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Archive for September, 2018

Sony to release 12 more E-mount lenses in two years, add AI to cameras

26 Sep

At Sony’s press conference at Photokina the company announced that 12 more E-mount lenses will be arriving over the next two years, bringing the total to 60.

In addition, the company emphasized its focus on both speed and integrating artificial intelligence into its approaches. One application of the latter Sony talked about was using machine learning to train its Eye AF algorithm to detect and track eyes of animals, with benefits to both wildlife and pet photography.

Articles: Digital Photography Review (dpreview.com)

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Sigma to take Foveon full frame and adopt L mount

26 Sep

Sigma has said it will create a full-frame Foveon camera and will adopt the Leica L mount for its system. Sigma will allow existing users to adapt or convert SA mount lenses to the L mount.

The full-frame L-mount Foveon will arrive in 2019, according to Sigma CEO Kazuto Yamaki. The company will produce its first native L-mount lenses in 2019, too.

He also said the company would not create any more cameras using its proprietary SA mount. However, existing SA-mount users will not be left out in the cold: the company will be able to convert some SA mount lenses to L mount. Those who want to retain SA compatibility will alternatively be able to use an SA-L mount adapter.

Sigma will also make a Canon EF to L mount adapter available, which will be interesting to Sigma, Leica and Panasonic users.

Foveon at full frame

The existing Sigma SD Quattro models required buyers to invest in a proprietary lens mount.

The move to full frame should offer further improvements to the image quality of the Foveon design, which interprets color by capturing light at three different depths in the sensor and then mathematically deriving which wavelengths are most likely to have reached each of these depths.

A larger chip won’t in itself reduce read noise or noise that stems from the color convolution: things that have hampered dynamic range and low light capability in previous Foveon chips. However, it should let the camera capture more light, which will reduce the impact of noise from other sources.

We were impressed with the performance in good light of the Sigma SD Quattro H, which used a larger-than-APS-C-sized APS-H sensor but were put off by the need to invest in proprietary lenses. The move to L mount, both as an end in itself and as a mount that allows DSLR lenses to be adapted to it, should ease these concerns.

Articles: Digital Photography Review (dpreview.com)

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Hasselblad announces three XCD lenses, including its fastest lens ever

25 Sep

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Hasselblad has announced three new lenses and one teleconverter for its XCD lens system. The lenses are the XCD 80mm F1.9, the XCD 65mm F2.8 and XCD 135mm F2.8, all of which are designed for the X1D digital medium format camera. In all, this brings the system to nine focal lengths covering 21-230mm (16.6-178mm full-frame equivalent).

The standout lens for most users will be the XCD 80mm F1.9, which is not only the fastest lens currently in the X System, but the fastest lens Hasselblad has ever released. Offering a field of view equivalent to 63mm and depth-of-field equivalent to F1.5 on a 35mm full-frame system, Hasselblad claims that the lens comes with ‘superior optical surface precision’ on its aspherical elements to allow for smooth bokeh and a twin motor drive for quick autofocus.

At 1045g (2.3lb), the 80mm F1.9 is currently the heaviest lens in the XCD lineup.

It has 14 elements in 9 groups and, at 1045g (2.3lb), it’s currently the heaviest lens in Hasselblad’s XCD lineup.

Hasselblad has also announced the XCD 65mm F2.8, with a 51mm equivalent field of view. With a close-focus distance of 0.5m (20in), the lens is positioned as a versatile option for street and travel photography.

Lastly, the company has announced the XCD 135mm F2.8 alongside the X Converter 1.7. On its own, the 135mm F2.8 provides roughly a 107mm field of view and a close focus distance of 1m (3.3ft). The lens and 1.7x teleconverter were designed to be paired without any loss of optical quality, and together offer a 230mm (178mm equivalent) field of view, F4.8 maximum aperture and a minimum focus distance of 1.05m (3.5ft).

As with all current XCD lenses, the 80mm, 65mm and 135mm lenses come with built-in leaf shutters to allow for full flash synchronization up to 1/2000s shutter speed.

They are all available for pre-order now, and will begin shipping in December 2018. The 80mm F1.9 will retail for $ 4845 / £3690 / €3990; the 65mm F2.8 will retail for $ 2750 / £2090 / €2290; the 135mm F2.8 will retail for $ 4050 / £3090 / €3390; bundling the 135mm F2.8 with the X Converter 1.7 brings the retail price to $ 4845 / £3690 / €3990.

Official sample images

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Press release:

Hasselblad expands its X1D lens lineup with three new XCD lenses, including XCD 1,9/80, Hasselblad’s fastest lens ever

Increasing the capabilities of the X1D-50c mirrorless medium format camera, Hasselblad adds three new lenses to its XCD lens family, including the XCD 1,9/80, with the largest aperture of a Hasselblad lens ever, the XCD 2,8/65 and the XCD 2,8/135 telephoto lens with X Converter 1,7. The three new lenses and one dedicated teleconverter expand the XCD family to nine different focal lengths.

The XCD 1,9/80 represents a major milestone for Hasselblad with an impressive f/1,9 aperture, Hasselblad’s largest lens aperture, offering an extremely shallow depth of field and light-gathering ability. Thanks to Hasselblad’s optical design expertise and rigorous calibration standards, the XCD 80mm boasts superior optical surface precision, avoiding poor bokeh results or out of focus highlights often seen in high aperture lenses with aspherical surfaces. The lens’ distinct twin motor drive provides quick autofocus performance, while offering a precise manual focus experience. Maximizing the artistic potential of X1D image makers for a stunning shooting experience with a field of view similar to 63mm on a full frame system, it is especially suitable for portrait, nature and product photography with its ability to produce pleasing bokeh through excellent subject isolation and shallow depth of field.

The XCD 2,8/65 is the ideal standard lens in any X System photographer’s kit. With a 50mm full frame equivalency, it’s designed to achieve the ‘normal’ focal length and mimic the human field of view. Thanks to its f/2,8 maximum aperture and 0.5 m (20 in.) minimum focus distance, the XCD 65mm is the versatile option for street, travel and general photography.

Growing the telephoto range, the XCD 2,8/135 and X Converter 1,7 expand the reach of Hasselblad’s X1D-50c. Available as both a paired kit or as a stand-alone lens, the XCD 135mm and dedicated teleconverter have been designed as a cohesive unit to ensure no decrease in image quality when the teleconverter is used. Without the teleconverter, the XCD 135mm has an aperture range of 2,8-32 and a field of view similar to 105mm lenses on full frame cameras and features a minimum focus distance of 1 m. With the X Converter 1,7, the lens’ focal length grows to 230mm (178mm full frame equivalent) with a f/4,8 maximum aperture and minimum focus distance of 1.05 m. The telephoto focal length is ideal for portrait, outdoor, and landscape photographers looking to document details and subjects with stunning image quality.

Like the other XCD lenses, the XCD 80mm, XCD 65mm and XCD 135mm feature an integral central shutter, offering exposure times from 60 minutes to 1/2000s with full flash synchronization through the entire range.

The XCD 80mm, XCD 65mm and the XCD 135mm lenses are now available for pre-ordering and will begin shipping in December 2018.

The XCD 80mm lens has an MSRP of €3,990, $ 4,845, £3,690, JPY¥ 576,000 (excl. VAT) / CNY¥ 38,500 (incl. VAT).

The XCD 65mm lens has an MSRP of €2,290, $ 2,750, £2,090, JPY¥ 331,000 (excl. VAT) / CNY¥ 22,100 (incl. VAT).

The XCD 135mm lens has an MSRP of €3,390, $ 4,050, £3,090, JPY¥ 489,000 (excl. VAT) / CNY¥ 32,700 (incl. VAT).

The XCD 135mm lens with X Converter 1,7 has an MSRP of €3,990, $ 4,845, £3,690 , JPY¥ 576,000 (excl. VAT) / CNY¥ 38,500 (incl. VAT).

For full specs, sample images and more info, please visit:
www.hasselblad.com/x-system-lenses/xcd-19-80mm/
www.hasselblad.com/x-system-lenses/xcd-28-65mm/
www.hasselblad.com/x-system-lenses/xcd-28-135mm/

About Hasselblad

Founded in 1941, Hasselblad is the leading manufacturer of medium format cameras and lenses. Made in Sweden, Hasselblad cameras are renowned for their iconic ergonomic design, uncompromising image quality and Swedish craftsmanship. For over half a century Hasselblad cameras have captured some of the world’s most iconic images – including the first landing on the moon – and helped shape the way we look at the world through genuine photographic artistry. Trusted by NASA and used by the greatest photographers in the world, Hasselblad continues to create products with uncompromising image quality that inspire.

The Hasselblad H Camera System with its professional lens family and unique advancements is widely acknowledged as the most comprehensive digital camera system of its kind available today. Hasselblad was the first to launch the fully integrated medium format camera system incorporating the latest in CMOS sensor technology. In 2016 Hasselblad launched the H6D, a technological feat with an all new electronic platform, delivering superior craftsmanship and image quality. Later the same year, Hasselblad introduced the world’s first compact mirrorless digital medium format camera – the X1D. Hasselblad’s X1D sensor benchmarked the highest score in the history of DxO Mark’s independent testing.

Headquartered in Gothenburg, Sweden, Hasselblad is a global brand with offices in New York, London, Tokyo, Paris, Copenhagen, Hamburg and Shenzhen with distributors throughout the world.

Articles: Digital Photography Review (dpreview.com)

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How to Simulate a Swirly Bokeh in Photoshop

25 Sep

Hailing from Russia, I give you…the Helios and its swirly bokeh.

How to Simulate a Swirly Bokeh in Photoshop - Helios lens

Image by Markus Spiske

I know, it’s kind of an ugly duckling right? At the very least, Helios lenses are certainly not the shining example of classical grace and beauty that the company’s bestowed name might conjure forth. Instead, the true charm and appeal of these vintage lenses comes from what’s on the inside.

Due to their optical nature, Helios lenses can produce wonderfully swirly bokeh and backgrounds when shot at wide apertures.

How to Simulate a Swirly Bokeh in Photoshop - image shot with Helios lens

Image by Mike Newton made with a Helios lens.

If you don’t happen to have a Helios lying around (they’re actually quite cheap) then I hope you will consider learning how easy you can simulate that swirly bokeh of this nifty little lens. You can do it right inside of Photoshop – here’s how.

What Kind of Images Work Best?

The charm of the Helios lens comes from separating the subject from the background with style. This means that just like any other time you want to blur out a background, the further you can place your subject from the objects behind it the more blurred the background will become.

The same is true for images you choose to simulate the “Helios effect” in Photoshop. Look for images with isolated subjects that can be easily separated from the background. This is the example we’ll be using for the demonstration.

How to Simulate a Swirly Bokeh in Photoshop - example image for tutorial

Not only do swirly backgrounds complement images like these more so than others, but having easily identifiable borders between your subject and the background will make things much easier on you during the processing.

How to Create the Helios Effect

The key player in this edit will be a hidden little tool, or rather a filter, buried inside of the Blur Gallery portion of the Filter menu bar at the top of the window. You will use the Spin Blur Filter to give you that dreamy understated swirly bokeh background for which Helios lenses are so favored.

After you’ve got your image opened in Photoshop it’s time to begin the effect.

Duplicate the Layer

Make a duplicate copy of the background layer by using the keyboard shortcut Cmd/Ctrl+J. Feel free to rename the duplicate layer as I’ve done here to help you keep track in case you’re working with more layers.

spin blur layer - How to Simulate a Swirly Bokeh in Photoshop

Next, go up to menu bar you looked at earlier and go to Filter > Blur Gallery > Spin Blur… This will open up the blur gallery and it is here where you’ll do the actual blurring.

spin blur in the menu - How to Simulate a Swirly Bokeh in Photoshop

You’ll notice quite a few options here in the spin blur gallery; the most important of which is the Blur Angle slider.

blur angle slider - How to Simulate a Swirly Bokeh in Photoshop

This is how you will control the amount of simulated blur in your image. Think of the blur angle as the control for the degree of swirl in the background. Before you decide on how much blur you want to introduce to your image you first need to decide where you want the blur effect to be applied. Do this by adjusting the size and shape of the blur filter itself.

Adjust the Size and Feather Amount of the Filter

You can click and drag the outside of the filter to control its size and shape. How close the blur comes to the edges of the filter is controlled by the four larger dots shown here:

spin blur adjustment dots - How to Simulate a Swirly Bokeh in Photoshop

Think of these dots as the way you dictate the feathering of the spin blur effect as it approaches the edges of the filter. Drag the filter out to just past each corner of the frame and then adjust the feathering accordingly.

Feel free to experiment with placing the center point of the filter at different locations within your image.

spin blur filter in action - How to Simulate a Swirly Bokeh in Photoshop

Select the Blur Amount

As I’ve said, the largest variable you can control when applying your swirly bokeh background is the angle of the blur, which essentially dictates the amount of perceived spin blur. In most cases, a very small amount of blur angle works best, say maybe 2-4%.

Keep in mind that the true swirly bokeh from the Helios lens is generally subtle so keep the background blur in your simulated images somewhat subdued. Here’s our image with 4% blur angle applied.

4% blur applied - How to Simulate a Swirly Bokeh in Photoshop

Keep in mind that the final determination of the amount of blur will be decided just a little later in the process by using the layer opacity. So it’s a better idea to add in a little too much blur than not enough at this point in your processing.

Also, keep in mind that you can also increase or decrease the amount of blur angle using the control wheel located at the very center of the filter. Once your blur is applied, click “OK” at the top of the screen.

NOTE: If you convert the layer into a Smart Object before applying the Spin Blur filter, the settings can be adjusted at any time as it will be a non-destructive edit.

Final Blur Adjustments Using Layer Masks and Opacity

Now that you’re back to the main editing window in Photoshop you can finish up your Helios-style blur effect by using layer masks and opacity to customize the blur.

Adjust the opacity of the spin blur layer by using the layer opacity slider until the effect reaches the desired amount you like for your particular image. In this case, I’ve set the opacity to a modest 70%.

layer at 70% opacity - How to Simulate a Swirly Bokeh in Photoshop

Next, we’ll want to make sure the subject of the photo is free from the blur effect. To do this, add a layer mask to the spin blur layer.

add a layer mask - How to Simulate a Swirly Bokeh in Photoshop

Then use the Brush tool to remove the blurring effect from the areas where it’s not needed. And viola! Your freshly minted Helios swirly bokeh simulation is complete!

final image butterfly and flowers - How to Simulate a Swirly Bokeh in Photoshop

Final Thoughts on Simulating Helios Bokeh

Acquiring an actual Helios lens is a surprisingly easy and budget-friendly method for adding a little uniqueness to your photography. Still, if you choose not to get a lens of your own, you can simulate the look of that classic Helios swirl by using the methods shown in this article.

Here are a few points to remember if you want to give the Photoshop Helios method a try:

Choose a photo with a subject that is relatively isolated on its focal plane.
Images with busy backgrounds work best.
A blur angle of 2-4% is adequate for most photos.
Center the blur around the main subject but don’t be afraid to move it elsewhere!
Control the final blur amount using the layer opacity slider and layer masks.

Simulating the swirly blurred backgrounds of the Helios is easy and quick in Photoshop using the spin blur filter.

Here are a few more examples of images which have been given the Helios effect using the techniques shown here.

The post How to Simulate a Swirly Bokeh in Photoshop appeared first on Digital Photography School.

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Ricoh announces development of long-awaited GR III

25 Sep

Ricoh has announced the development of its new GR III, a significant update to the GR and GR II. The camera gains sensor-shift image stabilization and on-sensor phase detection as part of an updated 24MP sensor. The camera’s 28mm equivalent F2.8 lens has also been redesigned and a touchscreen added for the first time.

The GR III’s sensor can now shift in three axes to compensate for camera shake and, in common with Ricoh’s Pentax DSLRs, this shake can simulate the effect of having an anti-aliasing filter.

Since the stabilization is done at the sensor level, we suspect the lens has been redesigned to boost focus speed. On-sensor phase detection underpins a hybrid phase- and contrast-detection system which, combined with a new processor and the new lens will, we hope, make the autofocus performance more competitive.

The redesigned 28mm equiv. F2.8 lens will have six elements in four groups, including two aspherical elements. The minimum focus distance has improved to 6cm (2.4″) from 10cm (3.9″). The built-in 2-stop ND filter from the GR/GR II remains. The GR III can record 1080/60p video, up from 1080/30p on its predecessors.

From the front at least, the design is unchanged, though preliminary specs say that the III isn’t quite as wide as the I and II. We’ve yet to see the back of the camera but we do know that the 3″ LCD is now touch-enabled. The GR III has a USB-C socket, which the company says can be used for video output. Wireless functionality continues to be offered through Wi-Fi only: no Bluetooth here.

The GR III will be available in early 2019 at price to be determined later.

Press Release:

RICOH GRIII, a high-end digital compact camera to be exhibited for preview at Photokina 2018

LONDON 25 SEPTEMBER 2018 – RICOH COMPANY, LTD. and RICOH IMAGING EUROPE, S.A.S. are pleased to announce a preview showing of the RICOH GRIII camera at Photokina 2018 — the world’s largest, full-scale trade fair of photographic and imaging products, to be held from September 26 to 29 in Cologne, Germany. The new camera has been in the process of development as the latest model of the RICOH GR series, which features a line-up of high-end digital compact cameras combining exceptional image quality with a compact, lightweight body ideal for snapshot photography.

Over a history of more than 20 years, the RICOH GR series has always kept its basic concept of optimising the essential values of a camera — high image quality, snapshot capability and portability — while at the same time making the changes and refinements needed to meet emerging needs. Because of this, GR-series models have been preferred by a great many photographers, particularly professionals and highly experienced amateurs.

Currently under development, the RICOH GRIII inherits the basic GR-series concept, but it incorporates totally new devices in its main components, including a newly designed lens, a new image sensor, and a new imaging engine. These are designed to further upgrade image quality, strengthen many of the functions and improve the user interface.

Designed to be the ultimate snapshot camera, the RICOH GR II is a totally new breed of GR camera, one that will give the user new and different creative possibilities. We hope Photokina 2018 visitors will enjoy their first look at this new-generation GR-series model.

Overview of the product under development

Model name: RICOH GRIII
Launch date: Scheduled to be launched in early 2019
The design and specifications are identical to those first announced publicly about the camera’s development, and are subject to change without notice.

Ricoh GR III specifications (preliminary)

Body type
Body type	Large sensor compact
Body material	Magnesium alloy
Sensor
Max resolution	6000 x 4000
Image ratio w:h	1:1, 3:2
Effective pixels	24 megapixels
Sensor size	APS-C (23.5 x 15.6 mm)
Sensor type	CMOS
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
White balance presets	8
Custom white balance	Yes
Image stabilization	Sensor-shift
Uncompressed format	RAW
File format	JPEG (Exif v2.3) Raw (14-bit DNG)
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
Manual focus	Yes
Normal focus range	10 cm (3.94″)
Macro focus range	6 cm (2.36″)
Screen / viewfinder
Articulated LCD	Fully articulated
Screen size	3″
Screen dots	1,037,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Optical (optional)
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/4000 sec
Exposure modes	Program Aperture priority Shutter priority Manual
Built-in flash	No
External flash	Yes (via hot shoe)
Flash modes	Auto, Flash On, Flash On+Red-eye, Slow-speed Sync, Slow Sync+Red-eye
Self-timer	Yes
Metering modes	Multi Center-weighted Highlight-weighted Spot
Exposure compensation	±5 (at 1/3 EV steps)
Videography features
Format	MPEG-4, H.264
Modes	1920 x 1080 @ 60p, MOV, H.264, Linear PCM 1920 x 1080 @ 30p, MOV, H.264, Linear PCM 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
Microphone	Stereo
Speaker	Mono
Storage
Storage types	Internal, SD/SDHC/SDXC (UHS-I supported)
Storage included	2GB
Connectivity
USB	USB 3.1 Gen 1 (5 GBit/sec)
USB charging	Yes
HDMI	No
Microphone port	No
Headphone port	No
Wireless	Built-In
Wireless notes	802.11b/g/n
Remote control	Yes (via smartphone)
Physical
Battery	Battery Pack
Weight (inc. batteries)	257 g (0.57 lb / 9.07 oz)
Dimensions	109 x 62 x 33 mm (4.29 x 2.44 x 1.3″)
Other features
Orientation sensor	Yes
GPS	None

Articles: Digital Photography Review (dpreview.com)

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‘I’m Back’ digital back for analog SLRs is now in production

25 Sep

After an initial unsuccessful crowdfunding campaign the team behind the ‘I’m Back’ digital back for old film SLRs returned to Kickstarter in March 2018 with a refined product. In the second attempt the funding goal was reached and now the the digital back has entered production in Hong Kong.

The ‘I’m Back’ is available for a range of old film-SLRs, such as Nikon’s F-Series, the Olympus OM10 or the Canon AE-1, and works by capturing the image projected onto a focus screen using a 1/2.33″-type 16MP Panasonic image sensor. The back is connected to the camera by detaching the rear plate from the latter, adjusting the aperture for the digital module, connecting the Flash Sync cable and setting exposure mode to Bulb.

The back can record JPEG and Raw files and comes with a 2″ touchscreen for live view focusing, a maximum of 64GB of storage, a USB Type-C connector and Wi-Fi connectivity. Don’t expect DSLR-level image quality, however. The back has been designed with cost in mind and ‘I’m Back” founder Samuel Mello Medeiros says:

“I’m Back was created with the intention of reusing the old analog in a digital way, but maintaining a ‘retro’ aspect in the photos thanks to the focusing screen. It is not intended to have the quality of a digital camera of last generation, therefore, it is not an accessory to be at par with a digital or even an analog.”

With the first units being sent out to Kickstarter backers, the back should be available to retail customers in the coming months. No retail pricing has been announced yet but initial backers were able to secure a device starting at €175 (approximately $ 205), so expect a slightly higher price in the shops.

Articles: Digital Photography Review (dpreview.com)

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How to Make Your Location Portraits Even Better

25 Sep

In photography, portraits are an art form to themselves. There are many ways to make portraits, but one of the main divisions is between portraits made in a studio and on location portraits. The end results look very different, so it’s good to choose between them depending on what you’re going for.

Do you have a preference between them, either as a photographer and/or as a viewer?

Portrait in a greenhouse. location portraits

Studio photography is a lot of fun, but when I’m working on a portrait job I usually prefer to photograph on location. Why? Portraits taken in a favorite location – outdoors or at home – are a great opportunity to really bring out the subject’s personality and to enjoy the beauty of natural light.

That’s why I thought I’d share what I’ve learned about location portraits with you. I hope you enjoy the ride!

Sports portrait on location. location portraits

The advantages of stepping out of the studio

There are both pros and cons to on-location portrait photography. The main differences between this kind of photography and studio photography are the light and the environment.

Light

In a studio setting, you’re in complete control of the light. On location, you very likely won’t be, but the advantage is that you’ll have a much richer palette of light and color. So it’s a challenge but also an opportunity.

Instead of creating the lighting setup, you can focus on creating a very unique, natural portrait. Another difference is that natural light feels less artificial, just like a natural setting. Depending on what kind of atmosphere you’re going for, this can be very important.

Portrait of child outdoors. - location portraits

Environment

Depending on the surroundings, a natural setting might not create a portrait with that timeless feel that a studio portrait often has. Again, this is neither good nor bad – it all depends on what kind of feeling you’re going for.

Including the environment in your portraits can add a lot of character and help bring out the subject’s personality.

Wedding portrait in forest. location portraits

The environment can also be a distraction, both in the final photograph and during the session. This can be a boon or a burden when you’re taking photos.

Too much going on might lead to a chaotic photo or the subjects looking (or being!) distracted, but it can also help the subjects relax and be themselves. All you have in a studio setting is the subject, the slightly intimidating lights, and the photographer; outdoors or at home, the setting might feel less oppressive.

Using the Surroundings to Your Advantage

So you’ve decided that you’re going to do a portrait session on location. What are the most important things to remember, and how can you make the session memorable?

Wedding portrait in winter.

Prepare!

You can’t ever be in complete control of a situation, but preparing is always worth the effort. It will help both you and your subject get the most out of the session and the final product. It will also let your creativity flow more freely since you won’t have to worry about all the details you will have dealt with beforehand.

Several choices need to be made before you can start making a portrait, and this can be done days and even weeks beforehand. These are: where, when, what, and what if.

First, you’ll have to find and agree on a location that’s convenient for you and works for the kind of portrait you and the client want. Unless it’s your backyard, it’s important to familiarize yourself with the place before the session.

Wedding portrait with greenery. location portraits

The time for the shoot is at least as important as the location. Both season and time of day have a huge impact on the quality of light you’ll have to work with, so keep that in mind as you plan your photo session.

In general, the hour before sunset until just after sunset is when you’ll find the really beautiful light. Overcast days are also surprisingly good for portraits. Of course, you also have to find a time that’s convenient for your subject so the timing of the photo session is often a compromise between practical considerations and optimal lighting conditions.

Graduation portrait with flowers.

Other preparations you can make are planning the types of photos you and your subject want and the clothing they’ll be wearing. Sometimes these are given – for instance, if you’re making wedding or graduation portraits.

Looking up inspiration for poses and compositions online is a good way to get ready, as is using yourself as a practice subject.

Outdoor portrait with fruit.

By “what if”, I mean you should have a backup plan. When planning a portrait session with a customer, I always make sure to have a reserve day in case the weather doesn’t cooperate, someone gets sick, or any of a million other unexpected things happen.

It can also mean having a reserve place to make the portraits, one that will still work if the original one doesn’t for some reason.

Outdoor portrait in the rain.

Do Your Best and Enjoy the Moment

The time has arrived and so has your subject. You’re in the right place at the right time, and now all you have to do is make some great portraits. There are a lot of great articles that cover the main things that will help you make the best of it, so I’ll only mention them:

Always be aware of the background: what kind of patterns are there, what colors, what is the light like?
Don’t be afraid to pose your subjects.
Make your subjects feel comfortable and calm – this way you can both enjoy both the session and the final portraits.

Portrait of child in the grass.

A Practical Example

Lastly, I want to share a strategy that I sometimes use for location portraits with customers. It’s not always possible or sensible to do this, but when it is, it’s an easy way to have a comfortable and fun photo session.

This is what I do…

After I know when and where the portraits will be made, I visit the place and familiarize myself with it. Then I explore the area, find a nice route to walk along, and choose several places where the portraits can be made along that route. When it’s time for the photo session, I take the subjects on a short walk along the route that I found. I also tell them about the plan, so they know what’s going to happen.

I took this lovely family on a walk with some beautiful backdrops.

This approach offers many advantages. If you don’t know your subjects, taking a little walk is a nice way to relax and chat a bit before you start making the photos. It often also makes the subjects feel less awkward and on the spot, since they get to take in the surroundings a bit rather than immediately being put in front of a lens.

For you, as a photographer, it’s a good way to structure the session, to have a beginning and an end but leave plenty of room for spontaneity. It also lets you use several different settings within the same area so you can offer your subject a range of different portraits afterward.

Conclusion

Knowing how to make location portraits is a very useful skill in many situations: weddings, birthdays, graduations, for families, bands, teams, pets, etc. The list goes on and on.

What is your favorite part about making portraits on location? Are there some specific challenges you’ve encountered? I’d love to see your photos and your thoughts in the comments section!

Goodbye!

Sadly, this is my last article here at Digital Photography School. I’ve learned a lot and really enjoyed it, both writing the articles and taking part in all the discussions we’ve had. Thank you! You can find all my articles here.

Keep learning about and enjoying photography – I sure will!

The post How to Make Your Location Portraits Even Better appeared first on Digital Photography School.

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Five Ways to Take Stunningly Sharp Images

25 Sep

You can take sharp images. You can take them consistently, quickly, efficiently. However, you just may not realize it yet.

sharp images sanderling reflection

The Problem

The thing is, getting acceptably sharp images is a common problem among photographers. It’s something that I myself often struggled with getting consistently. I can’t tell you the number of times I used to come home, only to find my memory cards full of blurry or out of focus images.

I used to think the problem was my camera optics. In order to take pin-sharp images, I thought I needed a top of the line camera and lens. But it turns out that, when it comes to sharpness, the problem is generally the photographer (or the choices that the photographer makes).

And fortunately, that problem is very easy to fix.

sharp images purple flower

In this tutorial, you’ll learn five ways that you can get sharp images. And then, next time you go out shooting, you’ll consistently take pin-sharp images. Sound good? Read on to find out how.

sharp images tulip abstract

1. Use a fast enough shutter speed

When you press the shutter button on your camera, the internal sensor is briefly exposed to the light. This is how the camera actually captures an image.

The length of time that the sensor is exposed to the light is called the shutter speed.

sharp images yellow flower

Depending on your camera settings, the sensor might be exposed to the light for a long period of time (a slow shutter speed) or a short period of time (a fast shutter speed).

One of the main reasons your images are coming back blurry is that you’re not using a fast enough shutter speed. If you use a slow shutter speed, then your camera sensor remains open to the light for too long. It captures too much. That is, it captures motion.

But if you want to freeze the motion and capture only a sliver of a second so that everything is crystal clear, frozen. To do this, you need a fast shutter speed.

sharp images white ibis

Fortunately, it’s not difficult to do this. In your camera’s settings, you can generally increase the shutter speed. Or you can use the Action (Sports) setting, which many cameras have.

Even if your subject isn’t moving, your hands might not be rock-steady. This causes camera shake which in turn causes image blur.

A faster shutter speed will help fix this.

2. Tuck in your elbows

A shutter speed increase solves many issues with blurry photographs. But what if you can’t use a fast shutter speed?

photography without tripod golden retriever sunset

When the light is low, for instance, when you’re indoors or when you’re outside at night – a fast shutter speed lets in too little light, causing the image to be dark (we call this underexposure). Your camera will compensate for the low light by keeping the shutter open for longer, exposing the sensor to more light.

This is when it becomes important to eliminate camera shake completely. If the camera shakes, your image will come out blurred. So how do you stop your camera from shaking?

The first way that I’m going to talk about is simple: You tuck in your elbows. Don’t shoot with your arms out. Instead, firmly grip your camera while pulling your elbows in. This will serve to stabilize the camera and reduce camera shake.

I tucked in my elbows in order to get a sharp shot of my model in low light.

3. Stabilize your body against a wall (or the ground!)

Sometimes, tucking in your elbows isn’t enough. If the light is really low, you may need to take more drastic measures to reduce camera shake.

One big tip is to stabilize your body against a feature of the landscape, something solid.

When photographing birds, I often stabilize my elbows against the ground, ensuring a sharper image. If you’re a street photographer, for instance, you can search for walls to lean against. If you’re a landscape photographer, you can hold onto a rock or tree.

It also helps to get down on the ground. You can kneel and stabilize your arms on your knee. Or you can get down on your stomach and use the grass, concrete or dirt as a stabilizer for your camera.

Trust me, it works!

4. Use a tripod

I’ve been talking a lot about stabilizing your camera, and the ways I’ve suggested will generally work well, especially if you’re in a pinch. But there is a more dedicated solution – use a tripod.

With a good tripod, you can completely eliminate camera shake. This will do wonders for keeping your images sharp.

I used a tripod to capture this image of a musician at night.

There are a few downsides to using a tripod, however. The first is that you lose flexibility. It takes time to set up a new composition when you’re using a tripod, time that you might not want to spend. This is especially true if you’re photographing in a fast-paced atmosphere (e.g., portraiture or events).

The second downside is that good, solid tripods are expensive, especially if you want one that’s lightweight. Cheaper tripods may seem like a bargain, but they often don’t do the job well, or at all and replacing them costs more than buying one good one in the first place.

So be careful before choosing to invest in a good solid tripod.

5. Use a Shorter Lens

I have one more recommendation for eliminating blurry photographs, that is to use a shorter lens.

This is for a few reasons, but I’ll focus on the simplest one. A longer lens is harder to keep steady. It destabilizes the camera (and the image is magnified), and will, therefore, cause camera shake.

I used a wide-angle lens to photograph this golden retriever as the sun dipped below the horizon.

Hence, this tip is short and sweet. Especially when shooting in low light, put away your longer lenses and your telephoto zooms. Bring out your wide-angle and portrait lenses, ones that you can easily hold steady.

That’s how you’ll take sharp images.

Conclusion

Capturing consistently sharp images may have seemed daunting, but I hope that you now realize the truth. Getting sharp images is easy!

sharp images cosmos

I urge you to get out and try these tips now.

Use a fast shutter speed.
Tuck in your elbows.
Stabilize your body.
If you want, invest in a tripod.
Use a wider lens.

And admire those crystal clear images!

Do you have any other tips for taking sharper images? Please share them in the comments below.

sharp images wilson's plover

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IRIX announces 150mm F2.8 Macro 1:1 lens with near-zero distortion

24 Sep

IRIX has announced a new full-frame telephoto macro lens, the 150mm F2.8 Macro 1:1.

The 1:1 reproduction lens will be available for Nikon F, Canon EF and Pentax K mounts and claims to have ‘close to zero distortion,’ according to IRIX — just 0.1 percent, thanks to the optical construction consisting of twelve elements in nine groups.

IRIX touts the telephoto focal length as a benefit noting ‘the possibility of being able to move away from the photographed object […] makes the operation more convenient than using lenses with a shorter focal length. No shadows are cast on the object and it is also possible to use lamps dedicated to this type of photography.’ Its internal focusing mechanism means the lens won’t shrink or expand when focusing.

Illustration showing the location of the weather-sealing gaskets.

The lens features select weather-sealing at various areas on the lens and has a rubberized focus grip with 270-degrees of rotation. There’s also Focus Lock and a removable Arca Swiss lens collar for easy shooting on a tripod.

The construction of the lens features IRIX’s new ‘Dragonfly finish.’ In Irix’s own words, ‘the aluminium frame has been enclosed in an external structure made of aluminium-magnesium alloys and composite elements. The combination of Firefly and Blackstone features gave the lens lightness and solidity while maintaining high mechanical strength and resistance in difficult weather conditions.’

Sample image captured on the 150mm F2.9 Macro 1:1, provided by IRIX.

Pricing and availability is yet to be determined.

Articles: Digital Photography Review (dpreview.com)

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Canon RF 24-105mm F4L IS USM sample gallery

24 Sep

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The RF 24-105mm F4L IS USM is one of four lenses to launch with Canon’s new full-frame mirrorless system. Currently it boasts the longest reach in the native lens range, with weather sealing and a claimed 5 stops of image stabilization to boot. Take a look at some of the 24-105mm sample images we’ve gathered so far as our EOS R testing continues.

See our Canon RF 24-105mm F4L
sample gallery

Articles: Digital Photography Review (dpreview.com)

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