sun will be the same, why wouldn’t you wear dark colors? Because you know that dark colors absorb light and therefore you’ll feel the heat more than wearing white which will reflect more light and keep you fresher. This is the same principle you need to apply when measuring the light for photography.

The difference explained

Diagram How to Understand Reflected Versus Incident Light and Get More Accurate Exposures

Incident light is that which is illuminating your scene. It falls on the subject before being altered (reflected) by it which is why it’s also a more accurate light reading.

When light hits objects it gets transformed by them and reflected out; this is what we perceive and what the camera captures and reads. This is called reflective light.

Light metering

Let’s see how these two concepts apply to light metering and exposure when you take a photo. In the next examples, I always used the same light for each.

In this first shot, I metered the light once I had framed the image I wanted, so it gave me a reading making an average of the reflective light.

General Reading - How to Understand Reflected Versus Incident Light and Get More Accurate Exposures

The settings were ISO 400, f/5.6, with a shutter speed of 1/80th.

And the resulting photograph looked like this:

General Reading Result - How to Understand Reflected Versus Incident Light and Get More Accurate Exposures

Reflected light from a dark subject

However, like we said when talking about clothes, dark objects absorb light. So if I make the reading by measuring the black part of the photo, the settings that were “correct” before, now appear to be underexposed.

Black Reading - How to Understand Reflected Versus Incident Light and Get More Accurate Exposures

Even if the lighting is always the same, your camera thinks there is less. As a result, your photos will be overexposed.

Black Reading Result - How to Understand Reflected Versus Incident Light and Get More Accurate Exposures

Exposure: ISO 400, f/5.6, shutter speed 1/13th.

Reflected light from a light subject

On the other hand, light objects reflect most of the light, so your camera will receive the message that it needs to reduce the exposure if you meter off something light.

White Reading - How to Understand Reflected Versus Incident Light and Get More Accurate Exposures

And as a result, you will end up with underexposed images.

White Reading Result - How to Understand Reflected Versus Incident Light and Get More Accurate Exposures

Exposure: ISO 400, f/5.6, shutter speed 1/200th.

None of these three readings gave you the correct exposure on your image because none of them were about the incident light. In order to get this accurate reading, you need to use a handheld external light meter, which can be very expensive. Fortunately, there are other ways to get the right exposure without having to spend a fortune.

Black and white… and gray

Back in the 1930s, a photographer called Ansel Adams developed a technique for the optimal exposure of photographs by dividing the degrees from light to dark into 11 zones, therefore it’s called the zone system. Everything in the world has a color and lightness that correspond to a zone. All light meters, including the one integrated into your camera, are designed to give you the middle zone: Gray V that reflects 18% of the light. So, what you need in order to have a correct exposure is to measure the light reflecting off of this tone.

Gray card Reading - How to Understand Reflected Versus Incident Light and Get More Accurate Exposures

You’ll find gray cards on the market which are used to calibrate your exposure and white balance. They are a very practical and economical way to turn the reading of your reflective light into an incident light accuracy.

It is also very easy to use, you just have to put one in front of your subject and frame it with your camera. Once that’s the only thing in your shot, press the shutter button halfway to see the light meter and adjust your exposure accordingly. With those settings, you can have the perfect exposure regardless of the tones in your image.

Grey cardReading Result - How to Understand Reflected Versus Incident Light and Get More Accurate Exposures

Exposure: ISO 400, f/5.6, shutter speed 1/30th.

Real world examples

I know what you’re thinking, that was an unreal example because most of your photos will have much more colors than just black, white and gray V. That’s true, but the principle remains the same. Look at these real life examples:

Bridge Reflective - How to Understand Reflected Versus Incident Light and Get More Accurate Exposures

Reflective reading with an exposure of ISO 400, f/5.6, shutter speed 1/80th.

Compared to the incident reading:

Bridge Incident - How to Understand Reflected Versus Incident Light and Get More Accurate Exposures

Incident reading with an exposure of ISO 400, f/5.6, shutter speed 1/320th.


How to improvise!

What if you don’t want to be carrying around a gray card? Or did the perfect image catch you unprepared? No problem, everything in the visual world has its equivalent in the zone system.

For example, grass or wet cement correspond to the gray V zone so you can always look for elements like that in your photo and you will get a very accurate reading from them.

Take this composition of candle holders. When they are all white the photo is dark, sad and shows all the imperfections of the backdrop because it’s underexposed. However, when I add a gray candle holder and measure the light in it, the exposure is perfect.

Candleholders Reflective

Exposure: ISO 1250, f/11, shutter speed 1/125th.

Candleholders Incident

Exposure: ISO 1600, f/8, shutter speed 1/125th.

Tip: So that you are never caught off guard, you can measure the palm of your hand and figure out how much lighter or darker it is than the gray card, that way you will always have the perfect reading “at hand”.

Things to remember:

  • Get close enough to the gray object so that it’s the only thing you see through the lens, or at least the majority of it, and take that reading to set the exposure values.
  • The gray card or object needs to receive the same light as the rest of the scene. Be careful to not cast a shadow with your body or your camera when getting closer to measure the light.
  • Reflective light depends also on the material and shape of the object so a black car, for example, reflects more light than a black wool sweater.

There you go, understanding the difference between reflective and incident light can transform your photo from snapshots to pro shots!

The post How to Understand Reflected Versus Incident Light and Get More Accurate Exposures by Ana Mireles appeared first on Digital Photography School.


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