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Leaked photos of DJI Phantom 5 drone with interchangeable lens camera

17 May

Photo by OsitaLV via Twitter

The DJI Phantom 5 drone is allegedly featured in two newly-leaked images—as well as a few sketches—that claim to reveal details about the unannounced model. The leak comes from Twitter account “OsitaLV,” which also leaked images that allegedly showed the Phantom 5 camera in March. The images in the most recent leak, however, include the full drone, lenses, and controllers.

One of the two newly leaked images (below) shows the same camera featured in the March leak, though with the lens removed and featured at a new angle:

Photo by OsitaLV via Twitter

OsitaLV also shared three sketches showing the camera and lenses, one claiming the DJI Phantom 5’s interchangeable lens camera has a 1-inch CMOS sensor. Another sketch claimed four F2.8 lenses will be available: 15mm, 24mm, 35mm, and 50mm. Finally, the second new image shows the complete drone with the same grey body color and dark landing gear visible in the March leak.

It’s getting close. pic.twitter.com/bEfnA281yr

— OsitaLV (@OsitaLV) April 27, 2018

OsitaLV previously claimed the Phantom 5 will feature a plastic GPS antenna cover, aluminum shell, and plastic landing gear. In a tweet shared on April 26th, the same Twitter user claimed that DJI has moved the motor cooling holes to the bottom of the drone and added more sealing rings to the battery, effectively making the drone “rainproof.”

Of course, none of this is considered confirmed or official until DJI makes it so, but leaks this substantial are rarely far off the mark. Keep an eye out for the official DJI news in the coming weeks or months—it shouldn’t be long now.

Articles: Digital Photography Review (dpreview.com)

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OnePlus 6 smartphone launches with bigger image sensor and OIS

17 May

Sticking to its usual 6-month product cycle, Chinese manufacturer OnePlus today announced its latest flagship device, the OnePlus 6. Compared to its predecessor, the OnePlus 5T, the new model is a fairly incremental update.

It comes with the newest Qualcomm top-end chipset, the Snapdragon 845, and the screen size has been boosted to 6.28-inch while, thanks to a new 19:9 aspect ratio, more or less maintaining the overall dimensions of the predecessors. The body also now covered with Gorilla Glass at front and back, and while there is a headphone jack, there’s no memory expansion port.

The specifications of the dual-camera are very similar to the 5T, but at 1/2.6″ the 16MP sensor in the main camera is a touch larger and now equipped with optical image stabilization. The lens aperture remains at F1.7. The 20MP secondary imager measures 1/2.8″ and also comes with an F1.7 aperture. The equivalent focal length is 27mm and PDAF is the AF system of choice.

As before, image data from the secondary sensor is computationally merged with the main camera image for advanced digital zooming, as well as better detail and lower noise levels.

The background-blurring portrait mode now works on front and rear cameras, and in video mode you can capture footage at 4K resolution. A 720p/480fps slow-motion option is on board as well.

These are solid but not specifically exciting features and specifications. However, as is typical with OnePlus, the new model will be competing on price by offering high-end specifications at a lower price point than the more established competition.

The base model with 6GB of RAM and 64GB of storage is $ 530, a $ 580 middle option offers 8GB of RAM and 128GB of storage, and a new premium version that expands storage to 256GB will set you back $ 630.

The new models will be available in North America and Europe starting May 22nd.

Press Release

Presenting the OnePlus 6 – The Speed You Need

6.28” Full Optic AMOLED Display with 19:9 aspect ratio, and Qualcomm® Snapdragon™ 845 deliver immersive viewing experience and smooth performance in a sleek flagship smartphone

London – May 16, 2018 – OnePlus today announced its latest premium flagship device, the OnePlus 6

The OnePlus 6 – the first in OnePlus’ line of flagships to feature an all-glass design – is the company’s most sophisticated handset to date.

With a 6.28-inch Full Optic AMOLED 19:9 display – OnePlus’ largest-ever screen – the OnePlus 6 offers an immersive viewing experience, while keeping a similar form factor to that of the OnePlus 5T.

Combining new technology from Qualcomm® with OnePlus’ engineering, the OnePlus 6 is the fastest handset the company has ever produced.

“With the OnePlus 6, we challenged ourselves to deliver an external design as smooth and elegant as the work we’ve done inside the device,” said OnePlus Founder and CEO Pete Lau. “We’re proud of what we’ve accomplished, and we hope our users are too.”

Fast and Smooth Experience

Addressing a common pain point among smartphone users, OnePlus is committed to ensuring its phones remain as fast and smooth as the day they came out of the box. OnePlus achieves this goal through a combination of powerful hardware and intelligent software which work seamlessly together.

The OnePlus 6 is powered by one of the most powerful processors on the market, the Qualcomm® Snapdragon™ 845, which improves performance by 30%, while being 10% more power efficient.

Coupled with the Adreno 630, which is 30% faster than the previous generation, the OnePlus 6 is a powerhouse for everything from streaming HD video to playing graphically intense games.

With up to 8 GB of LPDDR4X RAM, the OnePlus 6 effortlessly switches between multiple apps running at the same time without a single second of lag, allowing users to multitask with ease. The OnePlus 6’s dual-lane storage, based on UFS 2.1, ensures faster app loading and read/write speeds.

Bolder Design

As with any OnePlus device, the OnePlus 6 is beautiful and functional in equal measure – now, with more screen than ever before. To provide users with as much screen real estate as possible, OnePlus designed the navigation bar so that it can be replaced with gesture control, freeing up even more viewing space for a cleaner look.

OnePlus has experimented and innovated with glass to deliver its boldest design to date. Donning an allglass design, the OnePlus 6 facilitates better transmission of radio waves, providing users with up to 1 gigabit of download speed. Due to its strength and malleability, OnePlus used Corning Gorilla Glass 5 on both the front and the back of the device, shaping it with slight curves to create an uninterrupted look and feel.

OnePlus’ meticulous attention to detail is reflected in each of the OnePlus 6’s color variants: Mirror Black, Midnight Black and a limited-edition Silk White. For the Mirror Black and Midnight Black variants, OnePlus embedded a thin layer of film underneath the glass to create a sense of depth as light and shadow move on the device. A jagged texture was etched onto the film of the Midnight Black to produce a subtle S-shaped line when the phone is reflected in light. The limited-edition Silk White uses pearl powder to create a subtle shimmering effect.

High-speed Dual Camera with Optical Image Stabilization

The OnePlus 6’s dual camera system features a 16MP main camera, supported by a 20MP secondary camera. With an f/1.7 aperture, the 16MP main camera has been bolstered by a 19 percent larger sensor and OIS for outstanding performance in a range of lighting conditions. With Advanced HDR, OnePlus’ improved High Dynamic Range algorithm, the OnePlus 6 brings out shadows and enhances lighting in photos.

Portrait Mode will be available on the OnePlus 6’s front camera as well as its rear. Using AI, the front camera is able to apply a depth of field effect to selfies. Newly added bokeh effects, including circles, hearts and stars offer new ways for users to customize their portraits.

The OnePlus 6 marks the introduction of OnePlus’ Slow Motion mode, which can capture high-definition video frame-by-frame with astonishing detail, ensuring users never miss the action.

Android Refined – OxygenOS

OnePlus’ operating system, OxygenOS, offers a refined Android experience that is faster, cleaner and more customizable than other Android experiences.

Like its approach to hardware, OnePlus’ approach to software is centered around an experience that is refined, efficient and minimalistic. New features are vetted by OnePlus users through channels like the OxygenOS Beta Program and only added once OnePlus is confident the features can improve the way users use their phone.

A Day’s Power in Half an Hour

The OnePlus 6’s fast charge – a favorite feature amongst OnePlus users – offers one of the fastest charging solutions on the global market. A half-hour charge gives the OnePlus 6 enough power for the entire day.

Price and Availability

The OnePlus 6 in 64 GB, 128 GB and 256 GB storage options will be available on oneplus.com in North America and in Europe on May 22nd starting from USD 529 / EUR 519 / 469 GBP. The limited-edition Silk White with 128 GB of storage will be available for purchase on June 5th.

Articles: Digital Photography Review (dpreview.com)

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8 Beginner Tips for Images with a Better Background

16 May

Are you taking too many photos where the background is distracting from your main subject? It’s a common mistake for beginner photographers to pay attention only to their main subject and not what’s in the background. You also need to carefully look at what’s behind your subject when you are composing your photos, and a better background is part of better overall images.

Here are 8 tips to help new photographers achieve photos with a better background.

1. Choose Plain Backgrounds

statue against the blue sky - better background

By getting down low and looking up at your subject, the sky can make a great plain background.

Look for plain backgrounds and avoid strong patterns or clutter behind your subject. A single subject against a plain background will stand out better and make a stronger image. If what’s behind your subject is visually imposing it will distract attention from your subject.

By taking your photo from a low angle the sky will make a good plain background, especially on a cloudless day or at night. Get up higher, above your subject, and a nice lawn or large paved area can work well. A long fence or the side of a building with no windows will provide you with an effective plain background as well.

2. Give your Subject Some Distance

Two people throwing water during Thai new year - better background

Having some distance between subject and background you can blur the background so it’s not distracting.

Don’t place your subjects too close to the background. If your subject is too close to the background you will have too much in focus and your subject will not stand out. By putting some distance between your subject and what’s behind it, your subject will be sharp and what’s behind can be blurred out, (if you use a wide enough aperture setting.)

But you don’t always need to completely blur the background. Sometimes it’s good to still be able to see what’s going on behind your subject by having it only somewhat out of focus. This can work particularly well with environmental portraits where you want the background recognizable, but not be imposing.

3. Crop in Tight

Chilies at the street market - better background

Cropping tight to this pile of chilies has eliminated the distracting background.

Move close or zoom into your subject to avoid seeing most or all of the background. This will mean attention is given totally to your subject because there is nothing else in the photo.

Coming in super close might mean not including the whole of your subject in the photo. This is okay. Cutting off part of your subject could be better than including the whole subject and some distracting background.

4. Create a Balance

vegetable vendors at a street market - better background

Using the person and objects in the background, a balance has been created in this composition.

When you find yourself in situations where you have no control over the background or how close it is to your subject you need to get creative in other ways to make the most of what’s there.

Looking at the objects, shapes, and lighting in the background you might find you can use part or all of these things to help balance your composition and complement your main subject.

5. Change Your Point of View

Market vendor selling cooked sausages - better background

The bright background here is unattractive and adds no meaning to the photo. It is just distracting from the subject and draws the eye away from the vendor.

Market vendor selling cooked sausages taken during a Chiang Mai Photo Workshop

By moving my camera position, now the background is darker and adds meaning to the photo because you can now see it’s in a street market.

Sometimes to achieve a better background you will need to move your camera position.

If you are setting up to compose a photo and are seeing distractions in the background, try moving your camera to the left or right, or get up higher or down lower. As you do, watch what happens to the background in relation to the subject. You may see that as the relationship between objects changes you create a balance in your composition.

You might be able to hide distracting objects behind your subject or something else in your frame just by moving a little. Coming in closer can also help.

6. Use a Longer Lens

Street parade girl in costume - better background

Here, using a long lens allowed me to only see the girl’s costume and nothing else in the background.

Using a longer lens and moving back from your subject (rather than using a wide lens and being close) will greatly affect what you see in the background.

A lens with a wider field of view will naturally take in more of what’s in the background. Changing lenses or zooming in can eliminate much more of the background. It will also help blur your background if that’s what you want.

7. Frame Your Subject

The out of focus entrance behind my subject frames her nicely.

Find some element of a background that can enhance your photo by framing your subject.

If you want to use a natural frame for your subject it does not need to be in front, it can be quite effective if it’s behind them as well. Be careful though, if it is too strong it may visually overpower your main subject.

8.Use Contrast

market porter Thailand - better background

Using the large indoor space as a background for this market porter standing in the street has created a good dark background.

Look for backgrounds which are brighter or darker than your subjects. With careful exposure, you will be able to isolate your subject just because of the difference in lighting. This is one of my favorite techniques to really draw attention to my subjects, especially when I am photographing people.

Whether I am working with a studio setup or making portraits on the fly, I love to work with a dark background. Be careful to make an exposure reading from a person’s face, if the background has significantly less light falling on it then it will be underexposed and darker than your subject. If the background is a dark color this will help also as it will reflect less light than your subject. This is more difficult to achieve with people who have dark complexions.

Karin hill tribe woman taken during a Chiang Mai Photo Workshop

Using my outdoor studio I am able to easily have a plain, dark background.

Conclusion

Next time you are out and about with your camera, remember to pay attention to what’s happening behind your subject as well. The background can make or break a picture. It can support a subject or be a total distraction. Practice using these tips to create better backgrounds and I am sure you will begin to see an improvement in your photos.

The post 8 Beginner Tips for Images with a Better Background appeared first on Digital Photography School.

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Microsoft unveils the Surface Hub 2: A huge collaborative 4K+ 50″ display

16 May

Microsoft has expanded its Surface product line with the new Surface Hub 2, a sequel to the original Surface Hub introduced in early 2015 (and which you probably never heard of).

The Surface Hub 2 is a large 50.5-inch 4K+ collaborative display with portrait/landscape modes and pen support. Microsoft says Surface Hub 2 was designed for teams “regardless of location,” enabling them to video chat, view content, write directly on the screen, and daisy-chain multiple displays together.

Surface Hub 2 brings together Office 365, Microsoft Teams and Whiteboard, and Windows 10. Up to four displays can be used together in either portrait or landscape mode; the user can also toggle between those modes by manually rotating the screen. In addition to wall mounts, Steelcase worked with Microsoft to create rolling stands for Surface Hub 2.

Microsoft confirms that Surface Hub 2 supports multi-touch and features 4K cameras that rotate with the device. Far-field microphone arrays and speakers enable communicating with remote team members, plus there’s support for multi-user sign in so that multiple people can be authenticated on the workspace.

The company decided to use an atypical 3:2 aspect ratio versus the more common 16:9; the exact resolution hasn’t been stated. Though many details are still missing, it’s clear that Surface Hub 2 is designed to help anyone who engages in collaborative—particularly visual—work. Content such as images can be immediately shared with others, for example, without a break in the workflow.

Microsoft plans to start testing Surface Hub 2 with “select commercial customers” some time this year, and the product will go on sale in 2019, though the price hasn’t been provided at this time. Interested potential buyers can sign up for updates on Microsoft’s Surface Hub 2 website.

Do you see a photography use for the Surface Hub 2? Maybe as an in-studio display for tethered shooting and collaborative photo editing? Maybe something else? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

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How to Choose the Perfect Macro Lens

16 May

A common question among those starting out in macro photography is, “What lens should I choose?” Given the number of options, this is difficult to answer and depends on a number of factors (physical requirements, budget, subject, style, etc.). There is no one ideal macro lens. However, this article will provide a guide to choosing the ideal macro lens for your needs, focusing on three main considerations: focal length, image quality, and price.

macro photography abstract hibiscus - How to Choose the Perfect Macro Lens

A Note About Image Quality

When it comes to choosing lenses, photographers often focus on image quality, especially sharpness.

I am happy to tell you that, for macro photography, this is generally less of an issue. Why? Macro lenses are incredibly sharp. Even lenses on the lower end of the price spectrum offer professional-level sharpness, especially when stopped down slightly. I have used a half-dozen macro lenses over the course of my photography career, and I have never been dissatisfied with the level of sharpness.

However, this does not mean that low-end macro lenses are indistinguishable from the pricier options. Expensive macro lenses do often provide better sharpness and bokeh.

macro photography flower abstract - How to Choose the Perfect Macro Lens

Furthermore, cheaper macro lenses do sometimes have problems with chromatic aberration (generally purple and yellow fringing that occurs in the high contrast parts of images). This can be corrected with post-processing, but I prefer to avoid chromatic aberration whenever I can. When I discuss different lenses below, I note any chromatic aberration problems that I’ve experienced.

Focal Length

I will center this discussion around focal length; this is an easy way of narrowing down potential macro lenses because focal length often determines and limits your macro photography options.

Macro lenses can be classified into three focal-length categories: short (35-60mm), mid-range (90-105mm), and long (150-200mm).

The Short Macro Lens

Pros: Lightweight and inexpensive.
Cons: Less impressive bokeh, short working distance (bad for insects).

dahlia abstract macro photography flower - How to Choose the Perfect Macro Lens

I took this dahlia image using a short macro lens, the Nikon 60mm f/2.8D.

Short macro lenses tend to be used for more casual macro outings, or as “all-purpose lenses” that you switch to macro when needed. They’re easy to store, easy to carry, and pretty inexpensive. They’re also easier to hand-hold because of their small size.

However, a big drawback with short macro lenses is the short working distance. Working distance refers to the distance from the end of the lens to the subject. In order to do high magnification photography with, say, a 60mm macro lens, the subject has to be extremely close to the lens. This can cause problems. First of all, insects generally require a bit of distance when photographed, so getting close often isn’t an option.

macro photography tulip abstract flower - How to Choose the Perfect Macro Lens

This tulip photograph was taken with a Nikon 60mm f/2.8D.

Additionally, your head (or your camera) might cast an unwanted shadow onto the subject, depending on the lighting conditions. Shorter lenses also tend to have less pleasing bokeh.

However, if you are looking to do casual macro photography with more portable equipment and strong image quality, then a shorter macro lens might be just the thing for you.

If you’re a Canon shooter on a budget, you should look at the Canon 60mm f/2.8 (at $ 399)or the Canon 35mm f/2.8 IS (at $ 349). The latter offers image stabilization, which can often be quite useful for handheld macro photography. For Nikon photographers, look at the Nikon 40mm f/2.8G (only $ 225).

How to Choose the Perfect Macro Lens - tulip macro photo

Another tulip photograph that was taken with the Nikon 60mm f/2.8D.

If you’re a photographer with a bit more to spend, you should consider the Nikon 60mm f/2.8G (at $ 596) or the Tamron 60mm f/2.0 for Nikon ($ 524) and for Canon ($ 524).

Finally, you might consider the Nikon 60mm f/2.8D (at $ 517). This lens is near and dear to my heart because it was the first macro lens I ever purchased. I was always quite impressed by its sharpness. It is worth noting that the autofocus is quite slow, but I always use manual focus when shooting macro (and you probably should, too!), so this was not a problem.

60mm nikon macro photography tulip flower - How to Choose the Perfect Macro Lens

A final photograph with the Nikon 60mm f/2.8D.

Mid-Range Macro Lenses

Pros: Larger working distance, somewhat inexpensive, very good bokeh, lightweight.
Cons: Working distance still fairly short.

macro photography abstract purple flower - How to Choose the Perfect Macro Lens

A flower image that was taken at 105mm.

Mid-range macro lenses are my personal favorite among the macro options. They are a great option for flower photography, especially more abstract level flower photography like I tend to do. Why?

First of all, these lenses are relatively lightweight, which means that I can hand-hold them without much trouble at all, even in low light. This allows for much greater flexibility.

Second, a mid-range macro lens offers a perfect working distance for flower photography. I like to get very close to the flowers that I am photographing. Not so close that I am nearly touching the flower, but not so far that other flowers, leaves, and branches get in the way.

macro photography Canon 100mm f/2.8L rose abstract - How to Choose the Perfect Macro Lens

A rose image which was taken with the Canon 100mm f/2.8L.

Third, these lenses offer high-quality optics for what is often a very low price. For example, the Tamron 90mm f/2.8, (which is generally the least expensive of these mid-range macro lenses at $ 649), affords images with outstanding sharpness and bokeh.

If you desire to do insect photography, or if you often photograph with a tripod and want the increased image quality of a 150-200mm, I would recommend looking at a longer macro lens. However, if you are interested in doing handheld flower photography or if you’re on a budget but want a more dedicated macro lens, I recommend one of those mid-range lenses mentioned above.

First among the less expensive options is the aforementioned Tamron 90mm f/2.8 for Nikon and for Canon. At one point in time, this was my workhorse lens. While I had occasional issues with chromatic aberration, the sharpness, bokeh quality, and price more than made up for it. Another option around this price-point is the Tokina 100mm f/2.8 for Nikon and for Canon.

daisy abstract macro photography bokeh - How to Choose the Perfect Macro Lens

This daisy image was taken with the Tamron 90mm f/2.8 (non-VC) lens. I love the bokeh this lens produces.

Looking toward medium-level prices: the Canon 100mm f/2.8 Macro USM gets great reviews, as does the upgrade of the previously mentioned Tamron 90mm f/2.8, which has been modified to offer vibration compensation technology. Sigma also offers the 105mm f/2.8 macro with optical stabilization.

macro photography abstract Canon 100mm f/2.8L - How to Choose the Perfect Macro Lens

I took this image with my favorite lens: the Canon 100mm f/2.8L.

Finally, on the pricier side, we have the Nikon 105mm f/2.8G VR ($ 896) and the Canon 100mm f/2.8L IS ($ 749), both of which offer vibration reduction/image stabilization.

I must say, if I had to pick one lens to use forever—out of all the lenses that I’ve owned or even held in my hands—it would be the Canon 100mm f/2.8L. It’s pin sharp, the image stabilization allows for shooting handheld in low light, and the bokeh is a dream come true.

Long macro lenses

Pros: Best working distance, generally excellent bokeh and image quality.
Cons: Heavy, often very expensive.

macro photography abstract dandelion Sigma 150mm - How to Choose the Perfect Macro Lens

I took this high magnification image with the Sigma 150mm f/2.8 (non-OS).

Longer macro lenses tend to have astonishingly good image quality—for a (generally hefty) price. The bokeh and sharpness on the Sigma 150mm f/2.8 (for $ 1099), for instance, is excellent.

macro photography aster abstract bokeh Sigma 150mm macro - macro lens

I’m very impressed with the bokeh offered by the Sigma 150mm f/2.8 macro lens.

These lenses also offer the best working distance of the bunch, which is often essential for insect photography.

Another advantage of the longer working distance is the ability to use a creative macro technique: shooting through out of focus flowers.

sunflower abstract macro photography Sigma 150mm macro lens

A third image was taken with the Sigma 150mm macro. I shot through several other flowers to give this image a colorful wash.

Yet these lenses are quite heavy, which makes hand-holding for long periods difficult, and doing so in low light nearly impossible. You’ll want to consider these lenses if you wish to do high-level insect photography, or if you desire top-notch image quality and don’t mind the weight or price.

The long macro lenses include the less expensive Sigma 150mm (non-OS), which is a bit harder to find, but offers excellent image quality and is built like a tank. It’s my backup macro lens (after the Canon 100mm f/2.8L), and I turn to it when I want a bit more working distance.

Next, we have the Tamron 180mm f/3.5 and the Sigma 150mm f/2.8 OS.

And then, offering stunning image quality with a high price tag, are the Nikon 200mm f/4 ($ 1792), and the Canon 180mm f/3.5L ($ 1399). While I have not used either of these lenses, I have read rave reviews of their optics, especially the Canon 180mm f/3.5L.

macro photography abstract coneflower Sigma 150mm macro lens

This is another image taken with the Sigma 150mm macro. I shot through another coneflower to give this image a purple wash.

Conclusion

While most macro lenses allow for high-quality images, different ones will meet certain needs better than others.

To summarize:

If you are looking for a more general purpose lens for casual macro shooting, choose one of the short-range lenses.
But if you are looking for a more serious macro photography lens and prefer to shoot handheld with greater flexibility, go with one of the mid-range lenses.
Finally, if you want to shoot insects or want perfect image quality, choose a long macro lens.

Still uncertain about which lens to purchase? Ask your questions in the comments section below, and I will do my best to help!

macro photography abstract flower - macro lens

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Video: A Sony flash ‘feature’ you may not like, and how to work around it

16 May

Photographer Robert Hall sent us his latest video, because he’s found some interesting things about the way the live view and EVF on recent Sony full-frame mirrorless cameras respond when you attach a flash or flash trigger to the hot shoe. And, usefully, he’s also found a workaround.

Like many mirrorless cameras, the Sonys offer a choice of whether the preview display reflects your settings (to help assess exposure) or ignores them to give a consistently bright preview (useful if you’re working with strobes in a studio). This is one of the key advantages a digital preview can offer over an optical viewfinder. You select this by turning “Setting Effect” On or Off in the Live View Display menu.

However, when you attach a flashgun or trigger, this setting is over-ruled, automatically switching to a ‘corrected’ preview simulating the metered exposure. This is a behavior we quite liked when we tested the camera, but Hall points out that it’s not very helpful if you want to assess the contribution of ambient light to your scene. It essentially surrenders the advantage of using a digital preview.

This, in turn, led Hall to work out what the ‘Shot Result Preview’ option—assignable to a custom button—is for. It lets you work around the camera’s enforced behavior when you have a flash or trigger attached, albeit at the cost of one of your custom buttons. We checked with some other brands and found Panasonic cameras do the same thing as Sony, but without any kind of workaround.

From our perspective, it would be much simpler to add a second option after the ‘Settings Effect’ On/Off option in the menu: one that lets you define what happens when you add a flash. That way you can accommodate the preferences of both kinds of photographer, but without the need for workarounds.

It also goes to show: for all that we criticize the complexity of menus in current cameras, it’s extremely difficult to build a camera that works the way every user will want. It also highlights the occasional need to re-assess the way cameras work, from the ground up, rather than gluing patches and workarounds on top of what’s already there.

Articles: Digital Photography Review (dpreview.com)

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More Lessons from the Masters of Photography: Edward Weston

15 May

In any art form, we have those who seem to transcend the medium itself. Those who by their very accomplishments earn the respect and admiration of those who view their work. We call these esteemed individuals “Masters”. In photography, there great names that we hold high because their photographs move us on some emotional, nearly spiritual plain. We see these people as masters of photography not simply because of their level of technical skill but how their application of those skills makes us feel. At the same time, we strive to reach that same level of proficiency.

In this installment of Lessons from the Masters of Photography, we are going to examine the work of Edward Weston. We will look at the photographs and also the man to see what valuable lessons they can teach us about photography.

Edward Weston

Edward Weston by Fred Archer- 1915

Weston was born in Highland Park, IL on March 24th, 1886. He began photography at the relatively young age of 16 when he was given a No. 2 Bulls-Eye camera by his father. The camera used 3 ½ inch roll film and Weston used the incredible little box to make photographs around Chicago where he spent a large portion of his childhood.

After moving to California in 1906, he worked as a surveyor and began working in photography essentially as a “door-to-door” photographer. A couple of years later, Weston would return to Illinois to attend the Illinois College of Photography where he became proficient in darkroom and camera techniques. Finally, in 1911, he opened his first studio in Tropico, California. The rest, as they say, is history.

Edward West went on to become one of the most dominating forces in the world of photography and is now considered by many to be one of the first great American photo makers. His work ranges from landscapes to fine art nudes and still life. In this article, we’re going to look at a few of the many lessons you can learn from the great Ed Weston, one of the Masters of Photography.

There are no Rules

How many times have you stopped yourself from placing a horizon dead center in a composition because it isn’t generally considered correct? Have you worn out the Rule of Thirds?

Do you always want to retain detail in the shadows each and every time? If you ever don’t make a photo in a certain way because it isn’t the “correct way”, then you are limiting yourself and your work…and Ed Weston would likely agree with me.

More Lessons from the Masters of Photography: Edward Weston - man looking up on a forest of tall trees

Weston believed there were no set “rules” to composition, He saw photography as a progression in self expression and would photograph the scene or subject based on what he felt, not necessarily based on any set rules.

When you photograph, always remember that while there a few technical constraints the majority of the creative side of your photograph is completely up to you. Be like Edward Weston and don’t hold back just because what you want to do is unique.

Beauty is Everywhere

If you look at some of Weston’s most celebrated works, you’ll see that they consist of everyday items that you might have in your home right this second; lettuce, sea shells, even a toilet. In fact, what is considered to be one of his most famous photographs is nothing more than a bell pepper.

More Lessons from the Masters of Photography: Edward Weston - pepper #30

Pepper #30 by Edward Weston, 1930/Image courtesy Sotheby’s

Weston made the everyday commonality of objects disappear. One of my favorite quotes by him is as follows:

“This then: to photograph a rock, have it look like a rock, but be more than a rock. Significant presentation – not interpretation.”

What’s Weston telling us here? Is he just being overly dramatic as some of us photographers tend to be (as my hand slowly raises)? Or is he saying that we should see the things around us not only as what they are but also what they could be?

sand dunes - More Lessons from the Masters of Photography: Edward Weston

Dunes, Oceano By Edward Weston, 1936

Beauty and therefore photographic material surrounds us all. Don’t overlook something because it appears simple. Instead, attempt to see its beauty photographically and learn to use your camera to show that quality in your work.

Use Simple Techniques in a Grand Way

Something I found surprising as I learned more about Weston is that most of (if not all) of his photographs were contact prints. This means that the negative is placed directly on top of or in very close contact with the printing paper. A contact print is the same size as the negative it is birthed from and in the case of Weston that was usually 8×10 inches.

silhouette of a camera on a tripod - More Lessons from the Masters of Photography: Edward Weston

Can you imagine that? All these great photographs were printed with extremely simple methods using nothing more than a negative, a piece of paper sandwiched in a wooden box, and light. The magic happened when Weston would add in the most important thing of all; his immense skill.

You see, Weston might have used simple tools, but the way in which he used them made all the difference. In your photography, never forget that amazing things can come very very simple means. The important thing is learning how to use the tools you do have expertly. Don’t believe me? That Pepper #30 from earlier…it was shot in a tin funnel on Weston’s kitchen table.

Some Final Thoughts on Edward Weston

I realize as I close out this article that it is March 24th, Edward Weston’s birthday. Oddly fitting as I think back on the legacy and lessons he left us to help better ourselves as photographers.

Weston was a master of making the simple profound. He used simple techniques and wasn’t afraid to bend the accepted “rules” in order to get the photography he saw fit. As you continue on your photographic journey I urge you to learn more about Edward Weston and his wonderful work as you discover more ways to become a better photo maker.

Read other dPS articles on the masters of photography here:

More Lessons from the Photography Masters: David Burnett and Vivian Maier
Lessons from the Masters: Robert Capa and Jerry Uelsmann
Cartier-Bresson and Stieglitz – Study the Masters of Photography to Become a Better Photographer
Masters of Photography: Bruce Davidson, Master of the Subway
Masters of Photography – Yousuf Karsh Portrait Photographer
Masters of Photography – Ansel Adams
Photography Lessons I Learned Growing Up Around Ansel Adams

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ACDSee Photo Studio Ultimate 2018 Guide for Beginners

15 May

ACDSee Photo Studio Ultimate 2018 was released recently and it has a lot of options included in a single software program. It offers a combination of features covered by the likes of Lightroom, Bridge, and Photoshop in one setup at a competitive price.

ACDSee Photo Studio Ultimate 2018 Guide for Beginners

Depending on your skill level, it caters to beginner through to advanced users. This new 2018 version combines previously standalone programs into one with some new features added. Development for future versions is also underway, so it’s an option that is undergoing improvement.

For the purposes of this article, I will be using Lightroom and Photoshop as the basis for comparison as those are the tools I currently use.

Let’s work through the usual steps that this software would be used for, from the point of view of a beginner photographer and someone new to the software as well.

Setting up the program
Basic layout
Import images
Raw image editing
Edit mode with layers, etc.
General comments

1. Setup and Install

Setup and installation are fairly standard. You are required to set up an account as part of the install process (I tried to skip out of it but it canceled the Install when I did) which then requires an extra registration step with an email confirmation. However, once that is done there are no other impediments to using or starting up the program.

It does allow you to choose which drive/directory/folder you want to install it into as well if you want to use a non-standard install path.

2. Basic Layout

ACDSee Photo Studio Ultimate 2018 Guide for Beginners

Basic layout when the software first opens.

This is the default setup upon opening up the program. It’s set to view the Pictures Library and is in Manage Mode. The modes are on the right-hand side at the top of the screen and take you to the different functions available. The Modes we will be looking at in detail are Manage, Photos, View, Develop and Edit in this article.

Catalog tab where you can view images which have been rated or labeled or by other categories.

On the left-hand side under the File menu, are three tabs. First is the Folders tab which is the default file structure. Next is the Catalog tab which appears to allow you to view/sort images that have been rated with numbers or colors. It did pick up the color labels I had previously applied to images within Lightroom, which was interesting.

By going back to the Folder tab to select the folder and bring up the images, you can then go back into Catalog. If you select an image you are then able to rate it with a number or color.

Manage mode with a folder of images loaded up for viewing.

View and Manage Modes

Back in the Folders tab in Manage Mode, if you select an image it comes up with EXIF data and a histogram in the bottom left panel. The right-hand panel pops up with all the metadata and also allows you to rate the image there as well.

ACDSee Photo Studio Ultimate 2018 Guide for Beginners

Photos mode offers three different ways to view your images. In the bottom right-hand corner it has three numbers; 7, 31, and 365 – these allow you to sort by week, month or year. The above image shows the images sorted by year. You can scroll visually through all your images.

While you can move easily between Photos and Manage Modes. But if you want to go to View mode you have to click on an image within Photos Mode to open it. Double-clicking on an image in Photos mode will automatically open it in View Mode.

view mode - ACDSee Photo Studio Ultimate 2018 Guide for Beginners

View Mode default layout.

View Mode is similar to Adobe Bridge, where you have a filmstrip to view images at the bottom and some basic edit functions on a toolbar on the left just above the thumbnails.

Given that at this point in time no image editing has happened, and the tools are basic automated functions, you may not want to do anything here.

Develop Mode

Develop Mode default layout with the editing panel on the left

Develop Mode is the Raw Editor. It is laid out very similar to Lightroom except the edit panel is on the left. However, it can be customized and moved to the right if you prefer.

Edit Mode

ACDSee Photo Studio Ultimate 2018 Guide for Beginners - develop mode

Edit mode with workspace modified slightly – the Layers panel is on the right

Edit Mode is the advanced edit functionality. This is where you find layers, masks, text, and other features generally found in Photoshop. The tool palette on the left-hand side originally went along the top of the image but I moved it.

The 365 mode offers options for subscription licensing which is probably not relevant if you bought the perpetual license.

The Dashboard Mode

Dashboard Mode default layout.

The Dashboard Mode offers interesting ways of interrogating your database for information – how many files you have, what camera is used most often. It doesn’t appear to be editable beyond the data it provides so you can’t find out things like your most commonly used lens focal lengths or apertures.

The last mode is a Message Center. I had no messages to view.

In summary – there are three different ways to view your images, a raw editor, an advanced editor and other functions of less relevance.

3. Importing Images

As I have been a Lightroom user since LR3, I have several years of images already stored on my computer. I store my image files on a NAS (Network Attached Storage) so I was interested to see if they would be found and accessible, as some programs have issues with NAS functionality.

The good news is ACDSee happily found the images on my NAS and I was impressed at how quickly it loaded them up for preview. It was significantly faster than LR usually imports images and loads previews.

Manage Mode showing the network with the NAS folders viewable.

Therefore doing an image import test was also necessary.

File > Import >From Device found my CF card plugged into my computer and an Import Panel allowed a preview of the images, selection of images, destination choice, and file renaming. Again the image preview was very quick.

Import image panel in ACDSee Photo Studio Ultimate 2018.

On clicking Import, a light grey box opened up in the bottom right-hand corner, with a progress bar and it flicked through all the images as it was importing them. I imported 28 images and it took less than a minute.

Once it’s finished you are asked if you want to view the imported images. Clicking Yes takes you to the image folder for viewing all the images.

4. Raw Image Editing in Develop Mode

Unedited RAW file.

Develop Mode is laid out very much like Lightroom. The editing panel by default is on the left-hand side but I moved it over to the right as that is my preference. The histogram is visible with the different elements of it in different colors, but you can’t click on them and move/edit them within the histogram itself.

The main edit panel is Tune, and the others are Detail (sharpness, noise reduction), Geometry (perspective, lens corrections, and crop) and Repair (Heal and Clone).

It’s not entirely obvious but the white bits with the triangle out the bottom are the sliders, and you move them to make your adjustments. You can also change the numbers or click on the arrows. It does not appear to reset to zero if you double click on the bar as the whole bar is active.

Image after edits applied.

The above image has been edited with the settings visible, plus a few other panels. In general, I found it a bit more aggressive than LR would be in comparison so if you prefer a more subtle approach, be delicate with your application of the sliders.

The main blueberry in my image had a mark on the front so I decided to test out the Heal function. While it was a bit slow to apply and appeared to do it in stages, I was quite surprised at how well it worked. Upon viewing at 100%, there are some blue color blotches that would look a bit unnatural if this image was printed, but to the casual glance (or online viewing) it’s not obvious this image had been healed. A much better job than my LR6 can do.

ACDSee Photo Studio Ultimate 2018 Guide for Beginners - heal tool

Image before Heal applied and scratch visible – viewed at 100%

Image after several brush strokes of Heal applied – viewed at 100%.

I also experimented with other things in the Develop Mode. There is an option to copy and paste settings between images, you can apply a vignette, and tweak its settings.

To save the image there are several options. Done opens up a dialog box to Save or Save As like a standard file-save function in Windows. Save gives you a drop-down box to Save As, Save a Copy, or Export.

The Export option opens up this window which allows you to choose things like destination, change the name, format, and size. Similar to the standard Export functionality in Lightroom.

Export images panel.

5. Edit Mode – Layers and other options

Edit mode with an image open for editing.

Edit Mode is where you can do the kind of editing for which Photoshop is often used. It has support for Layers, Masks, Adjustment Layers, Text, etc. I moved a few panels around to make the workspace more familiar but otherwise, the above screenshot shows the basic Edit Mode setting.

One of the new features of Edit Mode is the Actions – which seem to be a combination of LR Presets and PS Actions. They are only available in Edit Mode under Tools. There are several different categories and a Preview Browser offers an idea of what the final outcome will be.

Actions browser showing a preview of the effects.

To apply hit Play. The effect is applied directly to the base layer which is a bit limiting as you cannot edit the effect in any way and it is applied with quite a lot of enthusiasm. Adding a blank layer and applying to that didn’t work, which was a shame as you could have applied edits to the action layer that way.

Image after Grunge Action applied.

For comparison, I edited my image manually by adding a couple of texture layers and masked off the heavy texture with a soft brush to have a more gentle effect.

An alternative version of the image with some grunge texture layers manually added, adjusted individually, and heavy texture masked off to soften the overall outcome.

One limitation in adding texture layers manually was not being able to drag them across from an open instance of Windows Explorer, which I can do with Photoshop.

Once you’re ready to save the file you have File>Save/Save As/Save as a Copy/Export to choose from.

6. General Comments

Looking at this from a beginner’s perspective, someone new to photography and new to editing, ACDSee Photo Studio Ultimate 2018 has a lot of benefits:

It’s available as a perpetual standalone license or a subscription.
It offers image management, RAW editing, and advanced editing features.
For a novice, it has all the functionality you are likely to need in one program.
Image editors are not the easiest programs to learn and use but this doesn’t make it any more complicated.
It looks familiar in comparison with other popular programs in the market.

As an advanced user of both Lightroom and Photoshop, there are a few things that I’d prefer worked differently as follows:

Visually the dark grey tone in the background is darker than I prefer and I was unable to easily find an option to change it.
When adding other images or textures, it’s easier to find them in a second monitor via Windows Explorer and drag it onto my image – this is easy to do in Photoshop but ACDSee didn’t allow it in the Develop mode, only in Layers. It does have an “Add a File as a Layer” button which is a good workaround.
In Develop Mode I was able to select a second monitor for viewing my image, but it stayed static on the original image view and didn’t reflect any of the changes I made to the image which was a bit baffling.
If you are in Edit mode and have applied Layers to the image you cannot go back into Develop mode unless you save the flatten it. Not a really a complaint, just that it works a bit differently than I was expecting.

Conclusion

The full price of ACDSee Photo Studio Ultimate 2018 is $ 149.99 USD for the standalone perpetual license and there is also a free 30-day trial. It also offers a monthly (or annual) subscription which allows use on up to five devices, updates, and cloud storage as an alternative. Prices for the subscription vary depending on Personal or Business use.

At less than $ 100 USD for an upfront one-off cost, it offers an image management feature, a RAW image editor with a lot of features and functionality and advanced editing via layers, masks, adjustment layers and other extras.

For a beginner to either photography or editing, there is a lot on offer with ACDSee Photo Studio Ultimate 2018. Yes, it has some quirks and annoyances in comparison to other programs but nothing that renders it difficult to use (unless your eyesight is bad).

As a package to get a beginner started and provide everything you are likely to need, this is a competitive software solution for the general purpose user. Strong contender both on price and the fact it offers everything you are likely to need in one place, making it consistent and easy for a beginner to use and manage.

Disclaimer: ACDsee is a dPS advertising partner.

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Brands, breakthroughs and bias: Here’s why you’ve heard so much about Sony recently

15 May

If it feels like we’ve been writing a lot about Sony recently, you haven’t been imagining things: we’ve been writing about its products and technologies quite a bit. But there’s a good reason for that – the company has simply given us a lot to write about.

A period of intense, sustained activity, set against a backdrop of relative inactivity from its competitors has seen Sony receive probably more coverage than any other brand.

Ever since it bought Konica Minolta’s camera business, Sony has been trying to find a foothold in a market sector that’s historically been dominated by two camera makers. Its first attempts were to crowd-out the shelves with ‘me-too’ SLRs. Actually, that’s not quite fair, the a350 was pretty innovative, in its own way. But despite offering lots of models often at low prices, this didn’t yield the desired results.

Sony’s attempts at innovation don’t start with the RX and a7 cameras, but the relentless pace of its updates are a relatively recent trend.

But Sony’s more recent moves, particularly the embrace of full-frame mirrorless and 1″ sensor compacts, along with numerous additional features arriving in the realms of video, sensor technology and autofocus, have included some significant steps forward for the industry. And ones that are relevant for a broad range of photographers.

This has left us with a lot of technology and features to write about. Sometimes this comes in the form of a standalone tech article, other times in the reviews themselves, as we try to explain the real-world benefits and shortcomings we’ve encountered while using them.

Of course we’ve seen this before: periods of innovation from various manufacturers as the industry grows and changes. The introduction of the first mirrorless camera by Panasonic, for example, or its subsequent improvements in video (we often joke that the launch of a GH series camera means we all have to learn more about film-making). Fujifilm was the first to offer on-sensor phase detection and, while divisive, its X-Trans color filter array and DR Modes have given us plenty to talk about.

Mirrorless cameras, as pioneered by Panasonic and Olympus have been the area with most innovation in recent years. Again, this has meant we’ve written about them a lot, as the technology has improved.

What’s unique, though, is the continued drive, this sustained flood of products and of new technologies that Sony has recently been responsible for. And, more starkly, this has come at a time when the industry’s largest two companies have been comparatively quiet. Over the past four years, Sony has released around 60% more new high end (>$ 1000) models than any of its rivals.

This has come at a time when the industry’s largest two companies have been comparatively quiet

This has meant that we write a lot about Sony right now. Not because it’s Sony, specifically, but because they’re the company doing so much of the running at the moment. And of course, our coverage isn’t always positive. Our job is to cover technology and innovations regardless of how well they perform, so in addition to being impressed by the capabilities of DRAM-backed Stacked CMOS sensors, we’ve also written about banding, striping, and work that still needs to be done on the menu systems.

Sony isn’t the only brand innovating, of course. We continue to be impressed by Canon’s Dual Pixel AF design, particularly in terms of the benefits it brings for video shooting, and Nikon launched the D850, arguably the best DSLR the world has seen. But neither brand is delivering the constant innovation that currently sets Sony apart right now.

This is to be expected: the dominant players in the industry will be keen not to change an apparently winning formula, while the insurgent newcomer needs to offer something suitably different to entice people away from the tried and tested ‘safe’ choice.

Canon didn’t achieve its market dominance by chance. Cameras such as the EOS 5D and EOS 300D/Digital Rebel offered something none of its rivals did.

Looking back, we’ve been here before. Canon didn’t achieve its recent market dominance solely by chance: a combination of investment in CMOS technology and aggressive pricing of its mass-market DSLRs played a big role. This combination gave it several years in which its cameras had a distinct edge over most rivals.

Similarly, Nikon made great strides forward around the time of the D3 and D300. These two cameras brought hugely improved autofocus as well as a move to CMOS sensors which greatly increased low light performance (and dynamic range, in subsequent iterations).

The Fujifilm S3 Pro was the first DSLR to offer live view. It could be argued that we failed to recognize its significance at the time.

The long-expected thinning-out of the camera industry hasn’t yet happened: there are still plenty of players in the market. The thing that’s changed is that they’re all competing for a slice of a much smaller pie than they were, just a few years ago. This is likely to mean more brands trying the aggressive, fast-iteration, constant innovation approach that Sony (and, to a lesser degree, Fujifilm) is taking. It’s also unlikely that Sony can continue at this rate indefinitely: there’s every chance that its strategy is to capitalize on being first mover by staking out as much territory as it can before everyone else responds.

Manufacturers are all competing for a slice of a much smaller pie

As the remaining camera brands fight for recognition and search for tech and features to distinguish themselves, we should have plenty more to write about. Especially if, as all the rumors suggest, Canon, Nikon or both end up introducing high-end mirrorless cameras in the next twelve months. After all, despite being well-entrenched in the DSLR market, they’ll both be relative newcomers to serious mirrorless, so may feel the need to be more innovative than we’ve seen in a while.

Busy times, then. And we will cover these with the same vigor and enthusiasm we try to show for every innovative launch. Regardless of which name is on the front of the product.

Articles: Digital Photography Review (dpreview.com)

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Archive for May, 2018

Presenting the OnePlus 6 – The Speed You Need

Fast and Smooth Experience

Bolder Design

High-speed Dual Camera with Optical Image Stabilization

Android Refined – OxygenOS

A Day’s Power in Half an Hour

Price and Availability

1. Choose Plain Backgrounds

2. Give your Subject Some Distance

3. Crop in Tight

4. Create a Balance

5. Change Your Point of View

6. Use a Longer Lens

7. Frame Your Subject

8.Use Contrast

Conclusion

A Note About Image Quality

Focal Length

The Short Macro Lens

Mid-Range Macro Lenses

Long macro lenses

Conclusion

Edward Weston

There are no Rules

Beauty is Everywhere

Use Simple Techniques in a Grand Way

Some Final Thoughts on Edward Weston

Contents

1. Setup and Install

2. Basic Layout

View and Manage Modes

Develop Mode

Edit Mode

The Dashboard Mode

3. Importing Images

4. Raw Image Editing in Develop Mode

5. Edit Mode – Layers and other options

6. General Comments

Conclusion