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Posts Tagged ‘Worth’

How to Become a Real Estate Photographer + is it Worth it?

14 Apr

Real estate photography is often the underdog of the photography world, living under the shadow of the more glamorous photography niches like headshots, portraiture, or landscape. Real estate photography can be not only fun, but also profitable. In this article, we’ll discuss how you can become a real estate photographer and also if it is worth it for you. How Continue Reading
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Looking to upgrade your camera battery charger? The Hähnel ProCube 2 is worth considering

14 Jun

Hähnel proCUBE2
$ 80 | Hähnel

Intro

The Hanhel ProCube 2 is a twin-battery charger that offers user-swappable plates to accommodate batteries from different camera systems. Several models are available for popular options – Canon, Nikon, Panasonic / Olympus and Sony. The only difference between them is the color of the unit and the set of plates it comes with. It is possible to swap plates between models and purchase additional ones for around $ 12 each, if you change camera systems.

I tested the ProCube 2 with batteries for the Sony A7 III (which does not ship with a charger). At $ 80, it is cheaper than Sony’s own BCQZ-1 charger (which retails for $ 98). Additionally you’re getting the ability to charge two batteries at the same time along with some other handy features not found in the BCQZ-1.

Key features

  • Ability to charge two batteries simultaneously
  • Can accommodate a wide range of batteries via interchangeable plates
  • Includes AA battery charging option
  • 12V Car lead in the box
  • Can act as a 2.4A USB power source

Hähnel claims that the ProCube 2 can charge two Sony NP-FZ100 batteries from empty to full in three hours and a single battery in two hours, something that we’ll be testing later.

The ProCube 2 is by no means the cheapest twin-charger on the market, but it does offer a unique combination of features, from an established brand. Let’s see how it performs.

What’s in the box?

Most of the popular Sony batteries can be charged with the included plates.

The Sony version that we tested includes the plates to charge Sony NP-FZ100, NP-FW50 and NP-BX1 batteries – you can only charge one type of battery at a time. Also included in the box is a plate that accepts four AA batteries which attaches magnetically to the top of the charger, with no requirement to take out the existing plate. You will have to install all four AAs though, due to the way the plate connects – and you can’t charge camera batteries and AAs at the same time.

The box also includes a 12v car adapter for charging on-the-go and various plug adapters for different countries.

Design

A simple pin and pad connection system makes plate swapping easy

As its name implies, the ProCube 2 is a small cube. It’s a solid unit finished in orange anodized aluminum. The internal battery contacts themselves are via spring loaded pins and connecting pads, so there is no need for fiddly cables . The plate ejection procedure is a little awkward as you need to use a supplied tool or other small-tipped device to release the locking mechanism. Some care is also required when changing a plate as there is only one correct orientation.

The front-mounted LCD shows you the current charge status, via a simple 5-segment capacity gauge of each battery. It also shows percentage readout for each and how much energy it has added since the start of the charge in milliamp hours – though it can’t show the actual capacity of the batteries unless you are charging from 0%.

Charging current is stated as up to 1700 mA for a single battery and 850 mA each when charging two.

The plate swap system could be simplified with a small button

When two batteries are installed The ProCube 2 charges both at the same time and it will adjust charging current individually depending on the state of charge of each battery.

The supplied eject tool is easily lost; it would have been a good idea not to have required one at all, a small button on the back would have been ideal

One thing struck me before I started testing, the supplied ejection tool is easily lost; it would have been a good idea to have a way of storing it in the base of the charger. It would have been an even better idea not to have required one at all – a small button on the back would have been ideal.

The LCD panel displays battery charge levels in %

Performance

I tested the charge time of a single battery from completely exhausted to fully charged and did it again with two exhausted batteries. The batteries I used were newish original Sony NP-FZ100s and the figures were averaged over three cycles.

Note: Sometimes, 100% on the charger doesn’t mean 100% in the camera. If the battery is removed immediately that the ProCube 2 indicates 100% charge, I noticed my camera would indicate anywhere from 95-100%. After leaving the battery charging for another five to six minutes, I’ve found that my camera will reliably report 100% charge.

Here are the results…

Time to 100% as indicated on charger

Time to fully-charge as indicated by the camera Time to fully charge with in-box USB charger
Single Battery 1 hr 49 mins 1 hr 54 mins 4 hrs 3 mins
Dual Batteries 2 hrs 57 mins 3 hrs 3 mins

Hähnel claims that a quick 15 minute charge will provide enough power for 150 shots. This actually seems like a conservative figure from my testing, although it is very dependent on how the camera was being used. I managed to consistently get around 250-260 shots when using the LCD screen and manual focus (1 shot every 10 seconds). By comparison, a 15 minute charge via Sony’s USB charger provided enough juice for 126 -130 shots, given the same conditions.

Even your AA batteries can be accommodated

I also tested the ProCube 2 in a car with the supplied 12v lead. As the charger is designed to use 12 volts from the wall there was no change to charge times or functionality in the vehicle. This is provided the socket can provide 1.5 amps, which is usually well below the fused output on most vehicles.

It doesn’t take any longer to charge batteries in a vehicle with the ProCube 2 than it does connected to a wall socket.

Conclusion

There’s no doubt that when charging batteries this unit is both much more convenient and quicker than charging up the battery in my Sony a7 III in-camera via USB.

If you’re planning a trip it’s small enough not to take up too much space in your camera bag and means that you don’t have to take a separate AA or USB chargers as well. It’s even possible to charge three batteries overnight if you connect your camera to the USB output. It will charge the batteries in the charger first, and then switch on USB power to charge the third.

The ProCube 2 also gives flexibility if you decide to change cameras and hence battery systems or if you have more than one battery type in your gear collection.

If you’re interested in the ProCube 2, are other options out there that are also worth considering. The Watson Duo gives the same sort of functionality at the same price although it’s a bit larger, and the Nitecore USN4 offers dual charging at a lower cost – although it lacks some of the features of the Hähnel.

Overall, the ProCube 2 provides a quick way of charging either single or dual batteries.

What we like

  • Works with multiple battery types
  • Quick charging
  • Sequential charge and USB power option
  • Ability to charge in a vehicle

What we don’t like

  • LCD panel percentage display sometimes disagrees with camera’s estimate
  • Tool or pen tip required for plate swap
  • No sequential AA charging feature

Articles: Digital Photography Review (dpreview.com)

 
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Ways to Use Lightroom to Find Photos Worth Revisiting

27 May

The post Ways to Use Lightroom to Find Photos Worth Revisiting appeared first on Digital Photography School. It was authored by Rick Ohnsman.

ways to easily use lightroom yo find photos worth revisiting

I don’t have to tell you these are abnormal times. Like many others in every profession, photographers are experiencing a huge decrease in business due to stay-at-home and social distancing restrictions. While we hobbyist photographers may not rely on photography for our income, we just aren’t getting out as much to take pictures. So, maybe this is the time to go “back to the mine” (your photo archives), to see if you’ve overlooked some diamonds in the rough worth revisiting. Let’s take a look at how to use Adobe Lightroom to find photos you might have passed over. Also, how to use it to do some cleanup you just never got around to before.

Use Lightroom to find photos you might have passed over.  You could discover you have some diamonds in the rough just needing polishing.
I’d passed this shot by after an edit session I did years ago following a trip to Trillium Lake in Oregon. Now, using Lightroom to find photos I’d passed over, I found it was a diamond in the rough, simply needing some polishing.

See if this describes you

You’re a photographer and make photos pretty routinely on trips, photoshoots, studio sessions, weddings, portrait work, or whatever genre of photography you do.

You make dozens, if not hundreds of images, during just a single shoot.

Then, you want to quickly edit and get the best shots to your client, perhaps print some, or post the best to social media. When done, you’ve cherry-picked the best shots, edited them, wrapped up and moved on.

Left behind on your drive are perhaps the other 95-percent of shots that didn’t jump out at the time. There are quite possibly some good images still there that might only take a little extra editing to polish up, diamonds in the rough as it were.

Perhaps the shots were taken years ago, maybe even with lesser cameras, but now with more editing experience, you have skills to bring them to life.

There are also photos you’ll never use. Trash that just never got taken out. Images just taking up room on your hard drive.

Let’s cover how to use Lightroom to find photos, flag them for a second look or clean them out.

Get a DAM

Lightroom is a very capable photo editor, but there’s little dispute that Photoshop is the more powerful program for really serious photo editing.

Other programs have also risen to the forefront; Skylum Luminar, Phase One Capture One Pro, Corel Paintshop Pro, DXO Photolab, and ACDSee Ultimate. The list is growing and joined by many free and quite capable photo editing programs.

Lightroom flagging, rating, and color-coding tools
Using the Flags, Star-Ratings, and Color Codes in Lightroom is a great way to better manage your photo library.

One of the greatest strengths of Adobe Lightroom, however, is as a Digital Asset Management (DAM) tool.

In layman’s terms, that means it does a great job of organizing your photos, helping you search for images using keywords, ratings, color-codes, flags, collections, filters, and other means of organizing, sorting, and searching. At its core, Lightroom is a database program.

Many photographers who have spent years learning Photoshop still use that tool for most of their editing but are now looking to Lightroom as a partner program for organizing their photo libraries. What they had previously done with Adobe Camera Raw and Bridge can be done with Lightroom, which if desired, can simply send images out to Photoshop for editing or be used as an editor and more.

A jealous secretary

A concept many new Lightroom users find hard to grasp is that the photos you work with while using it are not “in” Lightroom. Lightroom is strictly a note-taker, a “secretary” to use that term, that records everything about an image; where it is, the metadata, how you’ve rated, flagged, color-coded, keyworded, and otherwise tagged it.

When you edit a photo in Lightroom, each and every step of that edit, text data, is stored in what is called the “catalog.” Your images are never altered, Lightroom just appends “notes” to them.

I tell you that to tell you this – Lightroom is a “jealous secretary.” She will keep meticulous notes about everything you do with your images, so long as you use “her” to do the work.

If you work with your images outside of Lightroom, say using the File Explorer in Windows or the Finder on a Mac, you are essentially working “behind Lightroom’s back.” She will let you know it too, losing track of where your images are and what you’ve done to them.

Ever see a “?” mark on your Lightroom photo or folder? That’s your secretary scolding you. There are ways to recover from this, but my recommendation is if you are going to use Lightroom as your DAM program, keep your jealous secretary happy and do all your image management with her exclusively.

Lost folders or photos in Lightroom.
Question marks on folders of photos in Lightroom means the program can’t locate the item. This will happen when you use tools outside of Lightroom to move or change your image.

A culling session

If culling is not a term familiar to you, here’s a dictionary definition: “A selection of things you intend to reject.”

In Lightroom, one of the first things you need to do to work with images is to “import” them. This is sometimes where people become confused. An “import” in Lightroom is simply a means of telling the program where your images are.

Let’s use two examples of how this might work.

  1. Returning from a shoot, I have my images on my camera card. I pull the card from the camera, put it in a card reader, open Lightroom and using the Import process. Here, I copy the files from the card to a location on a computer hard drive, be it an internal or external drive. Lightroom copies the images to that location, builds thumbnails for them, and stores the information in its catalog.
  2. I already have the photos somewhere on one of my computer drives. I use the Import function of Lightroom to Add the photos to the LR catalog. Lightroom does not move or copy anything, it simply now has information about those images and where they are.
Using the Lightroom Copy method of Importing
If you are importing images from a camera card into Lightroom and want it to copy them to a location on your hard drive, the “Copy” method is what you want.

In both scenarios, the photo files are not “in” Lightroom, and not in a subfolder of that program. They are wherever you chose to store them. However, now your “LR secretary” is keeping track of them.

Using the Import Add method of bringing images into Lightroom
If your images are already on one of your computer drives and you simply want to be able to work with them in Lightroom use the Import “Add” function, not the “Copy” function.

Once visible in Lightroom, the temptation is to look through them and start editing the ones that jump out at you. I’ve done that many times, in a hurry to get to the obvious “nuggets” and start editing them.

Instead, I’d like to introduce you to a way to more formally, and with greater organization, go through a folder of images.

The proper way to do this is when you first start working with that new folder of images. But, if you are like me, you might not have known to, were lazy and impatient, or for whatever reason just didn’t do this. No worries, it’s not too late for a proper culling session.

Here are the steps:

  • Go to the folder where you have the images. You should be in the Library module of Lightroom and in the grid view (Hit “G” on your keyboard) so you can see all of your images.
  • Do some folder-level keywording. If all of the images in the folder were, for example, taken at the beach, you might want all of them to have that keyword to aid in searching later. Hit Ctrl (Cmd on Mac) A to select all of the images. Then click in the Keywords section at the right and type in the keywords you want. If you want more than one to apply to just certain selected images, pick those first and then use a comma between them. i.e., Fireworks, Still-Life, Sparklers.
Keywording an entire folder of images in Lightroom
This entire folder of images were shots of fireworks, so I selected all images in the folder and added the keyword “Fireworks.”
Multiple Keywords in Lightroom for Selected Images
Selecting several images within the folder, I added additional keywords – Still-Life, and Sparklers. You can have multiple keywords for an image if you separate them with a comma.
  • Time to quickly go through your images one-by-one. To move faster through the images, first, turn on Auto-Advance. You can either turn this on by going to Photo in the top pulldown menu and selecting Auto Advance or simply by holding down the Shift key while you work. Now bring up just the first image in Loupe View (Hit the Enter key).
  • For this first pass, you want to flag the images you want to keep and cull out the ones you know you’ll never use. Viewing each image, hit either the “P” key to flag the image as a Pick or “X” key to reject it.
  • If you just can’t decide, the right arrow key “>” to move on.
Flagging images as Picks or Rejects in Lightroom and using Auto Advance to move through them.
To quickly cull your images in Lightroom, turn on Auto Advance and then use the “P” key to flag an image as a Pick, the “X” key to mark it as a Reject, or just use the Right Arrow Key to move to the next image with no flagging. Note the white flags are picks, the black flags with an X are rejects.

Try to be selective here. This does not immediately throw out any images and you can change your mind later. However, your objective ought to be to do some serious housekeeping, X-ing out the images you are unlikely to ever use, and Picking the ones you will probably want to edit later.

Everyone is different. Some people are tidy and have no problem tossing things out they don’t expect to use. Then there are folks like me, packrats for whom this is a tougher task.

Time to be brave. You can check to see which images you flagged with an “X” as rejects if you like. Hit “G” to go back to the Grid view. Now using the Library Filter (top of the grid), click the word “Attribute” and then click the Black flag. This will show the images you flagged as Rejects with the “X.” You can take another look at these if you have to and if you decide it is not one you want to be rejected, hit the “P” key to change it back to a Pick.

Taking out the trash

So let’s get rid of the rejects. To see what you flagged with an “X” as a reject, hit Ctrl- Backspace (Cmd on Mac). You will see two options:

  • Delete from Disk – This will permanently delete the images from your hard drive. You might still find them in your recycle bin if you accidentally pick this, but consider this the trash for the most part.
  • Remove from Lightroom – The files will remain on your drive, but you will no longer see them in Lightroom. This is the safer option if you are unsure, but it’s also like just putting your garbage in the hall closet. If you plan to clean the house, do it and don’t look back.
The warning message will pop up when you are about to delete your rejected photos.
Decision time. After you’ve using the culling step to flag your Picks and Reject images, hit Ctrl-Backspace. This question will appear. You can delete your rejected images entirely or, simply remove them from showing up in Lightroom but retain them on your drive. Choose wisely.

Colors and flags and stars, oh my!

If you were disciplined, using the Pick and Reject options helped you separate the wheat from the chaff, getting rid of things you’ll never use and perhaps freeing up all kinds of space on your hard drives. So now let’s use some tools to go a little deeper, helping you to organize and find images warranting further work.

Lightroom lets you tag photos with several different things to add in organizing, sorting, filtering, and finding them. Let’s look at the options.

  • Sorting – There are many different ways to sort your images in the Library view of Lightroom. This doesn’t change anything but simply allows you to see them in whatever sort order you like. Some are obvious, like sorting by Capture time so you can see the images in the order you took them. Others, like sorting by aspect ratio, are less obvious but sometimes very useful. Say you need an image for a magazine cover and want a portrait-orientation image. Sorting by aspect ratio is the ticket. Explore what this very simple option can do for you.
Finding photos with Lightroom - sorting by aspect ratio
Using the Sort by Aspect Ratio option can be handy if you want to group your portrait and landscape orientation images together.
  • Color – You can flag your photos with any of five different colors (Red, Yellow, Green, Blue or Purple). What each color signifies is strictly up to you. Maybe you want to flag all of your very best images with Red, your Landscapes with Green, your images you want to edit with Yellow – whatever you like. To flag an image, click on the image(s) you want that color applied to, then click on the color patch you want to apply that color tag to. You can also use the keyboard shortcuts – 6-Red, 7-Yellow, 8-Green, 9-Blue. There is no number shortcut for Purple.
Finding photos with Lightroom - Sort by Color
If you’ve used color codes to identify different photo types, sorting by color can be useful.
  • Star Rating – How to apply a star rating is easy. When on an image, just click the number key for the rating you want to assign or use the star symbol on the toolbar at the bottom. What a certain rating means…that’s your call. Is a 5-star image your best ever? Is a 1-star image one that barely escaped deletion? What does a 3-Star rating mean? Whatever you come up with, be consistent and the rating system will be more useful.
Finding photos with Lightroom
Come up with your own scheme of using the star-rating in Lightroom and then sort by rating.
  • Flags – We already discussed flags earlier. Basically, they are a way to mark an image as a pick or a reject. Use several or none. You can use these tagging tools singularly or in combination, depending on how you choose to mark up your images. For example, a really great landscape photo might be a green, 4-star, flagged as a Pick image. The power comes in how once marked up, you can filter and sort your images.

Finding, filtering, and sorting

So you’ve cleaned up your folders, eliminated the rejects, and flagged your images with color codes, star ratings, and perhaps added some keywords. (We didn’t get into keywording much as that can be an art unto itself. I refer you to this article to learn more about the power of this tool).

Now we want to use this organization to help us find all our best lighthouse images taken in the past three years, for example. If we were good about marking up our images, we might have put the keyword “lighthouse” on them, flagged them with red (which we decided were our best photos), or maybe just made our top images 5-star.

How do we use the markups to find what we seek?

Use Lightroom to find photos with ratings, color codes, and keywords.
Creative use of the Library filter in Lightroom can bring up just the image you’re looking for if you’ve properly labeled your images with star ratings, pick flags, color codes and keywords. Here, I was looking for all my photos that had the keyword Lighthouse, were 4-star images, and color-coded red.

The better you are at marking-up your images, the greater the degree of precision you will have in finding that needle in a haystack when it comes time for that. I personally have over 100,000 images in my Lightroom catalog. (That’s a big haystack!) So, to use Lightroom to find photos requires some creativity with the Library filtering tool.

You will be able to search through basic things you may have added; keywords, file names, folder names or anyplace else where text might be. You can search your Attributes, the star ratings, color codes, flags.

Another very powerful Attribute is being able to search for unedited photos. Note the filter selection in the image below. Using that icon, I can have Lightroom show all photos for which Lightroom has no edit history.

If I bring up a folder with images that were edited elsewhere before coming into Lightroom, they will also show up as unedited. But, assuming this is a folder with images that have been brought in directly off your camera card and never been touched with anything other than Lightroom, this is a fantastic way to show those “passed over nuggets” we might want to revisit.

Use Lightroom to find photos.  Need to see all the images in your Library you've not edited?  Easy with the Lightroom Library filter.
Using the Library filter, I’m able to see all the images for a particular year shot with my Canon 6D that are unedited by Lightroom. Creative use of the Text, Attribute, and Metadata filter in the Library Filter function of Lightroom can tell you much about your images and help you find that missing needle in the haystack.

Searching through metadata can also be a powerful way to find photos. Without you even having to enter any information, your camera captures a wealth of data about each image it takes. (Have a look at my article on Irfanview which gets into metadata.)

So, say you’re still looking for those lighthouse photos, but you never put keywords on them. Searching for “lighthouse” isn’t going to help. But say you do know you took the photos on a trip in September of 2017 and shot them with your Canon 6D. Putting just that information into the search filter in the Library module should greatly reduce the size of the “haystack.”

The more precise you can be with your search parameters, the more precise your search will be. Explore all the search options in the Text, Attribute, and Metadata areas and how using them in combination can greatly help you find what you seek.

Become a Collector

Using the Library filter is a great way to search through your photos when you’re looking for something, particularly an ad hoc search for something you don’t need to find often. When you really want to tap the power of the database that is Lightroom, Smart Collections are really cool. First, let’s describe what a Lightroom collection is.

Say you like to take pictures of flowers. Even when you’re out on some other kind of shoot, when you see a nice flower, you take a shot. Thus, you have flower pictures scattered throughout your folders. Now, how would it be to see all of those in one place, without having to move, copy, or duplicate anything? That’s what a Lightroom collection can be, a “pointer” to images that groups them all into one “folder” without moving anything.

There are two kinds of collections in Lightroom.

The first is a regular collection. You can add the photos manually. You can drag them from their folder location to a collection you have set up. Alternatively, if you designate a collection as the “Target collection,” while viewing that image in the Library module, you can just hit the “B” key on your keyboard to add the image to the target collection. You can also select multiple images in the Library module, hit the “B” key to add them all to the target collection.

Remember that nothing really moves, no duplicates get made, no additional drive space is needed. Collections are virtual – only pointers to the original files.

Collections can be very handy. When I’m gathering photos for an article, I will often create a Lightroom collection with the title of the article, make it the target collection, and then as I prowl through my library looking for photos I might want to use, I hit the “B” key on the keyboard and they are added to the collection. Fantastic!

Be a Smarter Collector

Collections are a great tool, but we can go a step further.

Let’s go back to our flower photos example. If I took some flower shots every time I did a shoot, I want them to automatically show up in my Best Flowers collection without any additional work on my part? A smart collection uses filters and conditions like the Library filter but runs continuously in the background.

To set up a new Smart Collection, go to the Collections tab in the panel on the left side of Lightroom. Click the + symbol. Select Create a Smart Collection. Then use the controls in that menu to set up the parameters defining what will be selected.

So, if I set up a smart collection, name it “Best Flowers” and use the parameters where, for example, keywords contained “flowers” and the rating was 3-stars or above, any photo added meeting those conditions automatically appear in that smart collection without any additional work by me. Once built, your smart collections just work silently in the background of Lightroom. (I would just have to remember to be diligent about rating and keywording my flower photos each time I had some new ones brought in.)

Ways to Use Lightroom to Find Photos Worth Revisiting
Once you set up the parameters for a Smart Filter in Lightroom, it will watch for any images that meet those qualifications and add them to the collection. Here, I have a filter that looks for photos with the keyword “Flowers” that are rated 4-stars or higher. Now, if I’m good about rating and keywording my flowers photos as I take them and import them into Lightroom, they will automatically be added to this collection

Another great use for a smart collection – make one to show all your unedited photos, wherever they might be in your library.

Set your smart collection parameters to something like my example below. It has the Has edits set to False, the camera as the one I’m interested in, my Canon EOS 6D, the File Type Raw, and the Pick Flag is on.

Now, unedited images I’ve flagged as Picks will immediately show up here as soon as I imported them in Lightroom. As I edit them, they will fall off this list. Think of this kind of Smart collection as your “In Box” of photos for editing.

I can also use the other tools and filters we’ve discussed to determine if I will keep them at all. I can do additional culling here if I decide I won’t edit them and perhaps delete them.

Ways to Use Lightroom to Find Photos Worth Revisiting
Use a Lightroom Smart Collection to act as your “In Box” telling you which photos need editing. I’ve set this Smart filter to add photos that are not edited (Has Edits is False), where the file type is Raw, I’ve flagged the photo as a Pick, and the photos were taken with my Canon 6D. Smart Collections can be very powerful and the beauty is, as collections are strictly virtual, there’s no need for additional copies, folders, or duplicates that would take up more drive space.

Also, remember images in a collection are just pointers to the original files. So if you click on an image in a collection and open it in the Edit module to make changes, you are also editing the photo in the folder where it really lives.

Polishing up the diamonds

When you can’t be out taking more photos, a good use of your time might be to use Lightroom to find photos worth revisiting.

I’m betting that you’ve passed over many diamonds in the rough, and a trip back through the mine that is your photo library will yield some yet undiscovered treasures. Happy prospecting. For now, stay home, be well, and “Live long and prosper.”

The post Ways to Use Lightroom to Find Photos Worth Revisiting appeared first on Digital Photography School. It was authored by Rick Ohnsman.


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Are Photography Classes Worth It?  (It Depends)

01 Apr

So, you want to improve your photography, learn how to use that fancy new camera of yours and learn to take better shots? The kind that others will be amazed at. You’ve even noticed that there’s a photography class not too far away from where you live and its starts soon. But is it worth it? Couldn’t you just get Continue Reading

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Film Fridays: 20 film cameras worth buying right now

28 Mar
The Canon T90 is just one of the 20 film cameras worth buying right now. Check out Analog Gems – part 1 and Analog Gems – part 2 to view them all.
Photo: Dan Bracaglia

Happy Film Friday! In the spirit of celebrating all things analog, we felt today was the perfect time to take another look at our two popular film camera buying guides. These guides are chock full of cameras that are easy to find on the secondhand market in good working order, and many of them were included as staff and reader favorites. So if you’re a first-time camera buyer or simply looking to add to your collection, there’s probably a camera in there for you.

Analog Gems – part 1: 10 film cameras worth buying

Analog Gems – part 2: 10 more film cameras worth buying

Do note: the price of one or two cameras has jumped a good bit since initial publication (we’re looking at you Olympus Stylus Epic). That’s not to say we wouldn’t still recommend these cameras, just be aware of price inflation!

About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T4 vs X-T3: Which should I buy – and is it worth upgrading?

20 Mar

X-T4 versus X-T3

Fujifilm says the X-T4 is intended as a sister model to the X-T3 rather than a direct replacement, but there are enough differences between the two that some users might wish to upgrade. And there may be people looking at the X series afresh, wanting to know which is the better choice.

The more I’ve used the X-T4, the more I believe some stills-only photographers will appreciate it

Initially I wrote that the majority of benefits would be experienced by video shooters but the more I’ve used it, the more I believe some stills-only photographers will appreciate the newer model.

But, of course, the X-T3 has been on the market long enough that its price has dropped, so anyone looking to buy for the first time might be tempted to save a fair chunk of money by going for the unstabilized camera. So what are the differences that matter?

Stabilization

Image stabilization will be the decisive factor for some photographers, but not all. Given Fujifilm’s lens lineup is primarily built around stabilized zooms and fast primes (the same approach that’s worked well for Nikon and Canon’s DSLR systems), many photographers are likely to conclude they don’t need a stabilized camera body.

Some kinds of photography, such as macro work, could benefit from it but for many stills shooters it’s likely to be a feature that’s nice to have, but not necessarily essential.

For many stills shooters IS is likely to be a feature that’s nice to have, but not necessarily essential

Stabilization is probably a feature that offers the most benefit to videographers. Unlike lens IS, in-body IS can correct for camera roll, and in our experience so far, it’s sufficiently effective to allow the X-T4 to be used without a tripod or gimbal. This pairs nicely with the excellent video spec shared by both cameras.

For really ambitious video work, the X-T3 mounted on a gimbal is arguably the more powerful combination (especially now Fujifilm has added the ability to control the camera from the gimbal), but for ad hoc video shooting, the X-T4’s stabilization is a major benefit.

Battery life

Battery life is another big differentiator between the two cameras. The X-T3 could already be charged and operated by connecting a power bank to its USB-C port, so it was easy enough to keep topped-up, such that its battery capacity wasn’t a major limitation for most users.

Video shooters, who need to know their battery won’t cut out mid-shot, and photographers who need to travel light and not carry an external battery, will be the main beneficiaries of the X-T4’s larger capacity W235 battery.

The X-T4 delivers a 600 shot rating if behaving like the X-T3’s default mode, or 500 with a better user experience

Interestingly, the X-T3 achieved its pretty respectable 390 shots-per-charge rating by dropping the brightness and refresh rate of its screen after 12 seconds of inactivity: a behavior the X-T4 calls ‘Economy’ mode. A like-for-like comparison would be that the X-T4 delivers a 600 shot rating if compared to the X-T3’s default mode, or 500 while providing a better user experience.

Improved autofocus

The X-T4’s autofocus improves over the X-T3’s in terms of both performance and usability.

The difference in performance is immediately apparent in tracking mode, with a single AF reticule sticking much more tenaciously than the ‘cloud’ of AF points did in the past. We’ve not been able to fully test this yet, as we’re told full production X-T4s won’t be available for a while, but it’s a very promising sign: Fujifilm’s autofocus has generally been very good at assessing subject distance, the main shortcoming has been the ability to stay locked onto the correct subject (hence us generally recommending using a focus zone, rather than tracking mode). Concerns about AF drive speed on some lenses persist, but we’re looking forward to testing an X-T4 with the likes of the 50-140mm F2.8 LM.

The X-T4’s autofocus improves over the X-T3’s in terms of both performance and usability

Meanwhile the X-T4’s face and eye detection systems have been improved, particularly in terms of how they’re operated. Like the X-Pro3, the X-T4’s face detection works pretty well and lets you drop out of face detection mode simply by operating the AF joystick. This means you can leave the camera in face detection mode most of the time, if you wish. The Face Selection mode is also pretty effective, letting you use the joystick to choose between faces or press it inwards to drop back to your underlying AF mode.

Sadly, like the X-Pro3, you can’t leave the camera in Face Selection mode: you can only access it by applying it to a custom button and the camera exits the mode every time you power it off.

Improved stills processing options

The X-T4 includes the additional processing options introduced with the X-Pro3, including Color Chrome Effect Blue, Classic Negative film simulation and the Clarity parameter. On top of this it adds the Eterna Bleach Bypass film sim and more fine-grained control of the camera’s response curves.

The X-T4 also gains the option to re-process Raw files as 8 or 16-bit TIFF files, for situations in which you intend to post-process your images, but prefer the in-camera color and detail rendering to anything you can get from a Raw converter.

Your position may differ, but personally I tend to feel that once I’ve got Provia, Astia, Eterna and Acros I’ve got all the options I need. So, while these new options will add some value to the new camera, they wouldn’t sway my own buying decision.

Movie shooting differences

The X-T4’s base movie shooting spec is very similar to that of the X-T3. It’s a testament to how good the T3’s video capture was that it’s still one of the most video capable hybrid cameras on the market, so long after its launch. With internal 10-bit and 60p capture, it’s still probably the most powerful 4K shooter this side of Panasonic’s latest GH models.

The X-T4’s ‘Movie Optimized Control’ is an appreciable improvement that makes it quicker to adjust settings

There are improvements, though, even beyond the provision of a fully-articulated screen and in-body stabilization. For a start, the ‘Movie Silent Control’ function, that lets you use the touchscreen to change settings without interrupting your footage – and, crucially, lets you set distinct exposure settings for movie and stills shooting – has been improved. The X-T4’s ‘Movie Optimized Control’ mode lets you adjust exposure using the camera’s front and rear dials, in addition to the touchscreen. It’s an appreciable improvement that makes it quicker to adjust settings when shooting in changing light.

The other small change that makes a big difference is the Log Preview Assist mode. This doesn’t go as far as Panasonic’s mode, which lets you import LUTs onto your camera but, more like Sony’s implementation, gives a loosely graded preview, which makes it much easier to check your shots in both preview and playback modes.

Greater movie/stills separation

We’ve seen some posts decrying the removal of a dedicated metering switch from the X-T4, but we suspect many users will end up finding the stills/video switch that replaces it more valuable, even (perhaps especially) die-hard stills-only shooters.

While many stills shooters are likely to prefer the X-T3’s two-axis screen, since it stays in line with the camera’s optical axis for both landscape and portrait orientation shooting, travel photographers and the generally clumsy may appreciate the ability to fold the screen so that it faces in towards the camera, leaving it protected from scratches when thrown into a bag.

Users who don’t ever plan to shoot video need never encounter the pages of video setup options

The other benefit for all types of shooters is that distinct movie and stills modes allow the menus to be be more focused on the settings they need. Users who don’t ever plan to shoot video need never encounter the pages of video setup options, and movie shooters can more easily find the options they want, with audio and timecode options broken out into their own menu tabs.

What about the X-H1?

Of course the X-T4 isn’t the first Fujifilm camera to offer in-body stabilization. The X-H1 was a stabilized sister model to the X-T2 and, like the X-T4, appeared to offer most to video shooters. With the last of the X-H1s still available new at knock-down prices, how does it stack up?

Looking back (and it’s not really that far), it’s impressive how far the X-T4 brings us, compared with the X-H1. The underlying still image quality hasn’t changed radically, but just about everything else has continued to creep forward.

It’s impressive how far the X-T4 brings us, compared with the X-H1

The X-T4’s IS is rated as being significantly more effective (though we’re not able to formally test that, yet), and the autofocus is significantly better, not least in that the phase-detection capability extends across the whole sensor, rather than being confined to a central square.

On the video side, the X-T3 and 4 both offer full-width 4K video, which makes it easier to shoot wide-angle than the X-H1’s 1.18x cropped version. They also offer 10-bit internal capture, which is especially valuable for Log shooting. Both of the newer cameras also include the ability to shoot 4K/60p, either to represent fast action or to allow for 50% or 40% slow-mo playback, and both can continue recording for around twice the time the X-H1 can.

We tended to find the X-H1’s shutter button over-sensitive but this and the camera’s quiet shutter had their fans. For us the X-T4’s shutter is quiet enough, and now comes with the added reassurance of a 300,000 lifespan rating.

Upgrades to the X-T3

The question hanging over a much of this article is whether Fujifilm will implement any of the X-T4’s features in the X-T3.

Having established a reputation for providing feature additions and improvements (onto often already well-specced cameras with good performance), Fujifilm has now put itself in a position where its users have come to expect to continue to receive the benefits of its ongoing R&D in their cameras, for free.

There’s an argument to be made that Fujifilm has already provided X-T3 users with an reasonable level of post-launch support

The X-T3 is now 18 months old, so is probably getting towards the end of its life cycle, yet its feature set remains competitive. It’s received a series of updates improving its performance and making small feature additions throughout its life so far. At which point, there’s an argument to be made that Fujifilm has already provided users with an appropriate level of post-launch support. Obviously it would be nice if the company decided to make add some of the additional features it’s developed for the X-T4. But whether it’s a reasonable expectation is another matter.

It’s likely to hinge on whether Fujifilm really does plan to maintain the X-T3 and X-T4 concurrently. Sony clearly believes there’s room for both its a6400 and a6600 models which, aside from battery size and image stabilization, have feature parity, but Fujifilm may decide not to upgrade the X-T3 up to X-T4 level in order to make the X-T4 more attractive.

Should I upgrade?

Ultimately, the choice of whether to upgrade from the X-T3 to the X-T4 depends on your specific needs. Given how competitive the X-T3 is, we believe both could happily co-exist – it’s still an excellent camera, offering tremendous capability for both stills and video shooters. Paired with a $ 500 DJI Ronin SC, it’s still one of the best video cameras under $ 2000. For those reasons many users might quite legitimately follow Dan’s advice, and settle for a bit.

But the X-T4 does have a lot going for it. Image stabilization, a bigger battery, improved autofocus and a host of performance and handling tweaks that will really add up for some photographers. I’m certainly looking forward to getting a change to test a full production version.

Until we get a chance to test the fine detail, we hope this article helps you assess whether it’s an upgrade you need to make, or whether it’s better to save your money for an extra lens or perhaps even the conjectured X-H2.

Articles: Digital Photography Review (dpreview.com)

 
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Are Lightroom Presets Worth Buying?

06 Feb

If you follow any popular photographer on YouTube or Instagram, chances are, that you’ve been pitched to buy their Lightroom presets. Some photographers actually give theirs away, while some charge a pretty penny. Which leads to the question, are Lightroom presets worth buying? If you search the Internet for this question, you would mostly find strong opinions telling you to Continue Reading

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1 Year with the Fujifilm X-T3 – Was It Worth Buying?

23 Jan

The post 1 Year with the Fujifilm X-T3 – Was It Worth Buying? appeared first on Digital Photography School. It was authored by Suzi Pratt.

1-year-with-the-fujifil-x-t3

It’s been just over 1 year since the Fujifilm X-T3 debuted. This popular APS-C mirrorless camera replaced the beloved X-T2, but it also added lots of video features, leading many to declare the X-T3 the best hybrid mirrorless cameras of 2019. After shooting for 1 year with the Fujifilm X-T3, I’ll share my thoughts on the camera in this article.

Why I Chose Fujifilm

Throughout my 10-year career as a professional photographer, I have always reached for a full-frame camera. During the DSLR days, I bounced between the Nikon D700 and Canon 5D Mark III.

When it came time to go mirrorless, I went with the Sony a7R III. As a concert and event photographer, I am often prohibited from using flash and always need the option to shoot at high ISOs. I also value quick, accurate autofocus. In both of those regards, the Sony a7 series made the most sense when I went mirrorless in 2018.

So how did Fujifilm get into the picture? My husband and I jumped into videography together at around the same time. He was attracted to Fujifilm for its film simulations and ergonomics that are similar to film cameras.

When the Fujifilm X-H1 came out, he jumped on it because of its superior video features, including IBIS (in-body stabilization).

As we started shooting videos together, we found it difficult to quickly and accurately match the colors of his Fujifilm to my Sony camera. Since he already had a large Fujifilm lens collection, it made sense for me to simply pick up a camera body so that we could share lenses. So the X-T3 ended up in my hands primarily as a video camera.

1 Year with the Fujifilm X-T3 - Was It Worth Buying?

Ergonomics

If you have never shot with a film camera or Fujifilm camera before, they can take some getting used to. Prior to the X-T3, I had never shot with a camera that wasn’t a full-frame DSLR. It took me a couple of weeks to get used to using the top dials to set my shutter speed and ISO. It took even longer to get accustomed to the aperture ring on the lens.

After a year with the X-T3, I am much more comfortable with its dials and settings, but I dislike the fact that I need two hands to shoot with this camera. On virtually any other DSLR or mirrorless camera, you can adjust all settings using just one hand, making it faster to shoot on the fly.

Fujifilm X-T3 one year later

X-T3 as a video camera

I intended to use the Fujifilm X-T3 primarily as a video camera. Fortunately, those features worked out perfectly, and one year later, the X-T3 is still my favorite for shooting videos.

This camera can shoot 4K video at up to 60 fps in 10-bit 4:2:0 color, and you can select a bitrate of up to 400Mbps for frame rates of 30p and below. That’s a lot of jargon, but it essentially means that the X-T3 is capable of outputting high-quality video footage.

In my experience, the video is razor-sharp, and thanks to Fujifilm film simulations, the colors look stunning straight out of the camera.

The X-T3 offers F-log recording to produce a flat video that can be color graded in post-production. However, film simulations are so good that you don’t need to color grade these videos. Saving time in editing was the main reason that drew me to Fujifilm, and I’m happy to say that it did not disappoint.

Previous Fujifilm cameras omitted essential videography features such as a headphone jack of monitoring audio. Not so with the X-T3. This camera has both a mic jack and headphone jack built into the camera, allowing you to capture high-quality audio. The only thing that this camera is sorely missing is IBIS or in-body image stabilization for capturing steady video. Thankfully, image stabilization is present in many Fujifilm X lenses, but you still need to pop the X-T3 on a gimbal to get ultra-smooth footage.

Image: Fujifilm X-T3 with Fujifilm XF 18-55mm F2.8-4 lens. Focal length 18mm (in 35mm: 27mm), 1/250...

Fujifilm X-T3 with Fujifilm XF 18-55mm F2.8-4 lens. Focal length 18mm (in 35mm: 27mm), 1/250 sec, f/6.4, ISO 320, Aperture Priority

X-T3 as a photo camera

Even though I intended to use the X-T3 for video, I inevitably used it for photography. Thanks to the relatively compact size of the camera, and the accompanying Fujifilm X-Series lenses, the Fuji X-T3 is a solid travel camera.

Also, similar to videos, photo colors look stunning straight-out-of-camera when using film simulations, and you arguably needn’t shoot in RAW to save room on your memory cards.

Autofocus (AF) is vastly improved on the X-T3. The camera offers phase-detect AF with 425 selectable AF points spanning over the entire frame. Continuous autofocus does a great job of locking onto and tracking subjects, and there is also face and eye autofocus that works well.

In continuous shooting mode, the X-T3 can shoot at up to 11 frames per second (fps) using the mechanical shutter, or 30 fps with the electronic shutter. This is a crazy fast speed that rivals top sports photography cameras.

Fujifilm X-T3 one year later

Fujifilm X-T3 with Fujifilm XF 18-55mm F2.8-4 lens. Focal length 18mm (in 35mm: 28mm), 1/180 sec, f/3.6, ISO 800, Aperture Priority

Wish List

I base most of my wish list features on my experiences shooting with full-frame cameras, such as the Sony a7r III, which I think pulls off these features better.

First, is autofocus.

Even though the X-T3 has much-improved autofocus, it isn’t as fast and accurate as Sony’s. Eye autofocus, in particular, is much more effective on Sony.

Second is low light performance.

On my Sony, I’m comfortable shooting at ISO 6400-8000, whereas I won’t push the X-T3 past ISO 4000. To a degree, this isn’t a fair comparison. Full-frame cameras will always shoot a cleaner image at higher ISOs, but there’s always room for improvement.

Finally, the battery life on the Fujifilm X-T3 quite frankly sucks.

I generally need 3 batteries for a full day of shooting on the X-T3, whereas a single battery will get me through 1+ days of shooting with the Sony a7r III.

I understand that increased battery life often results in a larger battery and, therefore, a larger camera, but it would still be a welcome addition. In the meantime, you can increase the battery life by using the Fujifilm battery grip, or you can charge the camera via its included USB-C port.

In Conclusion

All-in-all, you can’t go wrong with the Fujifilm X-T3. It produces incredibly sharp photos and videos with incredible colors straight out of the camera.

The camera and its accompanying lenses are compact and quite durable, especially when considering their price points, which are relatively lower when compared to other camera brands.

There are cameras out there that have better features such as autofocus, but the Fujifilm X-T3 will suit the needs of most photographers out there.

Have you used the Fujifilm X-T3? Have you spent more than 1 year with the Fujifilm X-T3? What are your thoughts? Please share them with us in the comments.

Fujifilm X-T3 one year later

Fujifilm X-T3 with Fujifilm XF 18-55mm F2.8-4 lens. Focal length 18mm (in 35mm: 28mm), 1/90 sec, f/2.8, ISO 2000, Aperture Priority

Fujifilm X-T3 one year later

Fujifilm X-T3 with Fujifilm XF 18-55mm F2.8-4 lens. Focal length 32.9mm (in 35mm: 49mm), 1/60 sec, f/3.6, ISO 2000, Aperture Priority

Fujifilm X-T3 one year later

Fujifilm X-T3 with Fujifilm XF 35mm F2 lens. Focal length 35mm (in 35mm: 53mm), 1/90 sec, f/3.2, ISO 2000, Aperture Priority

Fujifilm X-T3 one year later

Sony A7R III with Sony FE 55mm F1.8 lens. Focal length 55mm (in 35mm: 55mm), 1/60 sec, f/9, ISO 1600, Aperture Priority

 

You may also like:

  • Fujifilm Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR Lens Review
  • Best Fujifilm X-Series Kit for Urban Portraits
  • The Fujifilm X-Pro 3: Marvellous or Mistake?
  • Fujifilm GFX100 Camera Review
  • The Best Fujifilm X-Series Kits for Travel Photography
  • Fujifilm X-T3 versus Fujifilm X-H1: The Best Mirrorless Camera for You?
  • Gear Review: Fujifilm 50-140mm vs 55-200mm

 

The post 1 Year with the Fujifilm X-T3 – Was It Worth Buying? appeared first on Digital Photography School. It was authored by Suzi Pratt.


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2 Years with the Sony A7R III – Was it Worth Switching from Canon DSLR ?

05 Jan

The post 2 Years with the Sony A7R III – Was it Worth Switching from Canon DSLR ? appeared first on Digital Photography School. It was authored by Suzi Pratt.

sony-or-canon

It’s been almost two years since I purchased the Sony A7R III mirrorless camera as a second body to my Canon 5D Mark III DSLR. Since then, I’ve used the two cameras side-by-side to shoot a wide variety of professional events, from concerts to food to corporate conventions. There have been pluses and minuses to using both systems simultaneously, which I thought I’d share for those of you considering the switch.

Canon versus Sony

Why go mirrorless?

Prior to the A7R III, I had been using the Sony a6300 and was thoroughly impressed with its autofocus capabilities and video features. On both fronts, this tiny camera seemed lightyears ahead of my DSLR, so I was curious about how much better Sony’s full-frame cameras could be. I was also expanding my photography business to include video services and needed a camera that could shoot in 4K video resolution, which the 5D Mark III could not do.

Why keep both systems?

So why keep the Canon DSLRs at all?

I have a large library of Canon L glass that I intended to use on the Sony via a lens adapter. This worked with mixed results, but long story short, lens adapting did not work with my style of photography (more on that below). Given the significantly higher prices of Sony lenses, it made more financial sense to keep the DSLR kit and simply purchase a couple of Sony lenses to use. In the end, here’s what my resulting camera kit looked like:

  • Canon 5D Mark III with 16-35mm f/2.8, 24-70mm f/2.8, 70-200mm f/2.8, plus various prime lenses.
  • Sony A7R III with 24-70mm f/4 and 55mm f/1.8.

*The overlapping 24-70mm lenses might seem like overkill, but there is such a HUGE size difference between the two.

Canon V Sony

What was worth it

1. Video features

The Sony A7R III and A7 III are packed with video features including the ability to shoot in 4K resolution, 120 fps slow motion, in-camera timelapse, and in-body-stabilization (IBIS), to name a few. Since this is a photography site, I won’t go on more about the video features. But the specs are more than what the newer Canon 5D Mark IV offers. So from a video perspective, the Sony A7R III was completely worth it.

2. Having an Electronic Viewfinder (EVF)

One of the ways mirrorless cameras differ from DSLRs is that they tend to have an electronic viewfinder (EVF), while DSLRs have optical viewfinders (OVF). An OVF shows you what the camera lens sees, while an EVF shows you what the camera sensor sees. An EVF shows you almost exactly what your final image will look like before you press the shutter button.

There are pros and cons to using an EVF over an OVF, and most people prefer one over the other. For me, the EVF is preferred mainly because it allows for composing and shooting still photos with the LCD – something that is still hard to do with a DSLR.

Shooting with a tilting LCD has been a complete gamechanger, allowing me to find creative compositions that I wouldn’t have been able to do with a DSLR.

3. A truly silent shutter

Another advantage of mirrorless cameras is that they can have truly silent shutters. For the effort that Canon makes to offer a “silent shutter” on its DSLRs, it’s still a jarring sound compared to a mirrorless camera’s silent shutter.

The only thing to note is that silent shutters on mirrorless cameras can produce banding in images where LED lights are present, so be wary of that.

Sony A7R III with Sony 55mm f/1.8

Sony A7R III with Sony 55mm f/1.8

4. Insane and Accurate Autofocus

My experience with the Sony a6300 taught me that Sony autofocus was truly on another level compared to DSLRs. That’s still true on the Sony A7R III. Not only do you have phase detection and contrast detection autofocus with 5 focus modes, but you also get Sony’s acclaimed face detection and eye autofocus.

To be fair, Canon has upped their autofocus game with dual pixel autofocus, something that isn’t on the Canon 5D Mark III and thus isn’t a feature I can compare. However, there are reports that a recent firmware update to Canon’s new EOS R includes “Sony-like eye autofocus,” so that much seems to have always been in Sony’s favor.

5. Rapidly developing lens library with lots of third-party options

Compared to the Canon and Nikon mirrorless camera systems, Sony, by far, has the biggest lens library for both its full-frame and mirrorless cameras. Even third-party brands like Sigma and Tamron have latched on, currently offering high-quality lens options at a fraction of Sony’s prices.

Better yet, lens adapters, such as the excellent Metabones V, allow you to pull from Canon’s EF and EF-S lens library as well. So when it comes to lens options, the Sony mirrorless is hard to beat.

Sony A7R III with Sony 24-70mm f/4

Sony A7R III with Sony 24-70mm f/4. Look at the height of that stage – I couldn’t get this shot without the tilting LCD.

What wasn’t worth it

1. Size and weight savings

The argument of switching to mirrorless cameras to have a smaller and lighter system compared to DSLRs isn’t completely true. Sure, the Sony A7R III is smaller and lighter than any of the Canon 5D cameras. However, the fast Sony lenses that I would need to replace my DSLR equivalents are just as heavy and bulky. When it comes to full-frame cameras and fast glass packed with features such as image stabilization (IS), there’s not much of a size and weight difference.

2. Adapting lenses isn’t for every scenario

There are some great lens adapters out there, such as the Metabones V that I was initially sold on. In practice, the lens adapter worked 90% of the time, which was okay when shooting things like food or portraits. But that 10% failure rate wasn’t acceptable for the fast-moving concerts and events when it could mean missing THE shot of the night.

If you choose to adapt lenses, give yourself ample time for testing to make sure it works for your photography style.

Canon 5D Mark III with 24-70mm f/2.8

Canon 5D Mark III with 24-70mm f/2.8

3. Realizing they aren’t completely dead yet

While many photography news sites publish headlines proclaiming the death of DSLRs, Nikon and Canon prove otherwise. Both camera brands are rumored to be releasing new DSLRs in 2020, and there’s even supposed to be a 5D Mark V on the way! So if you shoot with DSLRs, there’s no pressure to make the switch yet.

4. Canon could make a mirrorless camera comeback

Actually, this part could already be true if you look at Canon’s crop-sensor mirrorless camera line.

Even though Canon seemed late to the mirrorless camera party, they are making big gains with their popular EOS M-Series APS-C mirrorless cameras, and the EOS R full-frame cameras continue getting better.

They are also developing innovative RF lenses (have you seen the RF 70-200mm f/2.8?!) and allowing Canon shooters to use DSLR lenses via their own lens adapter. It’s questionable if they will be able to catch up to and surpass Sony’s cameras and ever-growing lens library, but it is a good thing to see Canon continue to innovate.

Canon 5D Mark III with 16-35mm f/2.8.

Canon 5D Mark III with 16-35mm f/2.8.

In conclusion

So two years later, do I regret adding the Sony A7R III to my kit? Absolutely not.

The photos and videos that I’ve captured and the overall elevated experience of shooting with this camera have been worth it. However, I’d be lying if I said I wasn’t quietly rooting for Canon and hoping that they beef up their full-frame mirrorless line. When they do, it might be worth making yet another switch.

Sony A7R III with 24-70mm f/4

Sony A7R III with 24-70mm f/4

Canon 5D Mark III with 16-35mm f/2.8

Canon 5D Mark III with 16-35mm f/2.8

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Photo Books: Value and Worth in Today’s Digital World

25 Oct

The post Photo Books: Value and Worth in Today’s Digital World appeared first on Digital Photography School. It was authored by Adam Welch.

photo-books

Imagine the internet never existed. I know – you’re reading this while on the internet – but bear with me. As a photographer, how would you show your photographs to other people? There would be no Instagram, no Flickr, no Facebook. The reality of this fictional internetless world would leave you with limited outlets for your work. In short, you would have to find a way to physically park your photos in front of the eyes of other humans. Galleries would certainly be an option; magazines and journal publications would be another. Of course, there would be another option; the construction of a photo book.

Aside from a solo exhibition, there is perhaps no better way for a photographer to express their exact creative vision than with a well-executed photo book. Even in today’s elevated climate of digital photography, photo books have managed to keep their foothold as one of the most impactful methods of distributing photographs to the masses, all the while maintaining allegiance to the original photographs as we meant for them to be viewed.

Photo Books: Value and Worth in Today's Digital World

Photo books aren’t nearly as prevalent (or produced) as they once were. However, if you are truly serious about yourself and the photographs you produce, then a photo book might be a wonderful conduit for you to express your photographs – I know it was for me. As paradoxical as it might sound, producing photo books today has never been easier.

In this article, we’ll look at some of the reasons, methods, and considerations you might want to examine if you’ve ever felt the need for something more than just condensing your photographs into social media posts and online galleries.

But…why a book?

We’ve already touched on some of the other ways that you might present your work to the public, so why are photo books so special? Well, it comes down to control, fidelity to your original vision, and the importance you place on both.

Photographs are finite in their original incarnations, meaning there was a time when you didn’t always have to guess how your photos would appear on the different devices. Even photos in widely-circulated publications like magazines would essentially be faithful to whatever the final press copy of the image might have been.

Herein lies the immense benefit of photo books; they are an end in themselves.

Photo Books: Value and Worth in Today's Digital World

With final archival quality of inks, papers and bindings, and even the varied perception of our own eyes aside, a photo book can be your final say on how your work should look. Much like a print, the extent of your involvement in the production process of your photo book (more on this shortly) means you can virtually maintain complete discretion on how people view your images.

This means that a person in Singapore will see the same colors and contrasts a person viewing your photo in Australia, Canada, or Wales.

Three stages of producing your photo book

I’ve condensed the steps of producing a photo book into three broad sections. That being said, a book could be written on each one of the steps themselves. So, we’ll just hit the high points.

1. The inception of the Idea

Of course, this is where any photo book should begin. With some extremely rare exceptions, your photo book should revolve around a central theme or concept. It could be something you care passionately about photographing or something you want to learn more about and show the world. The weird thing about ideas is that they are notoriously fluid, meaning that even though you have a general direction to aim your energy (and your camera), you should remain open to the organic evolution of your initial idea or concept for your book.

In the case of my photo book, “Faces of Grayson,” I initially had no intention of producing a book at all. I was just a person out in the wilderness with a camera. It was only after I examined a few of my images that I instantly knew I wanted to do more with the subject matter and eventually produce a book.

Image: The photo that started it all.

The photo that started it all.

Unless your photo book is strictly for your own personal use and enjoyment, I’d suggest that you don’t approach your idea for your photo book in retrograde. It’s likely not a good practice to simply go through all your photos and force yourself to find a common theme. If you begin with a solid idea that you care about, you’ll ultimately end up with a more cohesive finished work.

We’ll talk a bit more about the actual shooting and choosing of the book images in the next section.

2. Compiling the images

We’ve touched briefly on how it’s usually not advisable to base your photo book on photos already in your image archive. It’s just not a good idea. So, once you’ve decided on the subject of your photo book, approach the acquisition of your content with a Zen-like state of relaxation. Don’t force the work, and don’t force yourself to produce the work quickly.

With that said, pay careful attention that you don’t forget that these images are specifically intended to be part of your photo book. You should always keep the overall theme, feel, and concept in line with your original idea even if that idea evolves along the way.

Don’t rush things

For my photo book, I shot images for roughly two years. In the end, I had a multitude of photos from which I could choose the absolute best.

There is no time limit for obtaining your images. Please, please, PLEASE don’t rush yourself. A rough estimate of when you would like to see your book finally come to life is perfectly healthy. Conversely, subjecting yourself to a self-imposed “deadline” is not. So if there’s one piece of advice I could give when it comes to shooting the photos for your book, it would be not to rush. Instead, be deliberate, take your time, and get it right the first time.

Sequencing your photos

After you’ve completed the principal photography work for your book, it’s time to put it all together. Ask yourself a few questions: Is your book a narrative? Does the story you want it to tell depend on the order of the images?

Some photo books work very well with sequential arrangements based on the chronology of time and the progression of the subject matter through that time. If this is the case for your photo book, then make sure how you assign your images to the pages conveys this dynamic to the viewer.

If your book is not a narrative and instead is more of a compilation of place or subject with no need for sequential ordering, then the arrangement of the photos become less important. However, it should still remain a focus of great consideration.

Photo Books: Value and Worth in Today's Digital World

Once you have completed the task of choosing and sequencing your photos, it’s time to choose layouts and fonts, image sizing and orientation. Also, chooses the amount of supplemental textual narration you wish to include (or not include) with the images.

The majority of this will be left to your discretion unless you conscript outside help from a designer. Deciding on the final flavor of the book is the most difficult and most exciting aspect of putting together any photo book.

3. Printing

All right. This is where things get truly slippery. You’ve completed work on obtaining the photos for an idea that you absolutely love. The images are outstanding, sequencing is beautiful, and you know every last detail of your final grand vision. It’s all going to be perfect!

Well, I’m sorry to break it to you…

It won’t be.

Yes, I know. That truth hints at an underlying pessimism, but it’s intended to be constructive. You see, the key to sustained success with your photography is to maintain a realistic handle on your expectations. If you enter the printing process believing nothing will go wrong, and there will be no unforeseen challenges, then you will be quite discouraged when these inevitable issues arise.

Now that’s out of the way, let’s look at some common (but not all) options you might have for getting your photo book printed.

Photo Books: Value and Worth in Today's Digital World

Print-on-demand

A commonplace service in the literary world, the print-on-demand model is perhaps the easiest and most cost-effective method for getting your photo book published and printed. It also involves the least investment on your part in terms of personal control.

Print-on-demand means just what the name implies; you provide the finished content design, and a printer/publisher/distributor will print a copy of the book each time a copy gets ordered. This is a wonderfully cost-effective way to print small or large numbers of your photo book with virtually no waste. Your book gets printed only when there is an order. Often this method also includes a free ISBN and other perks.

This is also a great option to get your photo book printed and sold with as little overhead as possible. However, there are some downsides to this process. Namely, you will have little or no creative control over paper types, bindings, inks, and other nuances of the book printing process.

Amazon, Blurb and a growing number of other well-known book merchants have begun offering these types of services to photographers wishing to get their photo books distributed to the masses. For users of Lightroom, you can design and send your book to Blurb direct from the Lightroom software too.

Traditional book printers

If you want to go big with your photo book endeavor and have the financial (and marketing) resources to sit at the table, then you might be interested to know that even independently published photographers can have extremely high-quality photo books printed which offer enormous creative control over virtually every aspect of the printing process. This means that you will usually be able to select paper types and binding materials along with physically proofing prints so that your photos look exactly the way you want them to display.

Photo Books: Value and Worth in Today's Digital World

Unfortunately, this isn’t always the most forgiving option for those who are creating their first photo book or have limited means for producing their published work. It involves the willingness to exercise ultimate creative judgment on all aspects of your book, which can be highly stressful. Furthermore, the majority of these types of printing firms have strict minimum printing runs for all printed books.

So, unless you need and are ready to store and distribute upwards of 1,000 copies of your book, this might not be the best route for your project. At the same time, if you do have the logistics in place and the demand is high enough for the quantity involved, the per-copy price of high-volume printers like these translates to relatively attractive profit margins when you consider the quality versus the cost of the product.

I went via this route with my first photo book. It involved organizing an overwhelmingly successful Kickstarter campaign along with a highly aggressive marketing strategy to source the funds I needed to cover the cost of printing. Would I do it again? Honestly, probably not, at least not this way, which brings me to our next option.

photo-books

Limited quantity printing

If you’re looking for a careful balance between precise creative control, costs, and volume, this is likely the best choice for your photo book.

You could easily call this printing method could easily “artisan” printing. It involves a low number of meticulously crafted books, often with finely curated materials and craftsmanship, which can be purveyed more as a personal statement than a mass-produced product.

Limited quantity printing is perfect for face-to-face marketing, where the photo book itself becomes an art piece. Printing costs are relatively high, so in most cases, quantities of twenty or more copies could become slightly awkward. However, books of this nature can demand higher sale prices from collectors and impassioned patrons, and rightfully so.

Value in the effort?

It might be difficult to believe, but there is so much more to say about the in’s and out’s of making a photo book; at least one that you intend to make for the enjoyment of others.

A photo book is more than just making photos and finding a way to bind them into pages. Is it worth it? Does the reward justify the risk? It depends. Have you felt strongly about your subject and feel equally compelled to make photographs of that subject which you then work to compile into a photo book? If so, you’ve already committed a piece of yourself to the project. Anything that carries that much personal investment is, by definition, a success.

So, yes, there is still value in photo books. In a sense, books such as these carry even more value today. We live in a world saturated by the instantaneous. Producing a photo book requires time, deliberate intent, and the willingness to slow yourself down to focus on your true goal.

Will your photo book sell a million copies? Well, it’s doubtful.

However, depending on your expectations, making a photo book could very well be the most memorable, rewarding, and ultimately challenging mission you ever undertake as a photographer. There truly is no other feeling than seeing your own book sitting on your shelf. Believe me.

 

 

The post Photo Books: Value and Worth in Today’s Digital World appeared first on Digital Photography School. It was authored by Adam Welch.


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