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Archive for December, 2018

Blog Project: Your Best Photos From 2018

17 Dec

It’s that time of year again, it is time to kick off the 12th annual best photos of the year blog project. I’m proud to say over the years that hundreds of photographers have taken part (see Best Photos of 2017, 2016,  2015, 2014, 2013,  2012, 2011, 2010, 2009, 2008 and 2007).  It’s great to see the community of photographers that have developed around this blog project. As always I hope the exercise of picking your best photos helps improve your photography (10 Ways to Top Your Best 20xx Photographs).

So without any further delay here is how you take part to submit your best photos of 2018.

How to Participate (Read Carefully)

  1. Review & select your best photos from 2018.
    Note: Photo edit carefully narrowing down your results to your best 10 or 5 photos. Reference Pro Tips: Photo Editing with Gary Crabbe for pointers.
  2. Create a blog post on your website or a Flickr set containing your best photos from 2018.
  3. Complete the form below by Tuesday JANUARY 4th at 11:59PM PST to take part. The following Tuesday, or thereabout, I’ll post a link to all submitted sites and photos on my blog. Throughout the week I’ll also share the results across all my social media accounts.

Spread the Word!
Feel free to spread the word of this project on Twitter, Facebook, and Instagram, Google+ (even if it is about to die), photo forums you frequent and/or your blogs. All who are interested in taking part are invited.


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The post Blog Project: Your Best Photos From 2018 appeared first on JMG-Galleries – Landscape, Nature & Travel Photography.


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Gear Review – Fikaz Sony E-Mount Lens Adapters

17 Dec

The post Gear Review – Fikaz Sony E-Mount Lens Adapters appeared first on Digital Photography School. It was authored by Adam Welch.

Not too many years ago, in a sad and dark time, there weren’t many ways for us adventurous types to branch out in ways we used our photography gear. Namely, our camera lenses weren’t easily usable across platforms. It was possible, but adapters and converters weren’t plentiful or easy to find.

1 - Gear Review - Fikaz Sony E-Mount Lens Adapters

Today, mirrorless, full-frame, and crop-sensor cameras are essentially pairable with many lenses. Adapters for these lenses are relatively easy to find too. So much so, that there is an over-saturation of the lens conversion market making most lens mount adapters affordable for any budget.

Unfortunately, not all lens adapters are created equal. So when Fikaz, a company I had never heard of, approached me to test out some of their new Sony E-Mount (NEX) adapters, I was open-minded but still cautious of yet another lens adapter-maker.

Luckily, all of my reservations about the Fikaz Sony E-Mount lens adapters were unfounded. As it turns out, the two adapters I received were pleasantly high-quality pieces of kit. Let me explain to you what I thought about these nifty little adapters from one of the newest kids on the lens converter block.

As I said, the lens adapter world is a hot commodity right now and being able to use your lenses (especially manual vintage lenses) is currently in vogue. The two adapters I evaluated were the Nikon F (G) to Sony E-Mount and M42 to Sony E-Mount. Both adapters were high quality in both aesthetics and their build.

Nikon F (G) Adapter

Until their recent leap into the full-frame mirrorless realm, and since the late 1950s, all of Nikon’s lens mounts have been variations of the “F” mount. So technically, virtually all Nikon lenses should be compatible with a Nikon F-mount adapter.

The caveat is that later “G” series lenses (read as modern) don’t sport a physical aperture ring on the lens itself. This missing aperture ring means that while the lens is physically shootable with most F-mount lens adapters, there is nowhere for the photographer to change the aperture. A dedicated G-mount adapter comes in handy because the shooter can use the aperture ring on the adapter to physically control the amount of light entering the camera via the lens.

2 - Gear Review - Fikaz Sony E-Mount Lens Adapters

The Nikon F (G) adapter is solidly built and feels extremely substantial in the hand. The aperture controller ring is a nicely contrasting silver against the black frame of the adapter.

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4 - Gear Review - Fikaz Sony E-Mount Lens Adapters

The Nikon F (G) adapter was tested using my relatively ancient Nikkor 70-300mm F/4-5.6 lens. Both the lens and camera sides of the adapter fit extremely snug…but not too snug…to the lens bayonet and the camera mount. Absolutely no play or movement was observed.

5 - Gear Review - Fikaz Sony E-Mount Lens Adapters

A well placed and crisply-springy release slider is also present on the adapter which is, again, in the visually pleasing contrasting silver tone. Fikaz has also included a highly visible red bead for easy mating of both the lens and camera with the adapter.

6 - Gear Review - Fikaz Sony E-Mount Lens Adapters

From what I would approximate, the aperture ring, or rather more accurately, the “aperture approximator” ring works in full stop increments with six stops of adjustment. Basing my lens at 70mm and F/4, the apertures provided from the adapter should be approximately F/4, F/5.6, F/8, and so on. The adapter has a visual representation to aid you in selecting aperture size.

7 - Gear Review - Fikaz Sony E-Mount Lens Adapters

 

8 - Gear Review - Fikaz Sony E-Mount Lens Adapters

Aperture control using the Fikaz Nikon F (G) to Sony E-mount adapter

9 - Gear Review - Fikaz Sony E-Mount Lens Adapters

Aperture control using the Fikaz Nikon F (G) to Sony E-mount adapter

 

M42 Adapter

I had intended to test the Fikaz M42 to Sony E-mount adapter using a fan-favorite lens, the Helios 44-2. Unfortunately, I realized far too late that my Helios was not in my bag. Seeing as I’m currently 3,000 miles from my test lens, this portion of the review shows my impressions of the build and appearance of the M42 adapter only. Which I must say, is extremely impressive for its price tag.

10 - Gear Review - Fikaz Sony E-Mount Lens Adapters

The M42 adapter from Fikaz is incredibly Spartan in its appearance. The majority of the converter is mostly flat black with accenting bare aluminum areas which cut an understated yet classical form. Like the Nikon adapter, the markings are well executed and quite clean. The threads on the M42 side are very uniform and smooth with no burrs or metal shavings present.

11 - Gear Review - Fikaz Sony E-Mount Lens Adapters

This same level of craftsmanship also holds through for the Sony bayonet end of the adapter which shows no flaws in the cutting or finish of the mount. The perimeter of the M42 adapter sports deep cut serrations offering a superb grip even with gloved hands.

12 - Gear Review - Fikaz Sony E-Mount Lens Adapters

Final Thoughts on the Fikaz Sony E-mount Adapters for Nikon F(G) and M42

In the grand scope of things, both the construction quality and thoughtfulness of design displayed with Fikaz’s first entries into the world of mirrorless adapters impressed me. Hopefully, both the build and looks of the adapters hint at great things to come too.

The Nikon F (G) adapter worked extremely well to allow a large measure of aperture control with newer Nikon lenses and mated perfectly to my 70-300mm test lens. However, I wasn’t able to test the M42 mount with a lens, the build and precision left little doubt that it would also perform well.

That said, there are some things to keep in mind about the M42 (and any other non-AF adapters). Essentially, all that is needed is a mount conversion. There is no real need for the relatively large size of the adapter which can affect infinity focus. While the M42 adapter has an excellent build, it may be beneficial to search for a slimmer “ring” adapter if you are worried about focusing issues.

On that note, the Fikaz adapters both feature black paint on their interior but no flocking to eliminate possible reflections. This shouldn’t be a problem, but maybe a concern for those seeking complete security for lengthy exposures.

Currently, the Fikaz Sony E-mount adapters are available for the following lens mounts: Nikon F (G), M42, Pentax K, and Fuji X mount. I have been informed that Canon EF mount will be available in the future. At the time this review, these adapters have a selling price of around US$ 24, making them a bargain. There are plenty of choices for lens adapters and converters today. Some are high quality and others, well, not so much.

I feel as if Fikaz can now join the ranks of some of the better budget adapters currently on the market. A bonus for those who are looking at a cost-effective way to use their lenses across a wide range of camera systems.

The post Gear Review – Fikaz Sony E-Mount Lens Adapters appeared first on Digital Photography School. It was authored by Adam Welch.


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Tips for Setting Up and Photographing Mini-Sessions for Extra Income

17 Dec

The post Tips for Setting Up and Photographing Mini-Sessions for Extra Income appeared first on Digital Photography School. It was authored by Jackie Lamas.

Photographing mini-sessions is a perfect way to generate extra income from both new and returning clients. They can also create buzz and word of mouth during the slow season for many photographers. Knowing how to set them up and photograph them ensures you are successful and offer your clients the best mini-session experience.

1 - Photographing Mini-Sessions

What is a mini-session?

Mini-sessions are sessions that offer your clients a session at a reduced price and usually photographed in less time than a regular full session.

Typically, the sessions run between 30 and 45-minute time slots for each client. It is up to you if you want to offer your mini-sessions to families, individuals, or children. Perhaps you are willing to do all types of photography, which can also create more buzz in different niches.

2 - Photographing Mini-Sessions

Mini-sessions are a reduced price, but it is up to you to factor in costs so that you are still earning enough to generate income for your photography business. These mini-sessions are all about booking volume, and so don’t price it not too low, or you may burn out quickly. Set your price, so you are making enough money, however, not too high where it’s not cost-effective for your clients who perhaps don’t have money to spend on a full session.

How do you set up a mini-session?

It’s important to make sure that you have all of your mini-session details set up and prepped before sending the information out to social media or your client list.

3 - Photographing Mini-Sessions

Before you begin, figure out how much you to charge and what you intend to include in the mini-sessions. For instance, if you are charging $ 250 per session, perhaps you can include an 11×14 wall print. If you are only including digital prints, make sure to state how many your clients receive. Including a product can be an excellent incentive for clients to book rather than just getting a digital product.

4 - Photographing Mini-Sessions

For example, if you’re doing holiday minis, you may include a set of greeting cards. If you are doing beach mini-summer-sessions, perhaps a beautiful wall portrait is the best option. Either way, work out your costs and be sure that you price your sessions accordingly to avoid losing money or just breaking even.

5 - Photographing Mini-Sessions

This is an example of all the different poses you can do in the same location to make the most of the time limit of your mini sessions.

Once you have figured out the basic details of the session, it’s time to determine what season of the year you are planning on having the sessions. Weekend dates are advisable because many people tend to have the weekends off from work and are free from other obligations.

If you plan on doing fall minis, schedule them far in advance so that you have time to edit and deliver all of the materials to your clients before the holidays. For example, scheduling holiday minis from mid to the end of October is perfect because you still have plenty of time before the major holidays to deliver your photos.

6 - Photographing Mini-Sessions

Be sure to schedule enough time slots during the day so that enough clients can have their photos taken without overlap or running into each other. For example, start at 10 a.m. and photograph every hour and a half until 5 p.m., or an hour before the sun sets.

Depending on the season you’ve chosen to do the mini-sessions, you can photograph them all in one particular location or two very different locations to offer variety. For example, you can offer mini-sessions at a park on Saturday and Sunday photograph downtown. Offering two different locations for different days means clients can choose which look they would prefer.

You can also set up just one day, say a Sunday, and photograph in only one location like a park or field.

7 - Photographing Mini-Sessions

Prep before booking a single client

It is essential you be prepared for running mini-sessions. Otherwise, you can get lost in all of the small details. Here is a sample worksheet that you can use so that you can keep track of your mini-sessions.

Keep track of clients, payments, contracts, timeslots, and locations for each session. It can help you not get confused and also keep track of who has paid and who hasn’t.

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Also, prep an exclusive print package for your mini-sessions that include several products. Doing this to send out to booked clients can prepare them just in case they want to buy more photos from you. Giving them an exclusive print package can boost your income and make up the difference for the reduced price of the mini-session.

Having your business ready for the mini-sessions ensures that the campaign runs smoothly and without fuss. Plus, having all of your materials ready, like contracts and product guides, makes you look more professional to both returning and new clients.

9 - Photographing Mini-Sessions

It also less stressful keeping track of all the mini-session details after the shoot and it’s time to edit and deliver.

Remember, photography is an art, but portrait photography is also a business. You must run your business efficiently to avoid burn-out or losing track of information or details.

Create a mini-session campaign

Now that you have all the details, the locations, and the dates set for the mini-sessions, it’s time to get the information out.

10 - Photographing Mini-Sessions

Create a buzz. Send out an email or social media post informing people that you are prepping for a run of mini-sessions and details are coming soon. Doing so gets your clients excited and gives them time to book because you have already informed them.

First, send the information to your existing client list. Give them the chance to book first. Not only does it make it more exclusive but also keeps your current clients happy. Returning clients are much more willing to book than new clients. Send them all of the information about a week before you send it out to new clients. While it gives them exclusivity, it also adds urgency for them to book because someone else may get their slot.

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Returning clients have a higher rate of booking than new clients.

Afterward, send out your mini-session campaign through the best form that brings in clients. Try an email list, social media, or your website. Wherever you get the most traffic and exposure, publish your campaign there.

Continue announcing the campaign. Make sure that you remind people daily through email and social media. Once a time slot gets filled, make sure to update the information. You don’t have to do this every single time, but it can save people from trying to book the same time slot and be turned down.

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Remember, the client who signs the contract and pays the retainer fee is the one who gets booked. People who message but don’t do those two things don’t get booked. Unless you know your client is reliable, don’t reserve the mini-session timeslot. Otherwise, you could miss out on a paying client.

Don’t be afraid of getting to the point! Mini-sessions have a reduced price, which makes them in-demand. Especially among your existing clients! If you get a request for a mini-session, direct them to where they can pay the retainer, and send them the contract as soon as possible.

13 - Photographing Mini-Sessions

You can write them something like this: Thank you so much for wanting a mini-session! I do have that time and date available, however, it’s first-come-first-served. To book your preferred time and date, please go to this link and pay the session retainer. As soon as I receive confirmation, I can send you the contract. I’m excited and look forward to photographing your beautiful family!

It’s short, simple, but to the point. Letting your clients know the steps they have to take to book the mini-session ensures that you filter out the people who are just shopping around. This way you’re not wasting your time.

14 - Photographing Mini-Sessions

How to photograph mini sessions

Mini sessions are wonderful because they usually mean that you have back to back sessions all in the same location. However, it also means that you are out there all day photographing in all types of light.

Prep your gear so that you are ready for any type of lighting situation that can occur during the sessions. For example, bring extra batteries for your flash in case you will be competing with the sun. Bring a reflector to bounce some light. Take a tripod.

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Sessions typically run from 30 to 45 minutes spaced at every hour and a half. This timing gives you at least 30 minutes between sessions to rest, eat a snack and drink some water. It also helps to adjust to new lighting conditions for the next session.

Mini-sessions can enable you to look for new ways to photograph multiple families in the same location. Use their energy to determine which angles and specific locations work best for them. It’s a great time to push your creativity and perhaps experiment new ideas you’ve wanted to try.

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Here you can see all the variations in posing with different family combinations in the same location.

Make sure to set a timer so that you know when it’s time to stop photographing. Put your alarm about 5 minutes before the time is up to ensure you are aware you have a few extra minutes to get any last photos.

Time goes quickly, and your clients may feel like they didn’t have lots of variety or even that you took enough photographs. One thing that I do is I tell them how many photos I’ve taken, which is usually anywhere between 200 and 400 photos. Clients know that they won’t get all of the 200 photos, but they feel more confident that you’ve taken enough for them to choose.

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If you offered your clients a set number of photographs, make sure that you photograph enough to cover that amount. For example, if you’ve offered 50 digital images, make sure you photograph more than double to have enough variety for them.

Making the most out of little time

Mini-sessions go by quickly, and if you have chosen to photograph for 30 minutes, it is important to make the most out of the time.

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Make the most out of your time by having set poses for different combinations during the mini-session.

Prep yourself with 5 – 7 poses that work for all family types and sizes. Try to use poses that don’t require you to move your clients too much and waste time.

The most common set of poses include:

  • the whole family together
  • siblings only
  • parents only
  • each child
  • mothers and daughters
  • fathers and sons
  • mothers and sons
  • fathers and daughters

If grandparents are participating, you can also do the same above combinations with them included. Don’t forget to photograph the grandparents both individually and with only their grandchildren.

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Once you have all of the main portraits taken, allow the children to have a bit of fun. Have them walk with their parents or play so you can capture them in a natural state of joy and happiness.

After the session

Immediately after taking the last photo at the mini-session, give your clients a printed pricing sheet that includes other products you offer. Also, include any exclusive packages you’ve created for the promotion. That way they can keep it in mind before they view a single photo.

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After you’ve completed your mini-sessions, get one or two photos onto social media as sneak previews. Doing so can help drive more interest to your mini-sessions from potential clients.

Also, take the time to send a thank you message to your clients and email the price list again for the mini-sessions. If you have created something exclusively for the promotion, make sure to highlight the top three products. Do this before you show your clients the images so that they can plan how much they want to purchase and which products they like best.

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Use this photo as inspiration for different posing during your next mini-session.

To keep the excitement of the mini-session going, edit and deliver the images to your clients quickly.

If your mini-sessions included a set number of images, allow downloads or choosing for that amount, but include all of the photos that you believe are great. For example, if your package includes 50 edited photographs for your client with only 10 downloadable images, include all 50 in the gallery or sales appointment slideshow.

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Including more photos makes it likely that your clients purchase more than the ones included in the mini-session promotion.

Online versus in person

You have two options for your mini-session image delivery. You can send your clients an online gallery or make in-person sales. It’s up to you which you prefer to do depending on your business style.

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If you do online, be sure you’ve outlined all the parameters regarding the gallery. Have your watermarks in place, limit the downloads to the number you’ve specified and use an expiration date. Also, add email logins to keep track of emails for future marketing.

Also, have your products displayed front and center so that your clients can find them quickly. If your clients have to jump through lots of hoops to get their images, they most likely won’t buy much. Make sure the gallery is user-friendly and easy to access.

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If you have opted for in-person sales, schedule the appointment after you’ve finished photographing the family. Doing so helps settle any delays in delivering photos. Have a physical calendar or use your phone calendar to note the time and date of your in-person sales.

In-person sales can happen at your studio or the client’s home. Take your top products, pricing sheet, and samples along. Include a preview of the images in a premade slideshow that highlights the top 15 photos.

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Work with your clients to choose their favorites from the promotion and any additional products they may want to purchase.

Take an order form and have a secure way to process payments. For example, use a PayPal credit card reader or Square software. Doing so allows clients to pay then and there, avoiding payment excuses. You also look more professional.

Pricing Sheet and Products

I want to highlight pricing sheets and products. I’ve repeated it throughout the entire article. Make it a point to put your pricing sheet and products in front of your client’s eyes at all times.

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Mini-sessions often bring in quick income because you are working in volume. In the long run, what brings you greater income and returning clients is selling prints and products.

Reminding your clients of pricing and products allows them to think about what they would like to purchase. If you only say it once, it doesn’t stick. You’ll need them to see the information at least three times for them to think about buying something other than digital images.

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Send out the pricing sheet and all other selling materials in an email when your client books the session. Send it along with their signed contract or payment receipt. Hand them a printed pricing/product sheet at the end of the session. Be sure to include your logo and any other necessary information such as credit card payment details. When you send the gallery invitation or see them at the in-person sales appointment, give them the pricing/product sheet again.

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It’s important to keep the pricing/product sheet available to them and as a constant reminder to purchase printed products from their session. Having your work displayed in their home also serves as a good referral among friends and family who see their portraits.

In conclusion

Mini-sessions are a great way to drive volume business and get more experience in portrait photography. Price your mini-sessions according to your target market and business model so that you don’t lose money by doing the promotion.

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Remember to get your pricing sheet and product pricing to your clients at least three times to ensure extra income after the sessions have been completed.

Have you photographed mini-sessions before? What was your experience?

The post Tips for Setting Up and Photographing Mini-Sessions for Extra Income appeared first on Digital Photography School. It was authored by Jackie Lamas.


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Three is the magic number: LG V40 ThinQ sample gallery

16 Dec

When the V40 ThinQ was launched back in October it wasn’t the first triple-camera phone (that honor goes to the Huawei P20 Pro which combines a main camera with a tele and monochrome sensor), but it was the first to offer three different focal lengths.

Since then more triple-focal-length phones have arrived on the scene, such as the Samsung Galaxy Note 9 and Huawei’s 2018 flagship, the Mate 20 Pro, but you’re still looking at a pretty exclusive list if you’re after focal length flexibility.

LG V40 ThinQ sample gallery

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The V40 ThinQ’s camera combines a primary 27mm equiv. module, a super-wide-angle with 16mm equivalent focal length and a ‘tele’ lens that offers a 52mm equivalent focal length.

So does the triple-cam really offer a noticeable advantage over a phone with one or two lenses? In my experience using the phone on a week-long hiking trip and a few other occasions, I indeed found the added flexibility in terms of focal length to be a real benefit.

Key specifications:

  • Triple camera
  • 16MP Super Wide (1/3.1″-type, F1.9 / 16mm equiv, no AF)
  • 12MP Standard (1/2.6″-type F1.5 / 27mm equiv, OIS, dual-pixal PDAF)
  • 12MP Telephoto (1/3.4″-type F2.4 / 52mm equiv, OIS, PDAF)
  • Dual front-camera with 8MP Standard (1/4″-type F1.9 / 26mm equiv) and
    5MP Wide (1/5″-type F2.2 / 22mm equiv)
  • Qualcomm Snapdragon 845 chipset
  • 6.4-inch QHD+ OLED display (3120 x 1440 pixels)
  • 6GB RAM / 64GB or 128GB internal memory / microSD slot
  • 3300mAh battery

Using the V40 ThinQ is not to dissimilar to shooting with a DSLR and three prime lenses, but without the bulk. It is possible to zoom to intermediate positions between the native focal lengths but image quality suffers as digital zoom is applied and it’s simply more convenient to tap on the zoom icon of your choice than worry about pinch-zooming or using the zoom slider.

But even if you stick with the native equivalent focal lengths – 16, 27 and 52mm – they offer a higher level of creative freedom than we’ve ever seen on smartphones. At the press of a button you now have the ability to completely modify the way a scene is captured.

The three images below were captured from the same location, but the change in angle of view makes for very different image results between the three available focal lengths.

Landscape shot, 16mm equivalent
Landscape shot, 27mm equivalent
Landscape shot, 52mm equivalent

The ability to choose between focal lengths is also very useful when shooting portraits. In the past mobile photographers had to get used to being limited to wide-angle portraits when shooting people pictures.

With devices like the V40 ThinQ you now have the option to go super-wide and capture even more of the background and the subject-surrounding scenery, or use the phone’s tele-lens and produce something more similar to a ‘traditional’ portrait.

Unfortunately even at the LG’s longest focal length and relatively short subject distances there isn’t much bokeh to speak of, though, and the background is still almost entirely in focus.

The background-blurring Portrait Mode can produce nice results with very good background-segmentation but it uses the main camera’s 27mm equivalent focal length, so you can’t combine the DSLR-like background blur with the camera’s longest focal length. That’s a shame, since it would arguably be the lens most suited to portrait photography.

Portrait, 16mm equivalent
Portrait, 52mm equivalent
Portrait, 27mm equivalent, Portrait Mode

In low light the usefulness of the triple-cam is unfortunately a little more limited than in bright conditions. In low light both the super-wide-angle and wide-angle show noise increases and the levels of detail are reduced. That’s only really noticeable when zooming in to a 100% view, however. Color and exposure remain solid down to very low light levels. The 27mm equiv camera, with its bigger sensor and brighter aperture is the stronger option as the light levels drop.

The tele-lens on the other hand is completely deactivated in dim conditions. Instead, the camera uses the main sensor to capture the image and applies digital zoom to keep the exposure bright enough and control noise to some degree. The resulting images show very low levels of detail.

The LG is not the only device doing this – we’ve seen the same behavior on the first iPhones with tele-lens and some other Android devices. It means however that low-light tele shots are best avoided if you are planning to view or display them at larger sizes.

Night Shot, 16mm equivalent
Night shot, 27mm equivalent
Night shot, tele setting (shot with 27mm equivalent camera and with digital zoom)

The different image output sizes (16MP for the super-wide-angle, 12MP for the other two cameras) are slightly unusual but not really a problem. The same can be said for the fixed focus of the super-wide-angle camera. With virtually unlimited depth-of-field there isn’t really a need for an autofocus system.

On all three cameras image detail capture is only average and many images show pretty strong chromatic aberration but again, these flaws are only visible at larger magnifications and most smartphone images are never viewed at full size. Other than that there isn’t much to criticize about the V40 ThinQ’s triple-cam general image quality. Color and exposure tend to be very good in most shooting conditions.

Conclusion

Did I like shooting with the LG V40 ThinQ triple-cam then? The answer is a resounding yes! The iPhone 7 Plus was my first tele-cam-equipped smartphone and I remember how incredibly useful I found that longer lens while shooting on a tourist trip to New York, despite its shortcomings in low light.

The LG V40 ThinQ takes things one step further by adding a super-wide-angle to the mix. Gone are the days of difficult decisions between longer reach or a wider angle of view when buying a new smartphone. Now you can have it all in one device that easily fits into your pocket, and also gives you the ability to instantly edit and share.

Triple-cam-smartphones really are the final nail in the compact camera’s coffin

Is there still room for improvement? Of course there is. The tele-lens could perform better in low light and an even longer focal length would be nice (the Huawei Mate 20 Pro already offers a 3x optical zoom) but the additional creative freedom offered by the V40 ThinQ and similar devices is already a huge leap forward when compared to conventional single-lens smartphones.

If we still needed one, triple-cam-smartphones really are the final nail in the compact camera’s coffin, and we can be pretty certain device manufacturers won’t stop here. New hardware developments in combination with computational imaging techniques are likely to lead to even longer focal lengths and wider zoom ranges on smartphones in the very near future.

Gallery

There are 52 images in our LG V40 ThinQ sample gallery. Please do not reproduce any of these images on a website or any newsletter / magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review), we do so in good faith, please don’t abuse it.

Unless otherwise noted images taken with no particular settings at full resolution.

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Video: Nigel Danson on his switch to mirrorless and the Nikon Z7

16 Dec

Renowned UK-based landscape photographer Nigel Danson has been using DSLRs for years. In this video, created exclusively for DPReview, Nigel discusses his experience using the Nikon Z7 and why he’s excited about mirrorless cameras. (Spoiler… beautiful scenery ahead.)

If you enjoy this video, visit Nigel’s YouTube channel where you’ll find dozens more, including topics such as Master your telephoto lens photography and improve fast and Why you don’t need perfect light to shoot the best photo.

Visit Nigel Danson’s YouTube channel

  • Opening
  • Introduction
  • Size and Weight
  • Electronic Viewfinder
  • In-Body Image Stabilization
  • Video
  • Ergonomics
  • Stopping for a Quick Shot
  • Sensor and Image Quality
  • Opportunities for Improvement
  • Conclusion

Articles: Digital Photography Review (dpreview.com)

 
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Tenba launches new Ridged Lens Capsule line, two new Gear Pouches

16 Dec

Tenba has announced the arrival of Ridged Lens Capsules, a collection of five individual lens cases designed to keep lenses safe and sound in storage and travel, as well as a pair of Gear Pouches, both of which feature a clear window on the front to identify what gear is stored inside.

Ridged Lens Capsules are available in five sizes, from compact pancake lenses, all the way up to a 200-400mm zoom. The Lens Capsules feature moulded tops and bottoms and include a dedicated secure loop strap that makes it easy to attach them to MOLLE webbing on backpacks or directly onto various belt systems. Each of the Lens Capsules feature an included microfiber cloth that’s hidden inside a pocket on the lid.

Tenba uses YKK zippers, a padded interior, a soft lining and include a dedicated handle on the top for easy removal and transport. There’s even an included microfiber cloth in a secure pocket on the lid of each Lens Capsule.

The various sizes of Ridged Lens Capsules are as follows:

• 9x9cm (3.5×3.5in) — £18 ($ 20.95 USD)
• 13x9cm (5×3.5in) — £20 ($ 22.95 USD)
• 15x11cm (6×4.5in) — £31 ($ 35.95 USD)
• 23x12cm (9×4.8in) — £32.50 ($ 37.95 USD)
• 30x13cm (12x5in) — £38.50 ($ 44.95 USD)

The two new gear pouches are small bags designed to hold anything from small lenses to cables and audio equipment. Both pouches feature a clear TPU window to make it easy to see what’s packed inside.

The two Gear Pouches, which come in 19.05cm (7.5in) and 29.21cm (11.5in) sizes, are blue and sold in a set for £20 ($ 24.95 USD).

You can find the new products and more at Tenba’s online shop.

Articles: Digital Photography Review (dpreview.com)

 
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How to Make the Most of Creative Shutter Speed in Photography

16 Dec

The post How to Make the Most of Creative Shutter Speed in Photography appeared first on Digital Photography School. It was authored by Simon Bond.

This photo is all about the moment of capture. I used a fast shutter speed to capture it.

One of the most important settings on your camera is shutter speed, and it’s just as important to master this as it is to master aperture. If anything, shutter speed control allows you to become even more creative with your photography. Exciting techniques like light painting and panning both rely on the photographers’ use of this setting. In this article, you’ll learn techniques that need a creative shutter speed, and how you can apply this to your photography. So let’s begin with what shutter speed is, and why it’s important.

What is shutter speed?

A photograph relies on light to become exposed, and shutter speed controls how long that light sources can expose the photo. That means in general, lighter conditions mean fast shutter speeds, and dark conditions mean slow shutter speeds. Shutter speed is also controlled by opening or closing the aperture on your lens, adding filters to your lens, and, in some cases, adding external lighting to your scene. In DSLR camera’s it means the mirror locks up, and in mirror-less cameras, the shutter is merely open. Now, various techniques rely on shutter speed to work. Let’s sub-divide them by the how fast the shutter speed needs to be.

Fast shutter speed

Using super-fast shutter speeds allows you to freeze things that might be faster than the eye can appreciate. That may mean raindrops, wildlife, or photographing sport.

Freezing the action

The shutter speed you’ll need to freeze the action very much depends on what you’re photographing. Concerning creative imagery, you’re looking at freezing things that are too fast for the naked eye, and hence, you’ll get some unusual detail in the photo you’ve taken. Next is a simple guide to the type of creative shutter speed you’ll need to freeze the following types of action:

  • A waving hand – A shutter speed of 1/100th is fast enough to freeze this motion, to be sure use 1/200th
  • A flying bird – 1/2000th will get you a sharp photo of a flying bird.
  • Raindrop splashes – Look to use a shutter speed of 1/1000th or faster to freeze moving water. It’s possible to take water drop photos at slower speeds, but those often use a strobe flash to freeze the water rather than the shutter speed itself.

Freezing droplets of water require a fast shutter speed.

Moment of capture

Getting the right moment is what makes or breaks a photo. It is possible to take good moments of capture at slower shutter speeds, but generally, you’ll want to freeze the action. That means a fast shutter speed, and capturing that moment a baseball player swings their bat, or the archer loses their arrow. In both cases, these need a fast shutter speed to capture that moment.

Handheld photography

While not related to creativity in your photo, shutter speed is all important when it comes to avoiding camera shake. There is a nice rule of thumb that correlates your focal length to the slowest speed you can use handheld. Of course, there are those with steadier hands, and image stabilization helps too. That said, the correlation works like this and is easy to remember. If your focal length is 300mm, you’ll need to use a shutter speed of 1/300th second to avoid camera shake. You can use a much slower shutter speed at wider focal lengths though, so at 50mm 1/50th is adequate.

Creating motion.

Ahead of getting into long exposure, there are the shutter speeds that you can get away with handheld, but slow enough to move the camera and produce motion blur.

Panning is a popular technique, that needs a slower shutter speed.

Panning

This is a great technique and is a good example of how creative shutter speed can be used.

The technique requires a steady hand because it uses shutter speeds that wouldn’t usually get taken handheld. The idea behind this technique is that you follow a moving object with your camera, and take the photo with a slow enough speed to blur the background. You can follow any moving object from a pedestrian walking to a Formula 1 racing car. Amongst the easiest objects to pan with is a cyclist moving at a steady speed. Those new to the technique should practice panning with a cyclist first. A shutter speed of around 1/25th is a good starting point to blur the background while keeping the cyclist sharp.

Motion blur

An alternative strategy is to allow the moving object to blur, and keep the static object sharp. While panning is primarily done handheld, using a tripod for this type of photo achieves better results. In this case, you’ll be looking to show the background motion of things like cars, trains or buses against static objects. That might be people waiting to cross the road, or someone waiting for a bus or train. Once again, a shutter speed of 1/25th is often slow enough to blur the moving object in your frame.

This photo was taken from a moving train. The slower shutter speed created motion blur.

Camera rotation

It’s still possible to give a photo a more dynamic feel, even when everything in your frame is static. You can achieve this feel by moving the camera with a slow shutter speed of around 1/25th. With wide-angle lenses, you can experiment with even slower shutter speeds. However, this may impact your ability to keep a portion of your photo sharp. The idea behind camera rotation is to twist the camera around a central point in your photo while taking the photo. This technique can be used for kinetic light painting when even longer exposures are needed. It can be tricky to achieve because it is a difficult technique to do handheld, and most tripods won’t allow you to rotate around a central point in the way this technique needs. It’s also best to use a wide-angle lens when taking this variety of photo.

Zoom is a good way of giving a photo a more dynamic feel.

Zoom

A zoom burst is another popular way to use creative shutter speed. It is possible with any lens that allows you to change the focal length. So, a kit lens works very well for this technique. With the zoom burst it’s possible to take the photo handheld, but using a tripod gives you better results. While you’re moving the lens and not the camera body, any tripod helps with this type of photo. The aim is to produce motion by zooming into your primary subject matter during an exposure roughly 1/25th in length. Not all locations work well for this photo. For example, a location with lots of sky may not produce much blur. On the other hand, a tunnel with differing levels of light, such as a line of overhanging trees, works great.

Camera rotation can produce interesting effects.

Creative shutter speed for long exposures

At the extreme end of creative shutter speed usage is the long exposure. Here you’re looking at exposure times in excess of one second. There is an awful lot of creativity to be had in this area, so let’s look at what you can do.

Light painting

Light painting is a lot of fun, and among the most creative techniques you can use in photography. There are essentially two ways you can create light paintings. The first is where the light source is turned away from the camera, and you use it to light up an object within the frame. To do this use the light source like a brush, and shine it only on the area’s you wish to light up. The alternative to this is pointing the light source towards the camera. Light painting can be as low tech as using your torch. However, more ambitious forms of light painting include the use of wire wool, or LED light sticks. Light painting photos typically begin at two-second exposures, and if you use bulb mode they can last into the minutes.

You can use light painting to add more interest to a scene.

Kinetic light painting

The difference between kinetic light painting and light painting is that you move the camera, whereas, with light painting, you move the light source. Of course, it’s possible to use random movements of the camera for this. However, the best way is for more controlled movement, and that means camera rotation and zoom.

  • Camera rotation – Very similar to the above technique, but this uses longer exposure times. You’ll need a tripod this time. The technique involves rotating the camera in a nice smooth motion while attached to the tripod.
  • Camera zoom – Once again, following on from handheld zooming, are longer zooms at night taken using a tripod. To learn more about the experimental potential of zoom you can read this article.

This is an example of kinetic light painting. The camera was rotated around the tripod head.

Landscape long exposure

Using long exposure in landscape photography gives you a great way of interpreting a scene in a different way. This is most easily achieved at night, but daytime long exposure is also possible.

  • Neutral density filter – The use of a neutral density filter allows you to take daytime long exposures. This has the potential to transform your scene with moving clouds, and silky water. You will need a strong filter, so an ND110 or ND1000 is needed.
  • Blue hour – As most landscape photographers will know, this is one of the best times to photograph. You’ll be using long exposure because the light levels dictate that. That long exposure allows you to experiment with traffic light trail photography.
  • Astro-photography – Finally, and at the extreme end of long exposure photography, is astro-photography. Those wishing to photograph the Milky Way will need to use exposure times of around 20-30 seconds depending on the equipment you’re using. Another popular technique is to photograph star trails. This can be a sequence of 30-second exposures stacked together. The alternative is to use bulb mode, and exposure for at least 10 minutes!

Long exposure on days with fast-moving cloud creates dramatic skies.

It’s time to hit your shutter!

There are lots of ways to use creative shutter speed. Have you tried any of the above techniques? Are there any techniques you use that are different? As always, we want to hear your opinions. Likewise, we’d love to see any photos you have that showcase the creative use of shutter speed. So go out and try using shutter speed in different ways, and then share your experiences with us in the comments section.

The post How to Make the Most of Creative Shutter Speed in Photography appeared first on Digital Photography School. It was authored by Simon Bond.


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How to Mimic a Digital Cyanotype Using Photoshop with Ease

15 Dec

The post How to Mimic a Digital Cyanotype Using Photoshop with Ease appeared first on Digital Photography School. It was authored by Ana Mireles.

A Cyanotype was a popular film printing process that gave an appealing, beautiful cyan-colored tone to an image. Sounds nice right? Would you like to create one? Don’t worry – you don’t have to go back to the darkroom or become a chemist and waste tons of material to do it. I’ll show you how to create a digital Cyanotype using Photoshop.

EXTRA TIP: Because you achieved a Cyanotype by applying light-sensitive emulsion onto the paper (or surface) you were going to print on, the first thing you need is a background that mimics this effect. If you’re feeling crafty, you can buy yourself a brush, some paint and physically do your background. Then scan it and make it the size and resolution that better fits the image you’re going to use.

However, if doing so is a hassle, you can create your background digitally. Because I promised you digital Cyanotype, I’ll show you the latter.

Step 1:

First, pick the Brush tool from the Toolbox. Here, you’ll be able to pick the size and type of brush. From the Options Bar that is now active, choose your color. Select a brush with a wide tip, like a fan, so that the effect emulates brushstrokes and not a pen or a marker. The brush size depends on the size of your document.

It’s okay to make it uneven. Remember, the original method used hand-made techniques, so uneven gives it a nice unique look. For now, use black because the tone is applied later. Since we’re discussing color, I’ll use this space to tell you that, in my experience, any photo with a black or dark background blends easily. However, it’s possible to use any image.

Step 2:

Open the image you are turning into a Cyanotype and desaturate it. To achieve this, you need to go to Menu -> Adjustments -> Image -> Hue/Saturation. Move the Saturation slider all the way down to the left.

Once you have your image, drag it into the canvas where you created the brushstroke background. It gets pasted as a new layer in that document. Drag the corners to make it the right size for your background and click on the check mark to apply.

Step 3:

Select the layer with the brushstrokes and add an Adjustment layer of Levels. Move the black and the middle tones to lighten the color so that your black becomes dark grey.

Step 4:

Next, select the top layer – the one with your image, and add another Adjustment layer. This time choose Color Balance. Here you can make a combination to find the right tone of blue you want. As a starting point, use the ones I’m using: Cyan -62 and Blue +95.

Step 5:

Once you’re satisfied with the color of your image, you can choose to make it less intense by adding another Adjustment layer. Always keep the layer on top selected so that the new Adjustment layer covers all layers. Add a Hue/Saturation Adjustment layer and move the Saturation slider a little bit to the left. Be careful not to go too much into the gray because it may no longer resemble a Cyanotype.

Step 6:

If you can see the borders of the image you pasted, the balance isn’t right. It’s not incorporating well with the background. To fix this issue,  change the layer Blending Mode. Select the image layer and open the Blending Mode menu. Choose Lighten or Screen to achieve a better result.

However, if there is still some evidence of the border, choose the Eraser tool from the Tool Box and lower the opacity. Choose a brush with soft borders and erase so that you can defuse the border and make it a smoother transition.

Your finished Cyanotype

You should now have your finished Cyanotype. I hope you enjoyed the tutorial and gave it a go. Please share your results in the comment section below.

More retro photography techniques

If you like retro photography techniques, you may also find these articles useful:

How to Create a Lithography Effect Using Photoshop

How to Duotone a Photograph in Photoshop

How To Mimic a Cross-Processing Effect in Photoshop

How to Mimic Lomography in Photoshop with Ease

The post How to Mimic a Digital Cyanotype Using Photoshop with Ease appeared first on Digital Photography School. It was authored by Ana Mireles.


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Photography gift ideas for $250 and over

15 Dec

There are plenty of ways to spend well over $ 250 on photography gear, but we’ve picked out some standout accessories that are sure to wow the photographer on your shopping list.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Nikon Z6 review

15 Dec

Tune in this week to see Chris and Jordan’s review of the Nikon Z6 full frame mirrorless camera, and also find out what Chris thinks of the popular 35mm focal length. (Rant alert!)

For more information you can read our in-depth First Impressions Review of the Nikon Z6.

Nikon Z6 First Impressions Review

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  • Introduction
  • Handling and Stability
  • AF Points and Selection
  • Image Quality
  • Memory Card
  • Buffer and Burst
  • Conclusion

Articles: Digital Photography Review (dpreview.com)

 
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