The post Weekly Photography Challenge – Green appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
This week’s photography challenge topic is the color GREEN!
Photo by dPS Guest Author, Ramakant Sharda
Another fun challenge. You can capture the color purple in so many ways.
There are so many things you can take photos of with the color green. If you are indoors, photograph your indoor plants, experiment with macro and still life. Grab green things from the kitchen cupboards and play with flat lay photography.
Alternatively, hang out in your yard and photograph the birds, trees, or insects. Or cars driving past on the street.
There are so many options!
So, check out these pics to give you some ideas, have fun, and I look forward to seeing what you come up with!
You could also go for bokeh using green lights. Photo by dPS writer, Megan KennedyYou could photograph your indoor plants, or living areas that may have green in them. Photo by dPS writer, Lily Sawyer.You may want to photograph the birds in your garden. Photo by dPS Guest writer, Shreyas Yadav.
Check out some of the articles below that give you tips on this week’s challenge.
Tips for Shooting the color GREEN
Mastering Color Series – The Psychology and Evolution of the Color GREEN and its use in Photography
How to Take Vibrant, Razor-Sharp Macro Photos of Flowers
Insect Photography Tips – How to Capture Cool Critters
Some of the Pros of Using Micro Four-Thirds Cameras for Wildlife Photography
The 6 Top Photoshop Tools for Still Life Photography
Flat Lay Photography – How to Make Yours Stand Out from the Rest
3 Tips for Photographing Mixed Lighting in Interiors
Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.
Share in the dPS Facebook Group
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSgreen to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.
The post Weekly Photography Challenge – Green appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
The post Canon Explorers of Light – Q&A with Photographer Vanessa Joy appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.
The Explorers of Light Program, running since 1995, boasts some incredibly talented photographers. These photographers have spent years honing their craft, and influence and educate other photographers of all levels – something, we at dPS, can respect and relate to.
In this Canon Explorers of Light Q&A series, we interview photographer Vanessa Joy. She shares her experiences and gives tips to upcoming photographers.
Photographer Vanessa Joy
Photographer Vanessa Joy is a Canon Explorer of Light that has been an influential speaker in the community for over a decade. Starting her photographic journey in 1998, she has since branched into public speaking, earned 5 college degrees, received a PPA Photographic Craftsman degree, been named a WeddingWire Education Expert, sponsored by Canon, Profoto and Animoto to name a few.
Vanessa has spoken at almost every major convention and platform in the event industry such as CreativeLIVE, The Wedding School, Clickin’ Moms, WPPI, ShutterFest, Imaging USA, Wedding MBA, WeddingWire World, MobileBeat, in addition to hosting personal workshops and numerous small business and photography conventions around the globe.
Recognized for her talent, and more so her business sense, her clients love working with her. Industry peers also love to learn from her tangible, informative, and open-book style of teaching. Find her at www.VanessaJoy.com.
How did you get into photography?
My mother was a photographer, so I’ve been around it my whole life. Naturally, that meant I hated photography!
It wasn’t until high school, when I had to choose an elective (and I felt like appeasing my mother who was sitting right next to me when I was deciding what to take), that I got into photography for myself.
I fell in love with the darkroom.
My high school photography teacher photographed weddings on the weekends, so after graduation, I worked for him for five years until starting my own business in 2008.
What was your first camera setup?
My first camera was my mother’s Canon F-1 25mm film camera. I still have it.
What camera gear do you use now, and why?
I shoot weddings with the Canon 1DXIII (see video of why I love it here), and for other engagement and lifestyle shoots I enjoy using the Canon EOS R (check out my take on that here).
Both camera systems use the EF and RF lenses, and I prefer mostly primes at that. You just can’t beat the durability, color science, and customer service with Canon.
What area of photography do you specialize in, and why did you move into that field?
I am primarily an NJ NYC Wedding Photographer because that was all I knew of photography when I graduated high school and started working for my high school photography teacher.
That being said, I fell in love with it the same way I fell in love with photography itself. There’s something wildly special about being a part of such a precious time in my couple’s lives.
Are you working on any exciting projects you’d like to share?
I just wrote my first book!
It’s all about off-camera flash and making it easy, accessible and practical to beginner and intermediate flash users. The Off-Camera Flash Handbook: 32 Scenarios for Creating Beautiful Light and Stunning Photographs.
I’m also pumping out a ton of content on my photography education YouTube channel, and I’m really happy with it so far. I’m creating my channel to be a very applicable and tangible view on gear and photography concepts.
If you could share any photography tips with our readers, what would they be?
Assist and work for as many photographers as you possibly can. It’s better than a college education, and most of the time, you even get paid for it!
You’ll discover new photography tips and tricks and learn about the business side of things as well.
The post 3 Ways Photography Can Ease Anxiety appeared first on Digital Photography School. It was authored by Megan Kennedy.
Anxiety is a condition that can be utterly debilitating. From intrusive anxious thoughts to overwhelming fear or panic, anxiety can make it difficult to cope with everyday life. Fortunately, studies have demonstrated that it is possible to lessen the effects of anxiety through art therapy. In this article I’ll have a look at some of the ways photography can ease anxiety symptoms.
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1. Perspective
One of the key ways photography can ease anxiety is through perspective. In photography circles, perspective usually refers to the camera’s point of view. Perspective can also be used to describe the relationship between objects in an image.
However, perspective in everyday language also refers to “a particular way of considering something“. An individual’s perspective is guided by their own experience. Therefore, a person suffering from anxiety may view the world through a prism of distress.
The beauty of photography is that it can change visual experience – which in turn alters personal perspective.
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With an eye to the viewfinder, priorities can shift from the internal to the external. Energies are funneled into discovering and negotiating subject matter. A focus on composition and exposure stimulates a perceptible reach beyond mental distress and sustained visual-analysis distracts the mind which can loosen the grip of anxiety, improving perspective.
2. Getting out
When anxiety starts to creep in, the first instinct can be to hole-up at home. Some downtime alone can be therapeutic. But anxiety can exacerbate the desire to self-isolate, which, in turn, can amplify anxiety – a vicious cycle.
Sufferers of anxiety and are often advised to get out of the house and exercise. Go for a run, or a walk, get into yoga… something that gets endorphins happening. And for a good reason too: it’s proven that exercise propagates good mental health. But exercising while combating anxiety is easier said than done. That’s where photography comes in.
For many photographers, the potential for a great photographic opportunity is a powerful motivator to actively seek photographic subjects outside the confines of the home, helping to shift the burden of anxiety a little. In addition, placing emphasis on the familiarity of the photographic process expands the comfort zone, making leaving the house a bit less daunting.
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The physical nature of photography decreases the tension in anxious muscles and can divert attention away from the experience of anxiety in general. Of course, photography may not be as labor-intensive as a session at the gym (although it could well be, depending on the situation), but the physically and mentally active role of the photographer behind the camera is one of the best ways photography can ease anxiety symptoms.
3. Expression
When Nicéphore Nièpce succeeded in making the earliest surviving camera-made photograph in 1826, he probably didn’t envisage the far-reaching impact his endeavor would have on the human transferal of information.
Nevertheless, as photography evolved, so too did the capacity for people to communicate ideas and experiences through the photographic image.
Because no two experiences are the same, anxiety can be hard to endure and even harder to explain. Many photographers, however, have found ways to channel their experiences within the photographic medium.
For example, the Let’s Talk campaign looks to promote mental health awareness by photographing sitters with their mental health stories written on their faces.
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Another website, fragmentary.org curates photographic bodies of work that document the highly personal experience of mental health photographically. By delving into the complexities of anxiety and depression, photographers like Courtney Lowry and John Mannell express creatively what words cannot adequately describe.
Exploring mental health artistically is an impactful way photography can ease anxiety. Self-portraits, abstract renderings, photo-manipulation… photography enables photographers to share experiences, lessening the often lonesome burden of anxiety and perhaps creating new relationships along the way.
Conclusion
Whether you are a seasoned photographer or just starting out, the ways photography can ease anxiety are far-reaching. From altering perspective to influencing motivation and cultivating expression, photography can ride with you through highs of mental health, and support you in the lows.
Have you found that photography helps you to ease the anxiety in your life? Share your thoughts with us in the comments.
The post 3 Ways Photography Can Ease Anxiety appeared first on Digital Photography School. It was authored by Megan Kennedy.
The post Yes, the Canon EOS R5 Will Have True 8K Video (And Much More!) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
When Canon officially announced its next mirrorless camera, the EOS R5, a number of specifications stood out.
The camera promised to right the wrongs of the EOS R/RP pair, by including in-body image stabilization, 20 frames-per-second shooting with an electronic shutter, and dual card slots.
But as impressive as these features seemed, most incredible of all was Canon’s claim that the EOS R5 would offer 8K video.
Note that the current standard for mirrorless cameras is 4K/30p shooting, with cameras offering 4K/60p considered especially suited for more serious videographers.
And while the best of these cameras produce 4K video using the full width of the camera sensor, others are plagued by a crop factor, one that turns wide-angle lenses into standard focal lengths.
The soon-to-be-released Canon EOS R5
Given the current state of the market, 8K video would be impressive. And true 8K video, using the full width of the sensor, would be more than that; it would be groundbreaking, especially considering the fact that Canon has consistently failed to produce true 4K video in its mirrorless bodies. Both the EOS R and the EOS RP, Canon’s current main mirrorless bodies, incorporate a frustrating 1.7x crop.
Even the Canon 1D X Mark III, Canon’s brand new flagship DSLR, can only shoot true 4K/60p video.
So when Canon’s initial announcement included the mention of “8K video capture,” photographers were understandably skeptical. Most thought it was a marketing ploy, and that the 8K capabilities would be significantly hobbled in some way.
In fact, photographers were so vocal in their skepticism that Canon has stepped up to dismiss such rumors.
The imaging company stated in a recent press release:
Canon Inc. confirms the EOS R5’s video capabilities will exceed that of competing cameras on the market. With its ability to internally record 8K using the full width of the sensor at up to 30p, the latest EOS R camera is set to redefine mirrorless with its market-leading features.
Canon goes on to indicate that the EOS R5 will offer Dual Pixel autofocus in 8K, and that the camera will also include “advanced animal AF,” which will allow it to recognize “dogs, cats, and birds.”
If Canon was hoping to make a splash with this announcement, they’ve certainly succeeded. The Canon EOS R5 will undoubtedly be groundbreaking on all fronts, for still shooters and videographers alike.
Now over to you:
What do you think of this announcement? Will you be purchasing the EOS R5? Do you see a need for 8K? Share your thoughts in the comments!
The post Yes, the Canon EOS R5 Will Have True 8K Video (And Much More!) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post The dPS At-Home 7-Day Photography Challenge – Week One appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
Since many of us are self-isolating and stuck indoors due to the Coronavirus (Covid-19), we thought we’d make it a little less boring and stressful and give you (and us) an “At-Home, 7-Day Photography Challenge.”
That’s right – these are all things you can try in and around your home.
And, as always, we would love to see your results in the comments section. That way, we can connect and share, and keep ourselves occupied with something positive and creative!
At-Home, 7-Day Photography Challenge – Week One
Day 1
This one is great. How to Create Beautiful, Artistic Photos Using a Book
Day 2
Making the Shot: Your Guide to Creating Stunning High-Speed Splash Photos Without Flash
Perhaps if you can’t try this in your yard, try it in the bathroom
Day 3
How to Create Abstract Photos with Oil and Water and a Little Dish Soap
Day 4
Taking fun self-portraits in the mirror. 13 Fun Self Portrait Mirror Shots
Day 5
Onto the computer now. Play with overlaying textures onto your some of your favorite (or not so favorite) images. If you don’t have any textures, try Unsplash and download some to play with. How to Use Textures to Create Compelling Photographs
Day 6
Still on the computer – How to Turn Your Images into Kaleidoscope Patterns. This is a fun one.
Day 7
Now, most of us have one of these (though not me at the moment as I live in a tent – a story for another time…) – A refrigerator, or simply, the fridge. Show us what’s inside in a creative way. How to Take Cool Food Photos in Your Refrigerator
I can’t wait to see your images! And, also, feel free to share your stories too. Many of us are feeling isolated, so it’s so great to have this community to be a part of
The post The dPS At-Home 7-Day Photography Challenge – Week One appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
The post Mastering Aspect Ratios in Photography appeared first on Digital Photography School. It was authored by Tim Gilbreath.
Aspect ratio is a phrase that you’d normally expect to hear when discussing movies or televisions, but as it is a measurement of image proportions, it’s also important in photography. It is also one of those things that is always there, even if you don’t think about it.
Aspect ratio in photography is a description of an image’s vertical and horizontal proportions expressed as two numbers separated by a colon, and composed of similar units of measurement, whether it be inches, centimeters, or feet.
You’ve seen these numbers before, such as 16:9, which is commonly known as widescreen format, and used to describe many TV’s and computer monitors.
16:9 would be an image (or in the case of a TV or monitor, a screen) that is 16 units wide and 9 units tall. Aspect ratio doesn’t describe actual size, as a 16:9 ratio could be 16 inches wide by 9 inches tall, or 16 feet wide and 9 feet tall. The numbers only describe the proportions.
Although it’s not in the scope of this article, movies and film sometimes also use what’s known as cinema terminology to express aspect ratios, such as 1.85:1 (cinema standard widescreen) and 2.39:1 (anamorphic widescreen).
Although you can convert these expressions to standard ratios, for our purposes, we’ll only stick with standard x:y expressions that relate to camera sensors or photographic images.
So why are aspect ratios important to photography?
Primarily, they are important because every image we shoot, as well as every camera we shoot with, has a base aspect ratio. Our camera bases the aspect ratio on the proportions of the sensor, which you cannot change.
However, you can change the resulting image’s aspect ratio, and most importantly, you can change it for creative reasons.
There are actually two types of aspect ratio in photography we need to familiarize ourselves with; the aspect ratio of the camera we’re shooting with, and more importantly, the final aspect ratio we will present our image in.
We, of course, can change the latter in post-processing, for whatever reason we decide.
Some cameras also have settings that allow you to change aspect ratio in-camera before shooting, but this is made possible by the camera software cropping. It’s always better to change the ratio yourself and crop later in post-processing.
Why would we want to change the aspect ratio of a photo?
The main reason – composition.
Changing the aspect ratio in Photoshop or Lightroom is essentially cropping the image to a specific proportion that makes the photo more pleasing to the eye. A wide, sweeping shot of a beach and sky will not look as wide and sweeping in a standard 3:2 presentation as it would in a 16:9 widescreen format. Composing the image in widescreen proportions gives the scene a more open, cinematic feel.
Let’s take a look at the most popular aspect ratios in photography, and what they are commonly used for.
Breakdown of aspect ratios in photography
3:2 ratio
The 3:2 ratio is probably the most commonly used aspect ratio in photography, due to the fact that it is the standard proportions used with modern DSLR camera sensors.
The reason for this is because it is also the ratio used by classic 35mm film cameras. Digital camera sensors were originally designed to replicate that ratio.
An image captured with a DSLR in native 3:2 format. Modern DSLR cameras usually capture images in this format. EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode
Before photography, artists generally used a set of proportions similar to this because of its visual appeal. The 3:2 format is a great general use ratio, and allows for a fairly wide feel while still capturing vertical elements of a scene.
4:3 ratio
The 4:3 ratio is a classic format that has its roots in digital point and shoot cameras, which were developed to basically match the proportions of video monitors of the time.
The format is used in point and shoots, many compact cameras, and micro four-thirds systems.
The 4:3 format allows for more vertical space and can better focus attention in on a specific area of a scene. Here we’ve used the 4:3 ratio to remove distracting portions of the scene and isolating the flower and mushroom. EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode
Just as with old TV and video monitors, the 4:3 format has a taller, slimmer look that appears more square to the eye. It is a good creative choice when you need to capture vertical elements of a scene.
16:9 ratio
The 16:9 ratio is more commonly known as the “widescreen” format.
It was developed as a replacement for the old 4:3 ratio during the advent and implementation of HDTV. Most TV’s and monitors now are created with this format in mind.
The longer, more horizontal format is great for displaying landscapes and other vistas, and creates a cinematic look and feel when used in photography.
This image is expansive in native 3:2 format, and contains too much empty space. EXIF: Canon 60D, EFS 24mm 2.8 STM, 24mm, f/8, 1/320 sec, 250 ISO, Manual Mode Adjusting the aspect ratio to 16:9 allows for a much more flowing, cinematic look and feel. This format is especially good for displaying wide fields of view. EXIF: Canon 60D, EFS 24mm 2.8 STM, 24mm, f/8, 1/320 sec, 250 ISO, Manual Mode
1:1 ratio
The 1:1 ratio, or square format, might be mistaken as a newer format, as it is well-known for its use on the Instagram platform (although photos are no longer forced in that format with the service). However, square images are also the usual ratio for medium-format cameras, as well as a few toy cameras.
This format is a good choice for cropping close and isolating a subject or a scene that doesn’t involve an expansive landscape.
Returning to our mushroom photo, the 1:1 (or square) format lets us crop in close to a particular subject and remove any distracting elements. Here, we are focusing on the mushroom itself, and nothing else. EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode
5:4 ratio
The 5:4 ratio formatted images are primarily used in large-format photography, as many of those cameras use sheet film with dimensions of 5×4 inches.
From a creative standpoint, images using this ratio are almost as tall as they are wide, and are great for capturing vertical elements of a scene.
The 5:4 ratio is very similar to the 4:3. Again, we can use it to remove distracting elements on the sides of a scene. EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode
2:3 ratio
Finally, the 2:3 ratio is a specialty aspect ratio that is used for images in vertical or portrait orientation.
It is primarily used for portraiture, when elements of the scene (in most cases, a person), align in a vertical orientation.
You can also use vertical formats like 2:3 for landscape photography to capture tall elements within the frame, such as trees and mountains.
This image was framed and captured vertically, and later cropped in post-production to 2:3 format, to accentuate the height of the trees and the vertical expansiveness in the scene. EXIF: Canon 60D, EFS 24mm 2.8 STM, 24mm, f/8, 1/80, 400 ISO, Manual Mode
Creative cropping
Before the advent of digital photography and software, aspect ratios of the camera being used generally dictated what ratio the image would be in.
In the digital age, however, we have the ability to simply and quickly crop in whatever photo software we’re using.
Changing aspect ratio of an image in Adobe Lightroom. Not only are several presets available to you, but you can enter a custom ratio as well.
Conclusion
Instead of being bound to a specific format, you can change it. Therefore, changing the look and feel of an image for creative reasons, even after pressing the shutter and recording the image on the sensor.
So now you know a little more about aspect ratios in photography, and why it’s important. What formats do you find yourself using? Do you alter the aspect ratio during post-production? Leave us your comments below!
The post Mastering Aspect Ratios in Photography appeared first on Digital Photography School. It was authored by Tim Gilbreath.
The post How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide appeared first on Digital Photography School. It was authored by Theodomentis Lucia.
Earlier today, I thought about playing some videos that I shot on my digital camera during my last vacation. Sadly, every time I tried to play them on VLC or Windows Media Player, I got a gray or green display on the screen instead. I realized that my videos were corrupt and thought of digging up and finding an ideal solution for it. To be honest, after some failed attempts, I was finally able to repair my corrupted videos. If you have also encountered a similar situation in the past, then you may learn something from my experience.
Read on to find out how.
What could have caused your videos to become corrupt?
Before we head into the details on how to repair corrupted videos, it is important to discuss a few things in advance. You should know the major reasons why a video gets corrupt or damaged so that you can avoid it in the future.
These reasons include:
The transfer process of videos from your digital camera to the computer could be halted mid-transfer.
You may have restarted the system while the video was still playing in the background.
Sometimes, a third-party tool like a video editing software can also end up corrupting a file.
The location (drive or partition) where your video is stored could be corrupted.
The meta content or the header of the video might be tampered with as well.
If you have forcefully tried to change the video extension or type, then it can corrupt the file.
The audio-video components of the file might not be synced properly or could be missing.
You have played the video with an unsupported media player, or there could be an issue with the video encoding.
Other logical issues related to video playback, picture, sound, etc. can also cause this problem.
How can you repair corrupted videos on Windows or Mac?
If your videos have been corrupted, then you need to look for the right tools to fix them.
Since there are so many tools out there to repair corrupted videos, I asked a friend of mine, who is an expert in the field. He recommended Recoverit Video Repair, so I decided to give it a try as well.
Ideally, Recoverit is a dedicated application to recover the lost or corrupt data of all kinds. However, it also has a dedicated video repairing tool that can fix various issues related to a video file.
After getting to know these features, I wanted to give Recoverit a try and found its click-through process pretty easy.
Once you have installed the Recoverit Video Repair application, you can follow these steps to fix your corrupt files.
Steps to repair corrupted videos and files
Step 1: Launch the Video Repair tool
If you have some videos to fix, then just launch the Recoverit application on your system and launch the “Video Repair” tool from its home page. Also, attach your digital camera to the computer and move your damaged videos to the system.
Step 2: Add corrupt videos to repair
Once you launch the Recoverit Video Repair application, you can just click on the “add” button to load the corrupted videos.
This will further launch a browser window, letting you locate and load the videos that are damaged. If you want, you can load multiple videos and repair them at the same time.
Step 3: Start the repairing process
After you have added the corrupted videos to the application, the interface will let you know. You can view the details of the added videos and even remove them from here.
If you are ready, then just click on the “Repair” button to commence the repairing process.
Step 4: Wait for the repairing process to be over
As soon as you click on the “Repair” button, the application starts fixing the loaded videos and displays the progress. Kindly be patient as of now and let the application complete the process.
Once the repairing process is completed, Recoverit will let you know by displaying the following prompt.
Step 5: View the repaired videos
You can now preview the results of the repaired process by clicking on the play icon adjacent to the video.
This opens a pop-up window with a video player that will let you play the repaired video. In this way, you can check the results of the application before saving the videos.
Step 6: Save the repaired videos
If you are satisfied with the results, then click on the “Save to Folder” button right next to the video.
If you want, you can also click on the “Save All” button to save all the videos. This opens a browser window, letting you select a secure location to save the videos.
Step 7: Run an advanced video repair (optional)
In the case that you are not satisfied with the standard video repairing results, then click on the Advanced Video Repair feature, which you can find at the bottom of the video player.
To run an advanced repair, you need to load a sample video to the application. The sample video should be shot on the same device as the corrupted video and must be in the same format.
After loading the sample video, you can start the advanced video repair process and view its results as well.
Conclusion
When using Recoverit, it’s easy to repair corrupted videos. Recoverit is able to fix all sorts of issues related to videos like missing fragments, gray/green screens, video not loading error, and so on and supports a wide range of video formats like MOV, AVI, FLV, 3GP, MP4, MKV, MTS, and more. It can fix all kinds of videos shot on a wide range of devices like digital cameras, drones, camcorders, and smartphones.
The video repair tool is available in three different purchase options – $ 29.95 a month, $ 39.95 a year, or $ 49.95 (lifetime purchase) for the Windows version. If you get it now, you can get 30% off Recoverit for windows or 30% off for mac.
Download and Get 30% off Recoverit video repair now by using the exclusive coupon code: LENOP09
Disclaimer: Recoverit is a dPS paid partner.
The post How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide appeared first on Digital Photography School. It was authored by Theodomentis Lucia.
The post Dragging the Shutter for Creative Portraits appeared first on Digital Photography School. It was authored by John McIntire.
There are a lot of great techniques that allow you to add an element of movement or other visual interest to your images at the time of capture. Some of these include multiple exposures, multiple flash exposures and placing objects in front of your lens.
Dragging the shutter while using flash is another one of these techniques and it’s very easy to use.
Dragging the shutter when using flash is an easy and fun technique to add some interesting effects to your photos. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1 sec, f/9, ISO 100, Manual Mode, Spot Metering.
Dragging the shutter
While it might sound complicated, dragging the shutter is simply using a slower shutter speed than you normally would while using flash.
With flash, your exposure is dictated by your aperture as the flash fires at a much, much faster speed than the sync speed on your camera.
On the left, you can see the image with just flash. On the right, the shutter speed was changed to 1 second allowing the camera to record the modelling light throughout the exposure. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1/60 sec (Right: 1 sec), f/9, ISO 100, Manual Mode, Spot Metering.
By slowing your shutter speed down, you are allowing your camera to record ambient light as well. You will still freeze anything lit by the flash in the frame, but anything lit by the ambient will be recorded with any movement from either the subject or yourself.
Be aware that because your shutter speed is now allowing ambient light to record in your frame, your exposure will be brighter than it was with just the flash recording.
What you need
You don’t need much to use this technique. These images were made with a medium-sized modifier on a strobe and a white reflector.
A camera with manual settings
A flash with a modeling light if in a dark studio
Another ambient source of light if you don’t have a modeling light (i.e. speedlights).
How to set it up
For a technique whose results can seem complicated, setting it up and getting started is quite straightforward. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1.6 sec, f/9, ISO 100, Manual Mode, Spot Metering.
Step 1: Light and pose your subject as desired. Because this is the pose that the flash is going to record, treat it as you would a normal shot as this will be the main focus of your image.
Step 2: Choose your aperture.
You can either choose your aperture based on the effect you want and set the flash power accordingly, or you can meter your flash and choose your aperture based on that reading.
Step 3: Choose a shutter speed slow enough to allow your subject to move after the flash has fired. This is variable and will depend on how your subject reacts to the technique and the end result that you want. Somewhere between half a second and one second is a good start when dragging the shutter.
Left: The shutter speed is 1 second. Right: A shutter speed of 2.5 seconds allowed for the subjects second pose to be recorded more clearly. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1sec (Right: 2.5 sec), f/9, ISO 100, Manual Mode, Spot Metering.
Step 4: Make sure that your subject knows to change their pose as soon as the flash fires. Then hold that second pose (that’s one way to do it) until the shutter closes again.
You are not limited to one movement. Here the subject move her head to each side on a verbal cue. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 2.5 sec, f/9, ISO 100, Manual Mode, Spot Metering.
Step 5: Take a photo.
When the flash fires, it records the first pose your subject is in. After that, and after your subject moves, everything, including the movement and the second pose, is being recorded by the ambient light.
Step 6: Make adjustments.
Now that you have a test shot, you can evaluate how your image looks and adjust your shutter speed settings. Is your subject not moving fast enough or is the ambient not recording enough? Slow down your shutter speed. Is the ambient recording too much? Choose a faster shutter speed.
Once you have a shot, evaluate it on the back of the camera and make, or instruct your subject to make, any adjustments to help get the desired effect. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1 sec, f/9, ISO 100, Manual Mode, Spot Metering.
You can also tweak any instructions you’ve given your subject.
If their poses are too close together, ask them to make sure they’re moving further from their initial position. Are they moving so slow that they’re not arriving at the second pose before the shutter closes? Let them know, and show them the back of the camera.
Since dragging the shutter like this relies on so many variables, communication between you and your subject is key.
Step 7: Take some more.
Dragging the shutter in this manner can be a tricky thing to get right. Keep going until you are sure you have something.
Dragging the shutter can be a very hit and miss technique. Take as many photos as you can to ensure that you get the result you are after.
Sometimes, magic happens and you might get it in the first few frames, but other times you’ll bang away at it for ages before everything seems to click. Since no two images will ever be the same, don’t be afraid to keep going until you’re confident with the result.
Step 8: Keep experimenting.
When the subject realized that this stool spins, she suggested we see what it looks like. Experimenting like this is a good way to find something new. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1.6 sec, f/9, ISO 100, Manual Mode, Spot Metering.
There is so much that you can do with dragging the shutter like this. Instead of your subject moving their heads, have them hold their pose and cover their face with their hands once the flash has fired.
Instead of taking a second pose, have them keep moving their head for the duration of the exposure. Alternatively, instead of having your subject move, try moving the camera.
The choices are limitless. Not everything will work, but memory is cheap. Try it anyway and see what comes out.
In the end
Dragging the shutter is not a complicated technique, but it is one that offers a wealth of opportunities if you like the effects it can provide. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1 sec, f/9, ISO 100, Manual Mode, Spot Metering.
Dragging the shutter with flash is a very easy technique to use, but it is unpredictable. That’s what makes it so fun. No matter what you do, no two images will be alike, so experiment a lot and see what you can come up with. If you have an idea that you don’t think will work, try it anyway. You’ll never know until you do.
Give this technique a try and share your results with us in the comments section below.
The post Dragging the Shutter for Creative Portraits appeared first on Digital Photography School. It was authored by John McIntire.
The post Helping You the Way We Know Best During These Trying Times appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
Many people are stuck in their homes at the moment. So let’s make the most of it and do some photography! Image by dPS writer, Lily Sawyer
Let’s face it – we’ve all been stressed about the Coronavirus (covid-19).
For many people, they have had to self-isolate (including members of the dPS team). This can be anxiety-inducing and people can also start feeling isolated and down.
So we want to do what we do best. We want to give you all some photography exercises that you can do in and close to home. That way, you’ll get to focus on your creativity, keep the boredom at bay, and, hopefully, feel less stressed with life until this all starts to resolve itself.
How this will work is that each week over the next month (mid-week before our weekly newsletter goes out, starting tomorrow), we will publish a 7-day challenge. In this challenge, we will give you a challenge idea per day that you can do right within your own home or yard. We will also publish more articles on things you can photograph around the home, as well as some post-processing articles.
We care about our community and wish you all the best at this time. Please stay safe and keep in touch with us – whether by commenting on posts or heading over to our FB group where you can chat and share your photos.
Let us know if there is anything else you’d like to see here on dPS that will help you through these times too.
All the best, Caz and the dPS team
The post Helping You the Way We Know Best During These Trying Times appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
The post Due to Coronavirus, Canon Faces Production Problems on EOS R5, R6 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The camera industry is feeling the effects of the coronavirus now more than ever.
According to Canon Rumors, Canon’s is facing significant shortages in the production of its two new mirrorless cameras, the EOS R5 and EOS R6.
These two mirrorless models are currently under development and were slated to launch this summer, but the appearance of coronavirus has seen the disruption of Canon’s supply chains and has brought production capacity on the cameras down to just 25%.
Canon is considering two ways of addressing these issues:
First, the company may decide to halt the release of the EOS R5 and EOS R6 until the fall, when production should be back at full capacity. This would allow for strong, albeit late, product launches.
Second, Canon may go ahead with the launch of both cameras. But Canon would be moving forward without the production numbers necessary to satisfy all customers, and so we would likely see shortages until the coronavirus pandemic has passed.
Obviously, neither of these measures is ideal. Both the EOS R5 and R6 have generated great excitement among Canon fans, and among the camera industry at large. Any delays or shortages will be met with frustration on all sides, especially by those who have been holding out for a true professional mirrorless model from Canon.
Note that the EOS R5 offers a number of features that were missing from Canon’s first two distinct full-frame mirrorless bodies, the EOS R and RP. These include dual card slots (essential for wedding photographers, photojournalists, and sports photographers, all who require redundancy in their work), as well as in-body image stabilization, which will debut in both the EOS R5 and EOS R6. The EOS R5 will also address concerns that videographers had with the EOS R; the R5 will reportedly offer true 8K video that utilizes the full width of the sensor.
And while Canon has not confirmed a megapixel count for the R5, it has been consistently rumored to feature a 45 MP sensor, which could position the R5 as a high-powered alternative to megapixel monsters such as the Nikon Z7 and the Panasonic S1R.
Canon has remained virtually silent regarding the EOS R6. But rumors suggest that the camera will feature a 20 MP sensor, in-body image stabilization, 4K/60p video, and 12/20 frames-per-second shooting with mechanical and electronic shutters, respectively. It may cater to hobbyists looking for a first full-frame mirrorless body, but who want true mirrorless-type features such as IBIS.
Here’s the bottom line:
The release of these two full-frame mirrorless cameras may well be a turning point for Canon. Whether it comes sooner or later is immaterial, though it will certainly be frustrating for anyone looking to purchase these cameras.
So keep an eye out for more information regarding both of these mirrorless bodies.
Are you looking to buy either the EOS R5 or the R6? Which camera excites you more? Share your thoughts in the comments!
The post Due to Coronavirus, Canon Faces Production Problems on EOS R5, R6 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
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