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Archive for July, 2018

Leica participates in $121M funding round for computational photography company Light

19 Jul

As far as camera makers go, Leica and Light could not be further apart. Leica has a rich photographic heritage and, at least in the minds of many photographers, stands for beautifully manufactured mechanical devices. Light is a very new company and with its 16-sensor L16 camera is by many regarded as a spearhead of innovation in digital imaging.

Nonetheless – or maybe because of those differences – Leica is now an investor and shareholder in Light. The latter just announced a $ 121 million Series D funding round led by SoftBank Vision Fund. Leica is one of the participants in the round as well, investing an undisclosed amount.

The company confirms that we will see Light-powered smartphones later this year

In the announcement the company confirms that we will see Light-powered smartphones later this year and says it is planning to use the funding to expand in sectors beyond consumer imaging.

“The new funding will allow Light to expand the reach of its imaging platform beyond consumer photography and into security, robotic, automotive, aerial and industrial imaging applications,”

Leica on the other hand seems to be hoping to get its hands on on some of the computational imaging technologies that Light is developing.

“With the rapid development of the computational photography, partnering with the innovators at Light [allows] Leica to extend its tradition of excellence into the computational photography era.”

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm’s XF10 is a small, wide-angle APS-C compact

19 Jul

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Fujifilm has announced the XF10, an APS-C sensor compact camera with a fast prime lens. It retains the same 28mm equivalent F2.8 lens as the X70 but now uses a 24MP Bayer color filter rather than X-Trans.

The XF10 appears to be a simplified X70 with a higher resolution sensor. The XF10 has a mode dial in the place of the X70’s shutter speed control and it also loses the focus mode switch from the front plate and the tilting screen that made the X70 attractive to street shooters.

Like the Fujifilm X-E3, the XF10 has an AF joystick on the back, and uses directional swipes on the rear touchscreen instead of offering a four-way controller. One of the functions that can be accessed this way is ‘Square Mode’, which is a quick way to jump to shooting in the Instagram-tastic 1:1 aspect ratio.

Sadly the XF10 appears to use the previous generation processor meaning that, although it says ‘4K’ in the press release, it can only shoot at 15 fps, which doesn’t really count as video in our opinion. We’re also a little worried about what this might mean for the camera’s responsiveness. It also continues to use the older, smaller NP-95 battery.

The XF10 weighs 280g / 9.8oz with card and battery, making it around 18% lighter than the X70. It will go on sale in August for around $ 500.

FUJIFILM INTRODUCES THE NEW XF10, AN ULTRA-LIGHTWEIGHT, TRAVEL-FRIENDLY PREMIUM COMPACT CAMERA

Featuring an APS-C sensor and enhanced Bluetooth® connectivity for seamless transfer of images to a smartphone after shooting

Valhalla, N.Y., July 19, 2018 FUJIFILM North America Corporation has announced the latest addition to the X Series lineup, the FUJIFILM XF10, a premium compact digital camera with a high quality FUJINON 18.5mmF2.8 fixed lens. Weighing only 280g, the XF10 combines simple touchscreen operation with superior image quality and versatile settings in a pocket-sized body, making it the perfect companion for photo enthusiasts and smartphone users alike.

“We are excited to introduce the XF10 as a premium, ultra-lightweight compact camera that delivers high quality images and new features in a body small enough to travel with, and possesses functionality to instantly transfer images to your phone to share,” said Yuji Igarashi, General Manager of the Electronic Imaging Division & Optical Devices Division at FUJIFILM North America Corporation.

Available in August 2018, the XF10 has wide dynamic range and produces sharp, high resolution images. Combined with Fujifilm’s proprietary color reproduction technology, its 24.2 megapixel APS-C sized sensor allows the XF10 to produce high quality images in a wide range of settings. In addition, both 4K movie and Full HD high speed video are available on the XF10.

The new FUJIFILM XF10 is the first X Series camera to offer the new “SQUARE MODE,” which allows users to switch to a 1:1 format with a single flick of the touchscreen. Combined with a method for seamless transfer of images to a smartphone, this camera enhances compatibility with social media where the 1:1 format has become a popular image format for posting photos. Available in Black or Champagne Gold, the XF10 is a stylish and portable tool for everyday creatives.

High Quality FUJINON Lens Covers a Wide Range of Subjects from Landscapes to Snapshots

The XF10 features an 18.5mmF2.8 FUJINON lens (equivalent to 28mm on 35mm format) that ensures every image is sharp from center to edges. The optical design of the lens is perfectly matched to the sensor in the XF10, to ensure there is no compromise in quality due to the camera’s compact size. With the Digital Teleconverter function, the camera is capable of taking photos with equivalent focal lengths of 35mm and 50mm on a 35mm format.

Enhanced Creativity with Unique Film Simulation and Advanced Filter Modes

The XF10 offers 11 unique FUJIFILM Film Simulations and 19 Advanced Filters, providing photographers with the ability to enhance their creativity. The camera also introduces two new Advanced Filters – “Rich & Fine” and “Monochrome [NIR]” – to easily add artistic flair or film-like color tones to photos. The new “Rich & Fine” filter provides brighter and more vivid color at the center of the image, and a slight shadow at the corners in order to emphasize the subject, perfect for food and other tabletop photography. The “Monochrome [NIR]” filter simulates a monochrome effect as taken by near-infrared cameras.

FUJIFILM XF10 Key Features:

  • 24MP APS-C CMOS sensor
  • 3.0-inch” (approx. 1,040K-dot) color LCD touchscreen, aspect ratio 3:2
  • Standard output sensitivity of ISO200 – ISO12800
    • Extended output sensitivity of ISO100 – ISO51200
  • Bluetooth® version 4.1 low energy technology
  • New “SQUARE MODE” for 1:1 format
  • 4K 3840 x 2160 15P, continuous recording up to approx. 30 min.
    • Full HD 1920 x 1080 59.94P / 50P / 24P / 23.98P, continuous recording up to approx. 30 min.
    • HD 1280 x 720 59.94P / 50P / 24P / 23.98P, continuous recording up to approx. 30 min.
    • High Speed Movie 1280 x 720 1.6x / 2x / 3.3x / 4x
  • Accessories include:
    • Li-ion Battery NP-95
    • AC-5VG AC adapter
    • USB Cable
    • Hand Strap
    • Lens Cap
    • Owner’s Manual

Availability and Pricing

The new FUJIFILM XF10 will be available in August 2018 in the U.S. and Canada for USD $ 499.95 and CAD $ 649.99

Fujifilm XF10 Specifications

Price
MSRP $ 499
Body type
Body type Compact
Sensor
Max resolution 6000 x 4000
Image ratio w:h 1:1, 3:2, 16:9
Effective pixels 24 megapixels
Sensor size APS-C (23.5 x 15.7 mm)
Sensor type CMOS
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 200-12800 (expands to 100-51200)
Boosted ISO (minimum) 100
Boosted ISO (maximum) 51200
White balance presets 7
Custom white balance Yes (3 slots)
Image stabilization No
Uncompressed format RAW
JPEG quality levels Fine, normal
File format
  • JPEG (Exif v2.3)
  • Raw (Fujifilm 14-bit RAF)
Optics & Focus
Focal length (equiv.) 28 mm
Maximum aperture F2.8–16
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (1.25x, 1.8x)
Manual focus Yes
Normal focus range 10 cm (3.94)
Macro focus range 10 cm (3.94)
Number of focus points 91
Screen / viewfinder
Articulated LCD Fixed
Screen size 3
Screen dots 1,040,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type None
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Advanced SR Auto
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
Built-in flash Yes
Flash range 5.30 m (at ISO 100)
External flash No
Flash modes Auto, Forced Flash, Suppressed Flash, Slow Synchro, Rear-curtain Synchro, Commander
Drive modes
  • Single
  • Continuous
  • Bracketing
  • Self-timer
Continuous drive 6.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Average
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
AE Bracketing ±3 (2, 3, 5, 7 frames at 1/3 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 15p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC card (UHS-I supported)
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging Yes
HDMI Yes (micro HDMI)
Microphone port Yes
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth 4.1 LE
Remote control Yes (via smartphone or wired remote)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description NP-95 lithium-ion battery & charger
Battery Life (CIPA) 330
Weight (inc. batteries) 279 g (0.62 lb / 9.84 oz)
Dimensions 113 x 64 x 41 mm (4.45 x 2.52 x 1.61)
Other features
Orientation sensor Yes
Timelapse recording Yes

Articles: Digital Photography Review (dpreview.com)

 
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Nikon KeyMission action cameras listed as discontinued on maker’s websites

19 Jul

Nikon now lists its KeyMission action cameras as discontinued on its UK and Japan websites, a change first spotted by Nikon Rumors. The maker’s UK website lists the KeyMission 80 as “discontinued,” though neither the KeyMission 170 or 360 models show the same notice. The Nikon Japan website lists the KeyMission 360 as an “old product,” but doesn’t include the KeyMission 80 or 170 models under its discontinued action camera page.

The Nikon USA website does not currently list any of the KeyMission cameras as discontinued and is still selling all three models. The Nikon UK website is still selling the KeyMission 360 model, but lists the 170 as out of stock and the 80 as discontinued. Existing inventory is still available to purchase through online retailers like B&H Photo.

We have reached out to Nikon for an official statement.

Via: Nikon Rumors

Articles: Digital Photography Review (dpreview.com)

 
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Special report demands ‘Me Too’ moment for photojournalism

19 Jul
©Darrel Frost/CJR. Used with kind permission

It won’t come as a surprise to anyone that there are some unpleasant, predatory men within the photography industry. However, a long-form, extensively researched special report in the Columbia Journalism Review about sexual harassment in photojournalism is still a depressing, eye-opening read. As the report bluntly spells out: “Photojournalism has a sexual harassment problem.”

“An issue that’s long been discussed in private was catapulted into the open: Photojournalism has a sexual harassment problem.”

The article details multiple female photographers’ experiences of being harassed by men in the industry: “many women in the industry say the behavior is so common that they have long considered it simply one of the realities of working as a woman in the profession,” it says. But looking beyond the specific examples, the insights it offers about the way the structure of the industry leaves young photographers (and particularly young female photographers) vulnerable to harassment are especially troubling. As the industry moves more and more towards the use of freelancers, young photographers are left with little support and no mechanism to prevent it happening to others.

“Many women in the industry say the behavior is so common that they have long considered it simply one of the realities of working as a woman in the profession”

Moreover, the individual examples given not only highlight that there are some male photographers willing to abuse their position, but also that there are plenty of other photographers willing to look away and say nothing when it happens.

Even if you don’t work in the industry, it’s worth a read.

Read the CJR Special Report on sexual harassment in photojournalism


A sample of some deleted comments on this article, as of 1:14pm:

“Every woman who tried to flirt her way to an extra payday will now re-invent herself as a victim.”

“Fake News”

“It will continue for as long as women allow it to happen and continue to work with people who do it. They are free to put a stop to it and walk out of any job. Men, society, laws, articles are not going to fix it for them.”

“This is just more trash. There are better things to discuss. Me Too is a very opinionated and political topic. No sense posting this trash here.”

“This garbage isn’t going to win you guys a Pulitzer. It’s been beaten to death. Give it a rest.”

“So what? Life is not fair and women are not special.”

Articles: Digital Photography Review (dpreview.com)

 
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How to Take Clear and Creative Photos at Aquariums

19 Jul

Aquariums are amazing places to take your family. But it can be really hard to take good photos as aquariums.

Naturally, you want some really cool pictures. But you find out very quickly that aquariums are dark. Really dark! And that your photos turn out blurry. Really blurry!

Low light photography is one of my favorite challenges. So, in this article, I’ll show you how to get clear and creative photos at aquariums and how to apply some simple edits in Lightroom.

A photo of a shark swimming with fish. How to Take Clear and Creative Photos at Aquariums

I’ve always been amazed by people who go diving with sharks. I knew that I wanted my aquarium photos to seem like they were taken from in the water. So as much as possible, I got right up close to the glass, blocking everything out except the creatures in the water.

1. Getting Clear Photos at Aquariums

Turn off your flash

If you set your camera to Automatic Mode, it’ll likely trigger the flash when you take a photo. The flash will make a huge reflection on the glass which will ruin your photo. So before you even enter the aquarium, make sure to disable your flash.

If you turn your flash off you’ve eliminated the biggest problem with glare. But there still might be some ambient light reflecting off the glass. Move right up to the glass so that your camera won’t pick up any of this reflected ambient light. You’ll be standing right up at the glass looking through it, rather than standing back a few feet looking at it.

Photo of ambient light reflecting on glass at the aquarium. How to Take Clear and Creative Photos at Aquariums

Here you can see the white and orange ambient light reflected in the glass on the left side of the photo. This photo is also suffering from a slight bit of motion blur.

Photo of a fish with no ambient light reflecting on the glass. How to Take Clear and Creative Photos at Aquariums

In this second photo, I stepped closer to the glass and angled the camera so as not to see the ambient light reflected in the glass. The main fish is also sharper now. Part of drew me to this photo was the simplicity of the scene. Very little color, good subject and a repetitive pattern of fish in the background. ISO 2500, f/2.8, 1/50th.

Turning off the flash and getting rid of reflections is the first step. Now it’s time to consider freezing the action so that your photos won’t be blurry.

Motion Blur

You may find that your aquarium photos turn out blurry at first. This is because in low light situations your shutter speed can become too slow to freeze the movement.

It’s important for you to set the shutter speed yourself, ensuring that your photos will not be blurry from camera or subject movement. There are two main ways to do this; Shutter Priority or full Manual Mode.

A photo with blurry fish - How to Take Clear and Creative Photos at Aquariums

This is a typical aquarium photo suffering from motion blur. The camera settings were ISO 400, f/4, 1/10th. The shutter speed needs to be much quicker to freeze the movement of the fish. Increasing the ISO to 3200 would have allowed for a much faster shutter speed (1/80th).

Shutter Priority Mode

To use Shutter Priority Mode, start by setting the ISO as high as you are comfortable doing according to your camera. I have no problem going to ISO 3200. This higher ISO will help your camera absorb the dim light.

For photos in aquariums, I suggest setting your shutter speed to 1/125th to begin. Make sure you only set the shutter speed fast enough to freeze the action, but no faster than necessary. If the shutter speed is too quick you’ll end up with dark or underexposed images.

Close-up photo of a shark - How to Take Clear and Creative Photos at Aquariums

I was so excited to get this close to a shark! The settings for this image were ISO 3200, f/2.8, 1/125th.

Manual Mode

If you’re comfortable with it, you should use full manual mode. Set your ISO as high as you are comfortable doing according to your camera. Aim for ISO 3200 which will help your camera absorb the light.

Open your aperture as much as you can, or as much as you are comfortable doing creatively. If your aperture opens to f/2.8 or f/1.8 that will really help to capture the light.

With your ISO as high as you can make it and your aperture open as wide as you like, set your shutter speed to 1/125th or faster (likely somewhere between 1/60th and 1/250th – adjust as needed to get a good exposure based on the amount of light in your scene).

If you have a 50mm lens I recommend you make it your main lens for aquariums. The wider aperture will let in lots more light. It’s a good focal length too.

My typical settings for aquarium photos are as follows:

  • ISO 3200
  • Aperture f/2.8
  • Shutter speed 1/60th

That shutter speed is actually pretty slow. But I have practiced holding the camera really steady and most of the creatures weren’t moving too quickly.

A shark with fish. How to Take Clear and Creative Photos at Aquariums

ISO 3200, f/2.8, 1/125th.

Don’t get discouraged when the first shot doesn’t turn out. Take your time as you explore the aquarium. Try to choose a day to visit when it’s less busy. Give them a call and ask them when those times occur.

2. Getting Creative Photos

Once you’ve figured out how to get clear photos, it’s time to get creative. You might be so overwhelmed by the amazing sea life that you forget to bring your own creativity to the photos, so here are some tips for you.

Angles

To me, varying your camera angle is the quickest way to make your photos more interesting. Rather than capturing everything from the same perspective, try a variety of angles. The same shark can look very different from different angles.

A big lobster with huge claws. How to Take Clear and Creative Photos at Aquariums

I chose an eye to eye camera angle for this lobster. His claws were huge and getting right down to his level made him look like a tough guy. You have to look carefully to see his eyes in the background. This part of the aquarium was actually lit with purple light.

Low angle photo of a shark with its teeth showing. How to Take Clear and Creative Photos at Aquariums

To me, the feature that stands out the most on a shark is its teeth. A low angle is just about the only way to see those teeth in a photo.

Photo of a strange fish (eel). How to Take Clear and Creative Photos at Aquariums

The best way to capture this eel’s beauty was an eye to eye angle.

Photo of a shark chasing a fish. How to Take Clear and Creative Photos at Aquariums

A low angle can add a sense of drama to the photo. When a shark decides that it’s feeding time, that’s a dramatic moment!

Extremely low angle photo of a shark. How to Take Clear and Creative Photos at Aquariums

I would normally refer to this extremely low angle as a “bug’s eye view.” Dramatic angles such as this can really give the feeling of actually being in the water with the sharks. You’ll notice a little glare on the glass on the upper right of the photo.

Silhouettes

Silhouettes are really easy to capture in aquariums. The key to a silhouette is to have a bright background and a dark foreground and subject. If you’re comfortable using Manual Mode, then you only need to adjust your exposure until you get the desired effect.

If you’re in Auto Mode or even Shutter Priority, then your camera may naturally make the photo look like a silhouette. But you could use exposure compensation to adjust the exposure (- if you want it darker, + to lighten it) if you don’t want to shoot in Manual Mode.

A silhouette photo of people watching a manta ray. How to Take Clear and Creative Photos at Aquariums

Children are taken in by the sea creatures and parents are captivated watching their kids. This silhouette photo happened quite naturally because the aquarium is really bright compared to the people in the foreground. You’ll notice some unfortunate ambient light reflecting on the glass near the manta ray’s tail. That could be easily removed in Photoshop – if you have those skills.

Light

Pay attention to the light in the water and you should be able to get some interesting photos. Especially look for backlight or sidelight.

A dramatically lit school of fish. How to Take Clear and Creative Photos at Aquariums

I love backlighting so I positioned myself to get the huge lights in the frame. This gives the photo a dramatic deep sea feel, as though a submarine were coming along.

Close up of a backlit school of fish. How to Take Clear and Creative Photos at Aquariums

Another backlit photo. I was able to get right up to the glass to photograph this school of fish.

Editing Your Photos at Aquariums in Lightroom

When the chaos of the aquarium trip is over you can relax and sift through your photos. Choose the ones that you like the best and forget about the ones that didn’t turn out. Use a program like Lightroom to put the finishing touches on your photos.

My goal is to keep my photos looking as natural as possible. My main concerns are exposure, contrast, and clarity. However, I always want my photos to look the way the moments felt. So I don’t mind exaggerating colors or exposure if need be.

So considering your images, they’re your photos so you get to make the decisions.

Screenshot of adjustments made in Lightroom. How to Take Clear and Creative Photos at Aquariums

The adjustments here, especially clarity, allowed the shark and the fish to pop a little more.

Screenshot of adjustments made in Lightroom.

The most important adjustment made to this photos was the White Balance. I normally use Auto White Balance and the camera gets the color pretty close. But in this case, there is a strong green tint to the photo. There are all sorts of color casts in an aquarium which can make white balance tricky. Make sure you shoot raw so you can adjust it later.

Screenshot of adjustments made in Lightroom. How to Take Clear and Creative Photos at Aquariums

This lobster was impressive for its size and gritty crusty look. I bumped up the clarity significantly in order to portray that in the photo.

Bring it Together

Whether you’re going alone, with a friend, or with your whole family, don’t fight the crowds and choose a quiet time to visit the aquarium. When you get there, take your time and get comfortable with your camera settings.

Once you have figured out how to get clear photos, get creative with angles and interesting light.

Relive the sights as you cull, edit and print your favorite shots. And before you visit an aquarium again review your last photos and plan to make the new batch even better.

The post How to Take Clear and Creative Photos at Aquariums appeared first on Digital Photography School.


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How to Create a Luminous Look for Your Photographs

19 Jul

Today let’s talk about one of the final processes of creating an artful image. Let’s talk about THE LOOK. This refers to the overall feeling your images projects to a viewer. This look is often created during post-production here in the digital age, or it can be created in camera. Either way, the final look and feel of your image are just as important as all the technical requirements that went into the initial exposure.

Create a Luminous Look - tide on the beach

In this case, a soft focus was added in post-processing to help lighten the image.

There are lots of different looks that you can create with your images, everything from a bleached look to something with super rich colors. There’s also the hyper-realistic style where you process your work to create a gritty look. Today though we’re going to focus on the luminous look.

Defining the Luminous Look

To fully understand the luminous look lets start with a full understanding of the characteristics of a photograph that looks and feels luminous. Dictionary.com defines the word luminous in the following way:

Adjective

  1. Radiating or reflecting light; shining; bright.
  2. Lighted up or illuminated; well-lighted: the luminous ballroom.
  3. Brilliant intellectually; enlightened or enlightening, as a writer or a writer’s works: a luminous concept; luminous prose.

This means one of the main focuses when creating a luminous photograph is to consider the feeling the light will create in the image.

Luminous could mean the image glows. This means it feels like the light seeps from the image out towards the viewer. The best way to achieve this look is to shoot towards the light source. The goal is to make the light central to the look and feel of the image.

You will notice that there are still dark areas that contrast with all of the light. This is important. The goal is not to wash out the image but to create that feeling of all-around soft bright light.

Glowing

Let’s study the following images to understand how one creates a glowing, luminous look and feel within a photograph. Below is the initial photograph, unprocessed. The RAW image was shot in a local forest. I was attracted to the soft light coming through the forest that illuminated this tiny spring flower.

spring flower - Create a Luminous Look

This was shot at 1/80th, f/5.6, ISO 1000.

In post-processing, several elements were slightly adjusted. In the image below the highlights were enhanced and the exposure was raised a little. The tones were also warmed. All adjustments were completed in Lightroom. The goal was to make it feel as if the light permeated the scene with warmth.

Create a Luminous Look - spring flower with warmer tones

After processing – notice how much lighter and airier the image is now.

The second image was edited using the Nik Efex software from Google. I love their analog looks. I chose a preset then made some adjustments to the image, controlling the brightness and the amount of vignette in the image. A matte feel was also added to this second version.

Create a Luminous Look

Processing using Nik Efex.

The essential concept when creating an image that has a luminous glowing feeling is to ensure that the light softly reaches all corners of the image.

Using Fog and Mist

Another way to create a luminous look is to take advantage of fog and mist. Photographs shot in their natural conditions won’t glow in the same way but the luminous look can be achieved when shooting in foggy conditions. The fog softens the view and can make the viewer feel as if the scene is still filled with light.

In the case of the image below, the fog and the mist completely obscured our view of the countryside. The entire top of the mountain, however, glowed with a diffused light. The 2km hike straight up the side of the mountain was still worth it for the ghostly quiet we experienced while standing on one of the highest peaks in Wales.

Create a Luminous Look - mountain top in the fog

Pen-y-Fan is one of the highest mountains in Wales and the view from the top is supposed to be spectacular. Our grueling hike to the top did not reveal expansive views but rather this eerily silence. It was still worth the effort.

The Miky Look

A third way to create a luminous look is to process an image so that it feels milky in nature. These means that post-processing produces a softer feeling image that doesn’t necessarily contain brightness or dark contrasts but rather one that feels soft and light but muted.

Here’s the original unedited image. The soft muted colors and the fog are elements that will help to achieve the milky look. Strong contrasts and bright bold colors do not lend themselves to creating this style.

ocean waves - Create a Luminous Look

The deserted beaches around Borth, Wales were a perfect spot for shooting images with soft gentle tones.

To process the image and complete the milky look I used warmer tones, adjusted the vignette, and lightened the corners of the image. I used a faded film preset and gave the whole image a light greenish tone. Then, I adjusted the haze slider in Lightroom. I wanted the whole image to feel very light but also very soft.

Create a Luminous Look

Processed for a milky, almost retro look.

Using Lens Flare

One final technique to consider is the use of lens flare to help create images that look and feel luminous. Lens flare is one of my favorite techniques to use in experiments. I love the effect of so much light permeating the image and also the unique shapes created as the light refracts in your camera.

The following images are all floral in nature but the light is refracted in each image in different ways. In some cases, it’s the shape of the bokeh in other cases it’s lens flare.

yellow tulip - Create a Luminous Look

Perhaps this image is more about the bokeh in the background. Beautiful circular spots of light softly illuminate the flower.

There wasn’t much editing that went into the photograph of the tulip above. A touch of vibrancy was added to heighten the colors and the exposure was adjusted slightly. The focus is also a little soft which helps lend itself to the soft bright feel of this image.

Create a Luminous Look

You might be able to classify this image as having a glowing look but the sunlight is obscured by the flowers and the majority of the image is not in sharp focus. The light and the shallow depth of field bring this flower image into the realm of luminous abstract.

Here is an example of the classic lens flare. This image, while the same subject matter as above, was processed with more blue tones and a different depth of field. The goal was to include that star-shaped flare of light.

The Look is About Creative Interpretation

Creating a look and feel for your images is an important part of the creative process. These days the majority of our efforts are focused on creating a look in post-processing. That doesn’t have to be the case, it is possible to create a look in camera as well.

The luminous look is just one of many different creative styles you can utilize in your work. Choosing a look is about deciding how you want the image to be presented to the viewer. It’s also about the message you wish to communicate. Finally, creating a look is about your artistic interpretation of a scene. Wanting to take something like a dreary rainy day and make it feel bright and airy is just as valid as capture the reality you see before you.

So it’s time to experiment with different looks. Give the luminous look a try and show off your best work in the comments below.

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5 Camera Bags That Every Travel Photographer Needs At Some Point

18 Jul

One of the great things about being a travel photographer is that you are almost always working outside. Sometimes this might be in a city and sometimes in the wilderness. Either way, one of the main attributes you will need is to be organized. This involves everything from research and planning, to your shot list and efficiency. It also includes being organized with your equipment and what you will need on a day to day basis.

There is a fine balance between carrying too much unnecessary equipment and what you actually will need. A vital part of carrying your equipment is choosing the right bag for the scenario you are going to be photographing. Not only are camera bags important in keeping your equipment safe and dry, but a good bag will also make it easier to carry equipment.

Especially when you will potentially be walking around all day. There are so many bags to choose from, so here are the five types of bags that you may need at some point.

person on a cliff overlooking the water - 5 Camera Bags That Every Travel Photographer Needs At Some Point

#1 – Day Bag

A day bag is usually the first bag that most people would purchase. It will also be the bag that gets the most usage. So it’s vital that you take into account the different options available to fit your needs. Before you rush out and buy one, consider the following factors:

day bag for camera gear - 5 Camera Bags That Every Travel Photographer Needs At Some Point

  • Size – What will you generally be carrying day to day? Most travel photographers will carry a telephoto lens and possibly a couple of smaller lenses. You may also carry a flash as well as memory cards, batteries and possibly a second camera.
  • Tripod – The first day bag that I ever purchased, didn’t have a way to attach and carry my tripod. I quickly realized how frustrating and tiring that was. Carrying a tripod means you are constantly having to put it down every time you want to take a photo. So when fleeting moments arrive you are not ready to snap away.
  • Non-photography space – Another big consideration when purchasing a day bag is how much additional space you will have to carry non-photographic items. For example, can you carry a bottle of water? Or a rain jacket? Is there somewhere safe and hidden away that you can keep your keys, mobile phone or even cash?
  • Accessibility – Would you really want to take everything out of your bag to get to those plasters right at the bottom? How quickly and easily you can access the various compartments of your bag is very important. For example, some bags will allow you to get your camera out from a side zipper without having to open the whole thing up.
  • Comfort – As a travel photographer you will often be out walking for hours. Being able to carry your equipment comfortably can mean the difference between going back to the hotel because you’re uncomfortable and in pain or carrying on.
  • Airline carry-on – Another consideration is whether your bag complies with the carry-on regulations of airlines. I always carry my camera equipment on the plane (I put my tripod in my suitcase) rather than check it in so have to make sure that my bag isn’t too big.

All of these are factors that need to be considered before purchasing a day bag. It’s taken me a few attempts to find the perfect day bag but my choice is the Lowepro ProTactic 450 camera bag.

It has plenty of storage for two cameras as well as a couple of other lenses and things like memory cards and batteries. It has a top zip, as shown below, that makes it easy to access my camera without needing to open the whole bag. I can also carry a large tripod attached to the bag as well.

5 Camera Bags That Every Travel Photographer Needs - Lowepro ProTactic 450 AW Camera Backpack

#2 – Hiking Bag

While a day bag is great for everyday use, sometimes it’s simply not big enough. For those photographers who like to hike or camp overnight, then a day bag won’t be able to hold all of your camera equipment and additional things needed like a tent, food, and water.

So the next bag up from a day bag is a hiking bag. But again it’s important to consider the factors below before purchasing your hiking bag.

5 Camera Bags That Every Travel Photographer Needs - man sitting on a rock by the ocean

  • Size – The first criteria for your hiking bag is the size that you will need. This will come down to what you are planning to photograph and the duration of your hike/trek. For example, if you are planning to camp overnight you will need space for a tent and sleeping bag. But if your hikes are one day ones then you could get away with something smaller. Factor in all the items you will need such as spare clothes, a first aid kit and even cooking utensils as well as your camera gear. Then find a bag to fit what you will be carrying.
  • Water reservoir – This might seem like a trivial point when considering a bag, but being able to have a drink without having to take your bag off is incredibly useful. So one thing that I would always recommend is buying a bag that either comes with a water reservoir or one that you can fit one into. You don’t want to have to constantly stop and take your bag off every time you want to have a drink.
  • Waterproof – Most outdoor bags these days will be somewhat shower proof, but some bags also come with a rain cover that you can place over the bag. These sometimes sit under the bag and can easily be accessed when you need them.
  • Adjustable – On any long walk or hike, comfort is vital. So look for a bag that allows you to be able to adjust the straps to fit your posture. The best thing to do is to try out your given bag for a few hours with your equipment locally before setting out on your trip.

My personal choice for a hiking bag is the Lowepro Pro Trekker 650 AW camera backpack. As I rarely camp overnight, this bag is big enough to carry my camera equipment and any additional daily items. There is also a side pocket for a water reservoir (not included) and you can strap a large tripod to it as well.

pro trekker LowePro bag - camera bags for travel photographers

Lowepro Pro Trekker 650 AW camera backpack

#3 – Sling Bag

There are times that even a day bag is too big and cumbersome to carry around. Sometimes all you need is a small bag to carry your camera and a few additional accessories. Sling bags are useful for this purpose and also because you can get things in and out without having to take your bag off.

There may also be occasions (i.e. in busy events) where you can keep your bag in front of you thus making it less inviting to pickpockets and thieves. You won’t be able to carry a lot of equipment or strap your tripod to it, but a good sling bag should still have plenty of room for what you need.

I pack my sling bag into my suitcase (it folds flat) and will use it on occasions when I don’t need to take a lot of equipment. For example, some museums or viewing platforms don’t allow backpacks whereas you’ll be okay with a sling bag.

My sling bag of choice is an older version of the Lowepro Passport Sling III camera bag. It’s surprisingly spacious for its size and I can fit my DSLR as well as a wide-angle lens and a telephoto lens inside. It also has space for memory cards and batteries as well as outside pockets which are useful for things like a water bottle.

sling bag - travel photographers camera bags

#4 – Toploader

These small camera bags are only big enough for one camera and one lens (if you want it for a telephoto lens make sure you purchase the bigger size). The real benefit of these bags are that you can keep your camera on your hip for easy access. So rather than having to take your bag off to pack or unpack your camera you can simply place in this bag as and when you need to.

I find that this is especially beneficial on long hikes or treks when I sometimes may not take a photo for long periods of time but I still have it on hand when a moment presents itself.

The less obvious benefit of these bags, which I realized recently, is when traveling by air. Airlines can be very picky about the weight of your checked-in luggage. So if you find that you are over the limit you can place some items from your luggage into this bag and take it onboard. For example, on a recent trip I was able to place the head from my tripod and few other small but heavy items into this bag and avoid paying the excess weight charge.

I take my Lowepro Toploader Pro 70 AW II camera case with me on every trip. If I can, I pack it in my suitcase and use it where necessary. If my suitcase is full, I put my camera in it and carry it onto the plane in addition to my day bag.

Lowepro Toploader bag - travel photographers camera bags

#5 – Hard Case

Another option to consider for traveling are hard cases. These are suitcases which are made of a tough material which is waterproof and dustproof. They are especially designed for transporting camera equipment.

The benefit of these cases is that your equipment will be safe inside from damage. But they are generally only useful for transportation rather than day to day use. Some of the latest models are designed with a camera backpack inside which allows you to wear it like a traditional day bag. But having tested one a while ago, they are not as comfortable as the traditional day bags.

Personally I have never found a need for one to date as I carry all my equipment in my backpack. But if you are going to be traveling to harsh conditions or face the likelihood of your equipment getting wet than it would be worth investing in a hard case.

Summary

Camera bags might not be the first accessory that comes to mind when building your photography equipment inventory, but they are incredibly important. Not only will they keep your equipment safe, but they might stop you from being uncomfortable or even in pain because of the weight you are carrying.

The important thing is to not rush out and buy all of the above at once. Over the years as the need arises, you can invest in a new bag. So, think carefully about what you need and do some research into the different types of bags available.

What camera bags do you have or find useful? Please share your recommendations below.

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Gitzo teams up with Sony to launch tripod and L-bracket designed for ?-series cameras

18 Jul

As part of a collaboration between Vitec Group and Sony, Gitzo has introduced a new pair of products designed specifically for Sony ?7 and ?9 cameras: the Traveler ? Tripod and the L-Bracket ?.

The new products ‘feature a tailored design to perfectly fit Sony ?7 and ?9 camera models, helping to increase grip and stability for precise framing and extraordinary composition,’ according to Vitec Group.

Gitzo’s new Traveler ? is a ‘premium travel tripod’ featuring a new design and monochromatic color scheme to match the appearance of Sony ?-series cameras. It weighs just 1.43kg/3.15lbs, opens to 165cm/64.96in and holds up to 10kg/22lbs of gear. Like Gitzo’s other travel tripods, the Traveler ? folds down to just 43cm/16.93in when using the 180-degree leg-folding system.

The legs themselves are constructed of Carbon eXact tubing and use the Traveler G-lock system for securing the proper height. The Traveler ? is paired with Gitzo’s ‘most compact professional carbon fiber tripod head […] engineered to provide the ultimate smoothness and precision of movement and secure locking with independent pan/tilt lock.’ To wrap it all up, the special-edition tripod includes a genuine Italian leather carry strap designed to mimic the aesthetic of carbon fiber.

The second new product is the L-Bracket ?, which Gitzo calls ‘the lightest of its kind on the market,’ weighing in at just 77g/2.7oz. The bracket is milled from a single piece of aluminum ‘to become one with the most high-level professional mirrorless cameras on the market.’ Its design includes four attachment points for camera straps, an open design for easy access to ports and cables. There’s also a dedicated spot for the hex keys and accessories so you don’t need to carry another bag of tools around.

The Gitzo Traveler ? costs $ 999.99, while the Gitzo L-Bracket ? will set you back $ 199.99. They are available now on Gitzo’s online shop and authorized dealers.

Articles: Digital Photography Review (dpreview.com)

 
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Some Cool Tools For Editing Your Photos Inside ACDSee Photo Studio Ultimate 2018

17 Jul

In this third installment of articles on ACDSee Photo Studio Ultimate 2018, we look at some of the Cool Tools – either new features or ones that are particularly useful. Read my first two articles here:

  • ACDSee Photo Studio Ultimate 2018 Guide for Beginners
  • How to do Creative Editing with Layers in ACDSee Ultimate Photo Studio 2018

New Features

1. ACTIONS

Newly implemented in the latest release of the software, Actions are a range of predefined edits that you can apply to your image to achieve a specific look or effect. To assist you with this, there is an Actions Browser that lets you see the effect applied in advance, which is extremely useful.

Some Cool Tools For Editing Your Photos Inside ACDSee Photo Studio Ultimate 2018

Image with the Actions Browser open.

There are 16 different categories covering color, black and white, workflow, editing, special effects, portrait and landscape options, and more. Once you decide on the desired Action, click PLAY and it is applied.

Some Cool Tools For Editing Your Photos Inside ACDSee Photo Studio Ultimate 2018

Example of a Split-tone Action.

Some Cool Tools For Editing Your Photos Inside ACDSee Photo Studio Ultimate 2018

A black and white conversion Action applied.

To apply an Action, you need to open your image in Edit mode. On the top menu bar, look for Tools > Browse Actions.

2. LIQUIFY

Liquify is often used in fashion and portrait editing to change the shape of people or parts of their bodies. It is a new feature in this release of ACDSee Photo Studio Ultimate 2018. This tool needs to be applied with a large soft brush and a delicate touch or it can look overly obvious.

I found the Liquify tool very easy to use. It worked quickly (i.e. there was no lag on processing the change) and had a gentler effect than I was expecting.

Some Cool Tools For Editing Your Photos Inside ACDSee Photo Studio Ultimate 2018 - liquify

This is the before image for comparison.

Some Cool Tools For Editing Your Photos Inside ACDSee Photo Studio Ultimate 2018

Showing where the effect had been applied.

Some Cool Tools For Editing Your Photos Inside ACDSee Photo Studio Ultimate 2018 - liquify

Image after Liquify applied to the arch and bowl of the spoon, and the dark side of the main blueberry.

Using the Liquify Tool

Liquify is a function in Edit mode, so you need to open your image up in there. On the top menu bar, select Filter > Geometry > Liquify.

There are four different Liquify modes:

  1. Shift – This moves pixels from one area to another in the direction you move the brush.
  2. Pinch – This moves the pixels towards the center of the brush (making things smaller).
  3. Brush – This moves pixels away from the center of the brush (making things bigger).
  4. Restore – Undo mode for any of the three options above.

Once Liquify mode is active, check that your brush is the correct size and softness (a larger and softer brush is recommended) and very gently click and nudge the area you want to adjust a tiny amount. It is much easier to do lots of little adjustments as you can undo one if you go too far.

Also be mindful that when you use Liquify it moves all the pixels within the brush, so if you have any lines or other elements, they can be affected too. This can make it obvious that you have used Liquify, so be careful about the backgrounds and surrounding elements in the area you’re using it.

3. FREQUENCY SEPARATION

This is a function used a lot in portrait and fashion photography – anywhere there is a lot of skin visible, especially faces and close-ups. Frequency separation allows you to smooth out blemishes and imperfections, to even out the skin tones, and provide a polished outcome in the image.

While it can be done manually, it is time-consuming to set up. Now with a few clicks, the software does all the layers for you, making it easy to apply the effect where necessary. I don’t photograph people or close up portraits so have never had the need to use this functionality, but for those who want to access this advanced technique, ACDSee has included it.

Using the Tool

Open your image in Edit mode and in the Layers pane, duplicate the layer. Frequency Separation is a destructive edit, so it is recommended that you work on a duplicated layer to maintain image integrity.

Select the top layer (the duplicate), then right-click and select Frequency Separation from the drop-down box. It will then create two layers – one will be grey and have (HF) in the layer description. The other one will be in color, but will be all blurry and have (LF) in the layer description.

On the LF layer, use a brush to work on any skin imperfections. On the HF layer, use the Repair tool to clone clear skin over top of the blemish areas.

4. PIXEL TARGETING

The Pixel Targeting tool allows you to select specific areas in your image based on a combination of tone and color selection. It works in conjunction with an adjustment layer.

In Edit mode, open up your image and select an adjustment layer (any of them seem to be fine). Here I am using a shot of some bright red raspberries and a Vibrance adjustment layer.

Right-click on the top layer and select Pixel Targeting and a panel will open up. The top sliders allow you to select the tones and the bottom sliders allow you to select the colors.

Some Cool Tools For Editing Your Photos Inside ACDSee Photo Studio Ultimate 2018

Adjust the tone and the color sliders to suit. It creates a mask of the subject that you want to adjust.

Save a preset for future use (use the Save option at the top of the screen) and click OK.  The mask you have just created in the Pixel Targeting window is now applied to your adjustment layer, and it will only apply the adjustment to the light areas of the mask.

Here I have turned the raspberries blue simply by adjusting the Hue sliders in the Vibrance layer.

Some Cool Tools For Editing Your Photos Inside ACDSee Photo Studio Ultimate 2018

Useful Features

While learning how to use ACDSee Photo Studio Ultimate 2018, there were several things about it that I found particularly useful. These are either the small things that don’t get used a lot but work really well when you do need to use them, or something that makes it much easier to do a really common task.

These are things I appreciate, especially when something you do a lot is made easier, or offers a clever alternative.

1 – Add a File as a Layer

Some Cool Tools For Editing Your Photos Inside ACDSee Photo Studio Ultimate 2018

At the bottom of the Layers pane are a whole lot of quick access icons for different layer features. The one circled here is the “Add a File as a Layer” option.

I do a couple of specific tasks that require the addition of outside images as extra layers, such as adding texture overlays and compositing.

There are lots of other instances when this could be useful – focus stacking, blending panorama or astrophotography images, time-lapse stacking, and so on.

This is a particularly common function and the way Photoshop does it is really NOT user-friendly. I have always gotten around it by using a second monitor and dragging my image in that way.

But if you are working on a laptop or only have one layer, that isn’t an option, so this feature becomes worth knowing about.

It’s really simple. Click on the Add a File as a Layer icon and a dialog box opens up asking you to select the location of the image you want to add. Even better, you can switch your view to Thumbnail and see examples of the images so you can select the right one.

Click on the desired file and select Open. The file will then open up as a new layer. It will probably need to be resized and the program has that mode already activated for you as well. Drag the yellow handles to the right size, select Commit, and you are done!

Some Cool Tools For Editing Your Photos Inside ACDSee Photo Studio Ultimate 2018

2. Heal Tool

Sometimes you might have a mark, a blemish, or a stray hair or twig in the way on your shot, and you don’t notice until you see it on the big screen when you are editing. Technology has improved so much these days that software can often take care of those issues for you, but it can still be a less than polished outcome.

When editing my blueberry shots, I was dismayed to find that I hadn’t noticed my main berry had a scratch down the front of it. Great chance to give the Heal tool inside ACDSee Photo Studio Ultimate a go.

I was quite impressed with how well it works. Just right-click on a good area and then paint over the blemish area. I find doing lots of small selections gives a more natural effect usually, but ACDSee did a really good job.

Some Cool Tools For Editing Your Photos Inside ACDSee Photo Studio Ultimate 2018

After the Heal tool was applied.

Some Cool Tools For Editing Your Photos Inside ACDSee Photo Studio Ultimate 2018

Before Heal tool applied – you can clearly see the big scratch on the front of the berry.

Conclusion

Before writing these articles, I had never used ACDSee software at all. My background was with PaintShop Pro, Photoshop, and Lightroom. Learning about the full range and capabilities of this ACDSee program has been interesting. There are some really exciting new features and useful tools included, particularly in Edit mode.

Overall I have been impressed at the depth and capability of ACDSee Photo Studio Ultimate. For a beginner wanting a one-stop-shop program at a cost-effective price (and no subscription model), it has a lot of benefits.

For anyone looking to get started in managing their photo files, processing RAW images, and more in-depth editing, this is a good place to start. If you’re looking for a non-subscription option, it is worth considering as well.

Disclaimer: ACDSee is a dPS advertising partner.

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Updated: Which RX100 should you choose?

17 Jul

There have now been seven variants of the RX100 series, and at least six of them are still current models. Confused? Here’s an updated look at their differences, and our recommendations among them now that we’ve tested the Mark VI.

Articles: Digital Photography Review (dpreview.com)

 
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