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Archive for February, 2019

Video: A humorous short showing the struggle of waiting for pre-ordered camera gear

03 Feb

Regardless of whether or not you suffer from Gear Acquisition Syndrome, more commonly referred to as GAS, you know what it feels like to have to wait for camera get to your doorstep. This holds even more true for pre-ordered camera gear and SkyVista Productions has created a cheeky video making fun of the struggle of waiting for new gear.

The three minute film, titled Letter, pt.II pokes fun at the Blackmagic Design Pocket Cinema Camera 4K, a camera first announced back in April 2018 and is still being released on a limited schedule. It was shot in just two and a half hours according to SkyVista with ‘the impetus behind this short [being] to test the audio capabilities of the BMPCC4K in a real-world movie shoot setting,’ ironically enough.

Sit back, press play and enjoy a few laughs.

Articles: Digital Photography Review (dpreview.com)

 
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What is a Tech Scout and Why You Need to Do One

03 Feb

The post What is a Tech Scout and Why You Need to Do One appeared first on Digital Photography School. It was authored by Darina Kopcok.

When talking about photography, a Tech Scout is a term borrowed from the film industry. It refers to finding a location that will match the setting or scene of a story.

LIke filmmakers, photographers need to do tech scouting (also referred to as a location scouting or a location recce).

The importance of a tech scout is often underestimated. Sure, you may find the most amazing location to photograph a newly engaged couple, but if you’ve overlooked some potential problems, it can end up ruining shoot day.

ech Scout-Darina Kopcok-DPS

Why you need to do a tech scout

As a photographer, a big part of your job is making sure you’re prepared. Cameras stop working, software crashes, and you realize that you forgot to charge the batteries for your Speedlites.

Unfortunately, technical difficulties are a part-and-parcel of the job. However, many various other issues can crop up when you’re on location. That location can even be a studio that you’ve never worked at before.

It’s part of your job as a photographer to ensure that the environment you’ll be shooting in is conducive to getting the desired results for you and your clients.

For example, as a photographer who shoots food, I always make sure that there is a kitchen in any studio I rent out for my jobs. Doing so narrows down the available studios that I can shoot in quite a lot. Food stylists work in all sort of conditions and can sometimes make do with a hot plate. However, why not rent a studio with a kitchen if it’s as easy as renting one without it?

Whenever I have to shoot on location, such as in a restaurant, I do a tech scout too. I visit the restaurant beforehand to find out where I’ll be able to shoot as unobtrusively as possible. I also want to see if there is enough natural light coming in from some windows. If not, I plan to bring in a strobe or a speedlight.

Becoming familiar with the environment you’ll be shooting in will help you not only plan your lighting accordingly but also anticipate potential snafus that can prevent your shoot from going as smoothly as expected.

ech Scout-Darina Kopcok-DPS

Working with clients on a tech scout

If you shoot retail photography, for example, families or couples, you don’t necessarily need to share details or images of the chosen location or locations beforehand. Perhaps your client may be familiar with the setting or has suggested it themselves.

For commercial clients, however, you may be responsible for scouting several locations and presenting them to the client for their decision.

The client will approach you with a creative brief or some ideas of what they are looking for, but it’s up to you to find the ideal location. Your job is to present at least two or three locations based on the brief or mood board or other consultation from the client. It may mean coming up with a list of possible options before narrowing it down to the ones you will actually go check out and photograph.

Tech Scout-Darina Kopcok-DPS

How to do a tech scout

To do a successful tech scout, you need to define the scope of the project.

Be clear on the following:

* who and or what are you shooting?
* how many images are required?
* how and where are they to be used?
* what is the budget to shoot these images?
* what does the client intend to achieve?

You may have some locations in mind, or you might have to start with a virtual scout, a search using Google Maps and street view. You can use Google to search for iconic buildings, structures or other important locations.

Once you have feedback from the client, visit each location with your camera and take some pictures. If possible, do your scout at the same time of time you’d be shooting the final images. An app like Sun Seeker or Sun Surveyor can help you determine where the sun will be at that time, which may be a big factor in your decision-making process.

Send the client a gallery of some of the best images with a color treatment that somewhat reflects the desired results.

Tech Scout-Darina Kopcok-DPS

Potential pitfalls

There are some potential problems that can get in the way of your shoot. Some may be disastrous for you if you haven’t thought ahead, especially on a commercial production where the budget is high.

One such pitfall is permits and licenses. People take images in public all the time, but as soon as you put a tripod down, or have a crew with you, you’ll likely be asked to move along if you can’t provide the proper permits.

Make sure you have the required equipment to shoot in the conditions you’ll be working. This can mean having the right accessories to protect you and your gear from the rain, and even having a large enough vehicle to transport bulky equipment like c-stands.

Parking is another issue you should determine ahead of time. Are you and your crew or the client going to be able to access the location easily, or you will have to walk a bit. If so, how are you going to transport your gear?

Lastly, if you’re shooting outside all day, what are you going to do about bathroom breaks? It may sound funny, but you won’t be able to leave thousands of dollars of equipment and the talent sitting around while you search out a loo. This is a scenario where having an assistant is a must.

Bathroom breaks and meals/snacks are something that needs pre-planning.

ech Scout-Darina Kopcok-DPS

In Conclusion

Hopefully, you’ve learned more about how useful it is to do a tech scout and the best way to approach one.

Proper planning can make or break a photo shoot. No matter how small your shoot or who you’re shooting for (even if it’s for yourself), checking locations out beforehand can save you a lot of headaches in the long run.

 

The post What is a Tech Scout and Why You Need to Do One appeared first on Digital Photography School. It was authored by Darina Kopcok.


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Panasonic launches 50mm F1.4, 70-200 F4 OIS and 24-105mm F4 Macro OIS full-frame lenses

02 Feb

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Panasonic has launched a trio of Lumix S lenses alongside its S1 and S1R full-frame mirrorless cameras. The three new lenses are a 50mm F1.4 – Panasonic’s ‘reference lens’, a 70-200 F4 OIS and a versatile 24-105mm F4 OIS Macro, which will serve as the kit lens for both cameras.

The Lumix S Pro 50mm F1.4 features 13 elements – two aspherical and three ED – and an 11-blade aperture. Panasonic claims that one of the aspherical elements is among the largest ever created, with a diameter of over 40mm. The lens has two focus motors – linear and stepping – designed to operate with 480 fps sensor readout. Panasonic says that the lens has been designed for smooth exposure changes with minimal focus breathing for video capture.

The Lumix S Pro 70-200 F4 OIS’s stabilization works in conjunction with the S1/S1R’s in-body IS to provide up to 6.5 stops of shake reduction. It has 23 elements, including aspherical, UHR, UED and ED. It uses a linear motor with a 480 fps AF control. As with the 50mm F1.4, the 70-200 is weather-sealed, has a focus clutch and is designed to reduce focus breathing.

Finally, there’s the Lumix S 24-105mm F4 Macro OIS, which will serve as the kit lens for both the S1 and S1R. It too is stabilized, and has one ED, two aspherical ED, two aspherical and three ED elements. The 24-105 uses a linear motor, again with 480 fps AF control. The minimal focus distance on this general-purpose lens is 0.3m, with a maximum magnification of 0.5x.

All three lenses are dust and moisture-sealed, and the two ‘S Pro’ models include a focus clutch for quick switching between auto and manual focus.

The three new lenses will ship in early April. The 50mm F1.4 is priced at $ 2299, the 70-200 F4 at $ 1699 and the 24-105mm F4 at $ 1299. Buying the S1/S1R kit effectively lowers the price of the 24-105mm F4 to $ 899.

Press Release

Panasonic Launches Three L-Mount Interchangeable Lenses for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera

LUMIX S PRO 50mm F1.4 (S-X50), LUMIX S PRO 70-200mm F4 O.I.S. (S-R70200) and LUMIX S 24-105mm F4 MACRO O.I.S. (S-R24105)

Newark, NJ (February 1, 2019) – Panasonic is proud to introduce three new interchangeable lenses based on the L-Mount system for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera. Specially focusing on professional use, the LUMIX S Series pursues uncompromising photographic expression with its high-quality cameras and lenses.

The L-Mount is a lens mount for mirrorless cameras that was launched by Leica and is equally suitable for both the APS-C format and full-frame cameras. Leica Camera, Panasonic and Sigma are set to offer a user-friendly solution that will allow photographers to ‘mix and match’ any of the three manufacturers’ APS-C and full-frame cameras with any lens from each other’s product portfolios. The aim of the L-Mount Alliance is to provide customers with a diverse and future-proof range of products. The advantages are a large inner diameter of 51.6 mm that enables the realization of extremely fast lenses and extremely compact dimensions. The configuration of the lens-to-camera communication interface is future-proof and the L-Mount also offers an option for the construction of sealed systems that are insensitive to dust and moisture.?The L-Mount thereby opens up an almost limitless spectrum of new creative possibilities.

All interchangeable lenses of the LUMIX S Series provide high performance yet the “LUMIX S PRO” lenses further boast ultimate optical performance to be certified by LEICA for clearing stringent LEICA standards. Panasonic is committed to designing and developing 10 or more lenses with a focus on “LUMIX S PRO” lenses by 2020 and further expanding the S Series lens lineup.

LUMIX S PRO 50mm F1.4 (S-X50)

The LUMIX S PRO 50mm F1.4 is a large-aperture fixed focal length LUMIX S PRO lens that is the core of all LUMIX S Series lenses. Ensuring versatile use with its 50mm focal length and F1.4 high speed, the LUMIX S PRO 50mm F1.4 boasts stunningly high resolution and a descriptive performance from the center to the corners of the image despite its large aperture. It provides smooth defocus gradation from the focus peak to the neighboring area of the image. It also describes the point light sources in the background as impressive, beautiful bokeh. The optical performance of this LUMIX S PRO lens is outstandingly high to clear stringent LEICA standards.

Comprising 13 lenses in 11 groups, the use of 2 aspherical lenses and 3 ED (Extra-low Dispersion) lenses effectively suppresses both axial chromatic aberration and chromatic aberration of magnification. Astigmatism is also corrected with those aspherical lenses, achieving high resolving performance.

A double focus system combining a linear motor and stepping motor achieves sensor drive at a maximum speed of 480 fps. It realizes fast, high-precision AF to ensure that you will never miss a photo opportunity. Adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing. The LUMIX S PRO 50mm F1.4 also excels in video recording performance with a mechanism that suppresses focus breathing, which was a fatal problem of all interchangeable lenses designed for still image photography.

The refined design of the LUMIX S Series provides high operability as a tool for professionals. The rugged dust/splash-resistant* design withstand use under harsh conditions even in 10 degrees below zero for high mobility. The filter diameter is 77mm, with an 11-blade circular aperture diaphragm.

*Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

LUMIX S PRO 70-200mm F4 O.I.S. (S-R70200)

The second lens is also a LUMIX S PRO lens. The LUMIX S PRO 70-200mm F4 O.I.S. telephoto zoom lens provides high-resolution, high-contrast images across the entire zoom range. It can be used for wide-ranging situations, from portraits to sports. Panasonic LUMIX’s image stabilization system 5-Axis Dual I.S. (Image Stabilizer) 2*1 can be used with the LUMIX S PRO 70-200mm F4 O.I.S. for the first time as a lens of a full-frame mirrorless camera system, to ensure that you will never miss a photo opportunity. The optical performance of this LUMIX S PRO lens is outstandingly high to clear stringent LEICA standards.

The lens unit comprises 23 lenses in 17 groups and the use of an aspherical lens and 3 ED (Extra-low Dispersion) lenses effectively suppresses both axial chromatic aberration and chromatic aberration of magnification. Designed in pursuit of optimum lens alignment, it achieves beautiful bokeh with minimum vignetting.

The O.I.S. (Optical Image Stabilizer) in the lens effectively compensates for the hand-shake movement, making it easy to shoot even without a tripod or in low-lit situations. Complying with the camera’s Body I.S., the 5-Axis Dual I.S. 2*1 makes it possible to use 6-stop slower shutter speed*2. The high-precision linear motor achieves sensor drive at a maximum speed of 480 fps for fast auto focusing. The adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing. The LUMIX S PRO 70-200mm F4 O.I.S. also excels in video recording performance with a mechanism that suppresses focus breathing, which was a fatal problem of all interchangeable lenses designed for still image photography.

The refined design of the LUMIX S Series provides high operability as a tool for professionals. The rugged dust/splash-resistant*3 design withstand use under harsh conditions even in 10 degrees below zero for high mobility. The filter diameter is 77mm, with a 9-blade circular aperture diaphragm.

*1 5-Axis Dual I.S. 2 can be used with the camera LUMIX S1R and S1, as of February 1, 2019.

*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm, when LUMIX S1R is used.

*3 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

LUMIX S 24-105mm F4 MACRO O.I.S. (S-R24105)

The LUMIX S 24-105mm F4 MACRO O.I.S. is a versatile standard zoom lens covering wide-angle to medium-telephoto. It assures high descriptive performance across the entire zoom range. In addition to its versatile use with a wide and long zoom range, the LUMIX S 24-105mm F4 MACRO O.I.S. enables 0.5x macro shooting with a minimum focusing distance of 0.3m. Panasonic LUMIX’s image stabilization system 5-Axis Dual I.S. (Image Stabilizer) 2*1 can be used with LUMIX S 24-105mm F4 MACRO O.I.S. for the first time as a lens of full-frame mirrorless camera system, never to miss the photo opportunity.

The lens unit comprises 16 lenses in 13 groups and the use of 2 aspherical lenses and 2 ED (Extra-low Dispersion) lenses effectively suppresses chromatic aberration and achieves high resolution.

The O.I.S. (Optical Image Stabilizer) in the lens effectively compensates for the hand-shake movement, making it easy to shoot even without a tripod or in low-lit situations. Complying with the camera’s Body I.S., the 5-Axis Dual I.S. 2*1 makes it possible to use 6-stop slower shutter speed*2. The high-precision linear motor achieves sensor drive at a maximum speed of 480 fps for fast auto focusing. The LUMIX S 24-105mm F4 MACRO O.I.S. also excels in video recording performance with a mechanism that suppresses focus breathing, which was a fatal problem of all interchangeable lenses designed for still image photography.

The refined design of the LUMIX S Series provides high operability as a tool for professionals. The rugged dust/splash-resistant*3 design withstand use under harsh conditions even in 10 degrees below zero for high mobility. In addition, a fluorine coating on the front element repel water and oil and prevent them from attaching. The filter diameter is 77mm, with a 9-blade circular aperture diaphragm.

*1 5-Axis Dual I.S. 2 can be used with the camera LUMIX S1R and S1, as of February 1, 2019.

*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=105mm, when LUMIX S1R is used.

*3 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

Panasonic Lumix S Pro 50mm F1.4 specifications

Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 50 mm
Image stabilization No
Lens mount Leica SL
Aperture
Maximum aperture F1.4
Minimum aperture F16
Aperture ring Yes
Number of diaphragm blades 11
Optics
Elements 13
Groups 11
Special elements / coatings 2 aspherical + 3 ED elements, fluorine coating
Focus
Minimum focus 0.44 m (17.32″)
Maximum magnification 0.15×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Focus notes Has both linear and stepping motors
Distance scale Yes
DoF scale No
Physical
Weight 955 g (2.11 lb)
Diameter 90 mm (3.54″)
Length 130 mm (5.12″)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 77 mm
Hood supplied Yes
Tripod collar No

Panasonic Lumix S Pro 70-200 F4 / Lumix S 24-105mm F4 specifications

  Panasonic Lumix S Pro 70-200mm F4 OIS Panasonic Lumix S 24-105mm F4 Macro OIS
Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 70–200 mm 24–105 mm
Image stabilization Yes
CIPA Image stabilization rating 6 stop(s)
Lens mount Leica SL
Aperture
Maximum aperture F4
Minimum aperture F22
Aperture ring Yes No
Number of diaphragm blades 9
Optics
Elements 23 16
Groups 17 13
Special elements / coatings 1 aspherical + 1 UED + 3 ED + 1 UHR elements, fluorine coating 2 aspherical ED + 2 aspherical + 1 UED + 2 ED elements, fluorine coating
Focus
Minimum focus 0.92 m (36.22″) 0.30 m (11.81″)
Maximum magnification 0.25× 0.5×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Distance scale Yes No
DoF scale No
Physical
Weight 985 g (2.17 lb) 680 g (1.50 lb)
Diameter 84 mm (3.31″)
Length 179 mm (7.05″) 118 mm (4.65″)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (internal) Rotary (extending)
Power zoom No
Filter thread 77 mm
Hood supplied Yes
Tripod collar Yes No

Articles: Digital Photography Review (dpreview.com)

 
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8 Lightroom Controls for Aurora Editing

02 Feb

The post 8 Lightroom Controls for Aurora Editing appeared first on Digital Photography School. It was authored by Ian Johnson.

One of the most amazing phenomena of the night sky is the Aurora Borealis (or, “the Northern Lights”). For as long as humans have existed the dancing, brilliant curtains of light have dazzled the viewers below. For some, the opportunity to see the Aurora is a bucket list item, and the opportunity to view and photograph the Northern Lights draws thousands of people to polar regions every year.

Aurora, Editing, Lightroom, Aurora Borealis, Northern Lights

In the images above, I minimally edited the Aurora and was sure not to over-enhance it. Understanding how the Lightroom slider controls impact your Aurora shots can help you achieve natural and beautiful edits of the Aurora Borealis.

Advancement of digital cameras and photo editing software has created an incredible opportunity to edit your shots after a night out under the stars and Lights. The advent of post-processing technology has, in my opinion, resulted in many Aurora photographs which are over-processed to bring out rich saturation and contrast that did not exist in the original scene. Because many of the middle tones (colors) of the Aurora are so pure and contrast so highly with the sky, it is easy to eject the equivalence of pixel-steroids into your image giving them a false look.

It is my goal when editing Aurora shots to enhance but not over-enhance. Understanding how each of the basic Lightroom editing tools impacts an Aurora image can help you tell the story of your night out by making your image look like they did when you saw them.

Lightroom basic sliders

To illustrate how the Lightroom basic sliders (contrast, clarity, dehaze, tint, saturation, vibrance, shadows, highlights) affect an Aurora image it is easiest to look at how extreme values for each setting impact the image. For each slider type, I will walk you through how the slider impacts any image (i.e., the definition of the slider). I will apply it at extremes to the same Aurora image to show a before (no edits) and after (extreme applied) comparison.

1. Contrast

Contrast is a very useful slider and a fundamental one for editing. By definition, the contrast tool darkens the darkest mid-tones in the image and lightens the lightest mid-tones. In an Aurora image, many of your mid-tones are going to be in the Aurora itself. So, you can see as you slide the contrast to 100% that the colors in the Aurora darken giving the image a more saturated look.

Aurora, Editing, Lightroom, Aurora Borealis, Northern Lights

Extending the contrast to +100 increased the saturation in the Aurora and the foreground shadows became much deeper. Boosting contrast and adding saturation or vibrancy can have a compounding effect and lead to an image that appears over-processed.

2. Clarity

The clarity slide adds contrast in the mid-tones without adding much noise. The tool is often used to bring out texture and details. Again, Aurora colors fall into the mid-tones of your image, so a clarity boost impacts them strongly. Boosting clarity to +100 creates definition in the banding of this Aurora shot because there are vertical dark lines of the sky in the Aurora. You may like the clarity slider for Aurora shots because it doesn’t add as much contrast as the contrast slider does and can make stars in the image pop and seem crisper.

Aurora, Editing, Lightroom, Aurora Borealis, Northern Lights

Adding +100 clarity increases the banding in the Aurora and you can see the stars stand out more. It did not add any saturation or other artifacts to the image.

3. Dehazing

Similar to clarity, the Dehaze slider increases midrange contrast and shadows giving the images a slightly dark and more saturated look. However, the Dehaze slider was built to remove fog from a scene. When you apply its technology to an Aurora shot, it adds a lot of contrast and saturation to the image. This is a slider to use gently (if at all) for Aurora image editing.

Aurora, Editing, Lightroom, Aurora Borealis, Northern Lights

In comparison to Clarity, the Dehaze slider adds a lot of contrast and saturation to the Aurora image if it is boosted to +100. The Dehaze slider can be useful but use it sparingly (if at all) for editing your Aurora images.

4. Saturation

The saturation slider globally (for the whole image) deepens, intensifies, and brightens the color. In an Aurora image, you will find it is very, very easy to overdo the Saturation of an image. So, use Saturation sparingly. When slid to +100, it turns the Aurora to an almost neon appearance. At -100, it strips all color from the image. There are times when bringing the saturation out of your Aurora image by -5 or -10 can help improve the appearance of the image and make it easier for the eye to comprehend.

Aurora, Editing, Lightroom, Aurora Borealis, Northern Lights

Bringing all of the saturation out of an image renders it to black and white

Aurora, Editing, Lightroom, Aurora Borealis, Northern Lights

Over-saturating your Aurora image gives it a fake, neon look

5. Vibrance

Vibrance is the “less aggressive” form of saturation. It’s a smart tool that increases saturation and tones in more muted colors. In Aurora shots, the Vibrancy slider focuses on the Aurora and provides a more realistic enhancement of the colors. You can see in the examples below there is still danger in over-using it. A vibrancy value of +100 creates neon colors similar to overusing saturation. However, at -100 you can see there is a distinct difference from -100 Saturation. The -100 Vibrance does not remove all color from the Aurora.  You may find it a powerful technique to decrease your saturation slightly before increasing vibrance.

Aurora, Editing, Lightroom, Aurora Borealis, Northern Lights

You may find Vibrance to be the most useful for natural Aurora image editing. However, boosting it too much will still result in a highly over-processed image

Aurora, Editing, Lightroom, Aurora Borealis, Northern Lights

In contrast to Saturation, you can remove all of the vibrancy and still have some color left in the image

6. Shadows

The Shadow slider increases luminosity in the darkest parts of the image. With a picture of the Aurora, you have a distinct advantage in that the Lightroom program interprets almost any part of the image that is not Aurora to be a shadow. So, you have the power to lift or darken your foreground very easily. You can see in the +100 shadow example below, details were brought out of the shadows in the silhouettes of the trees.

Aurora, Editing, Lightroom, Aurora Borealis, Northern Lights

There is a very clear definition in an Aurora image between the highlights and the shadows. Increasing the Shadows will raise the luminosity of any part of the image not covered in Aurora

7. Highlights

The Highlights slider increases luminosity of the brightest parts of the image. As I describe above, Lightroom interprets any part of the image with the Aurora to be a highlight. That means an increase in the highlights to +100 effectively increases the exposure of the Aurora. If you over-expose an Aurora image in the field, decreasing the highlights can help you reclaim lost detail.

Aurora, Editing, Lightroom, Aurora Borealis, Northern Lights

There is a very clear delineation between shadows and highlights in an Aurora image. Increasing the highlights to +100 only impacts the brightness of the Aurora. In this image, it gives the Aurora an overexposed feeling

8. Tint

The Tint slider is a meant to be used for color correction in correspondence with the temperature slider. You can use the tint slider to neutralize the snow which tends to turn green during intense Aurora outbursts. Use a Graduated Filter, coupled with increased pink tints and decreased saturation, to return your snow closer to white. Often, this helps your eye focus on the Aurora and can restore balance to the shot.

Aurora, Editing, Lightroom, Aurora Borealis, Northern Lights

Using tint to do color control on an Aurora image is a bit more advanced, but you will find that you can control the color of the snow by combining the Tint and Saturation slider controls

Putting it all together for a final edit

Now that you know how each slider impacts your overall image, its time to combine each in moderation to achieve a final edit. In the edit below I wanted to make sure the banding in the Aurora was enhanced along with the purples of the “sun-kissed” Aurora. My final edit brings out features of the image without over-enhancing it.

Aurora, Editing, Lightroom, Aurora Borealis, Northern Lights

Using the controls described in this article, I edited the Aurora image to give it a natural look and enhance the features I liked most about it such as the purple colors and banding

I want you to experiment with editing aurora images. Please feel free to download and edit this high resolution image of the Northern Lights. If you can, share your edit so I can see! Like I always say, “Pixels are cheap” so I hope you make lots of pixels making Aurora images and have fun editing them!

The post 8 Lightroom Controls for Aurora Editing appeared first on Digital Photography School. It was authored by Ian Johnson.


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DPReview TV: Olympus E-M1X video features review

02 Feb

Chris and Jordan recently reviewed the Olympus E-M1X as a camera for still photography. Now they’re back with a whole episode about its video features. Watch to find out where this camera really excels – as well as a couple places where there’s room to grow.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • Cinema 4K capture
  • 1080p quality
  • Time-lapse
  • Flat and OM-Log profiles
  • Menus
  • Video autofocus
  • Image stabilization
  • Body design
  • Microphone and pre-amp
  • Wrap-up

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix S1 pre-production sample gallery

02 Feb

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It lacks the impressive resolution of its sibling, but the Lumix S1 looks to offer plenty for the photographer who needs serious video and stills capabilities. Take a look at some of our initial sample images – shot with pre-production firmware.

See our Panasonic Lumix S1 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic S1 will cost $2499 body-only and feature oversampled 4K/30p

02 Feb

Following a Photokina 2018 development announcement, Panasonic has released full details for its Lumix S1 full-frame mirrorless camera. The company previously estimated that the S1 would be 70% used for stills and 30% geared toward video, and indeed it puts up some impressive video specifications.

The S1 uses a 24.2MP sensor and on the video front, captures oversampled 4K/30p video from the full width of the sensor, or 4K/60p from an APS-C region. The S1 will also offer 180 fps 1080 video capture, output as 1/6th speed footage at 29.97p.

S1 users will also have the option to pay for an upgrade to add Log capabilities and the ability to output or capture 10-bit 4:2:2 footage. The standard camera only shoots 10-bit in its HLG high-dynamic range video mode. Pricing and availability date of the upgrade has not yet been announced.

The S1 and S1R use the L-mount standard, introduced first by Leica and now developed in collaboration with Panasonic and Sigma. Both cameras offer robust weather-resistance and in-body 5-axis image stabilization that will work in combination with Lumix lenses equipped with optical stabilization.

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Autofocus is contrast-based and relies on Panasonic’s DFD (Depth From Defocus) technology to speed up focus acquisition. This latest iteration of the feature incorporates machine learning to better identify subjects and improve tracking performance.

The S1 offers a multi-shot High Resolution mode able to create 96MP images. Standard burst shooting is offered at up to 9 fps with single AF, or 6 fps with continuous AF and live view. Additionally, Panasonic’s 6K and 4K Photo modes are present for high-speed capture, allowing extraction of 18MP images from 30 fps bursts, or 8MP images from APS-C region 60 fps bursts.

Like its higher-resolution sibling, the S1 provides an OLED electronic viewfinder with market-leading 5.76M-dot resolution, offering 60 fps or 120 fps selectable refresh rate. It’s also equipped with a touch-sensitive 3.0″ 2.1M-dot LCD that tilts on three axes. The camera also provides a top panel status LCD.

The Panasonic Lumix DC-S1 will be available in early April for $ 2499 body-only or $ 3399 with the co-announced 24-105mm F4 lens.

Press release:

Panasonic Launches New LUMIX S Series Full-frame Mirrorless Cameras LUMIX S1R and LUMIX S1

Newark, NJ (February 1, 2019) – After the development announcement at Photokina 2018, Panasonic is now proud to introduce the full specifications of its long-awaited first full-frame Digital Single Lens Mirrorless cameras, the LUMIX S1R and S1, with a 35mm full-frame CMOS sensor. The new cameras are based on the L-Mount standard, which boasts a well-balanced, large inner diameter and compact dimensions for a flange focus to realize optimum size and performance as a mirrorless camera system.

The LUMIX S Series aims for unprecedented image quality with high resolution, rich gradation and superior color reproduction. A high-speed, high-precision AF system based on advanced control technology over the lens, the sensor, and the new Venus Engine enable the user to capture the target in sharp focus without fail. The LUMIX S Series also boasts industry-leading video recording performance (4K 60p/50p*1), intuitive control, a rugged design for heavy field use, durability, and expandability.

The LUMIX S1R integrates a 47.3-megapixel full-frame CMOS sensor (36mm x 24mm), which gives it the industry’s highest level of resolution in the full-frame mirrorless cameras*2, to pursue the ultimate power of expression. In addition to the precise reproduction capability in detail, this sensor achieves a high S/N ratio by taking advantage of its high light-condensing efficiency despite the large number of pixels. The LUMIX S1R features a High Resolution mode for the first time as a mirrorless full-frame camera to enable 187-megapixel ultra-high precision photo shooting.

The LUMIX S1 comes with a 24.2-megapixel full-frame CMOS sensor (35.6mm x 23.8mm) that provides a wide dynamic range and excellent performance at high sensitivity in addition to a natural yet sharp image description thanks to sufficient light condensation per pixel. The LUMIX S1 supports professional use in videography by taking advantage of the stunning expression performance that a full-frame camera can offer. It records smooth 4K 60p video and enables full-pixel readout of signals in 4K 30p/25p*1 to save truly beautiful footage. Furthermore, the LUMIX S1 will comply with 4:2:2 10-bit 4K 30p/25p*1 internal video recording and 4K 60p HDMI output as well as V-Log, with a software upgrade key (to be sold separately) following soon in 2019.

Panasonic’s advanced Contrast AF system with DFD technology has evolved through the development of numerous mirrorless cameras to make the AF system of the LUMIX S1R/S1 even more practical. It achieves not only the industry’s fastest level of focusing speed but also a tracking performance that is made possible by the adoption of advanced AI technology that accurately recognizes moving target subjects. The LUMIX S1R/S1 incorporates a Body I.S. (Image Stabilizer) to effectively compensate for the hand-shake movement. Combining the Body I.S.(5-axis) and the O.I.S. (Optical Image Stabilizer, 2-axis) in the LUMIX S Series lenses, the Dual I.S. 2*3 boasts even more powerful compensates for virtually any types of blur. Equipped with a high-resolution Real View Finder, triaxial tilt rear monitor and high performance shutter unit with high durability, the rugged design LUMIX S1R/S1 provides the professional photographers with high reliability.

Drawing on the vast expertise of the L-Mount Alliance with Leica Camera and Sigma, various interchangeable lenses are available for the LUMIX S Series. On the other hand, the LUMIX PRO service*4 has also launched to support professional work globally.

As a pioneer of the Digital Single Lens Mirrorless camera, Panasonic has pursued innovations in technology under the vision of “Changing Photography.” Crystallizing all these digital and optical technologies, Panasonic is committed to introducing an unparalleled full-frame camera system without compromise for professional photographers and videographers.
*1 PAL area only
*2 As a Digital Single Lens Mirrorless Camera, as of February 1, 2019.
*3 5-Axis Dual I.S.2 can be used with the lens S-R24105 and S-R70200 as of February 1, 2019.
*4 Service is not available in some countries.

1? High picture quality made possible by the first LUMIX full-frame mirrorless camera Unprecedented picture quality and high descriptive performance LUMIX S1R
The LUMIX S1R incorporates a new 47.3-megapixel CMOS sensor without LPF (Low Pass Filter) to realize high resolution and descriptive performance. This sensor adopts an aspherical lens for the on-chip micro lens to enhance light condensation. Together with the optimum design to concentrate more incoming light onto the photodiode, it achieves both high resolution and highly efficient light condensation performance. This results in the realization of the industry’s highest level of 47.3-megapixel resolution* in the full-frame mirrorless cameras at high S/N ratio and maximum ISO 25600 high sensitivity. The large amount of digital signals is processed by the new high-speed, high-performance image processor Venus Engine to render images with breathtaking description in both photo and video.
* As a Digital Single Lens Mirrorless Camera, as of February 1, 2019.

High image quality, high sensitivity performance LUMIX S1
The LUMIX S1 employs a 24.2-megapixel CMOS sensor. The new Venus Engine, which is exclusively tuned for the full-frame camera, and its Multipixel Luminance Generation and Intelligent Detail Processing realize natural, high-resolution expression while suppressing color moiré. Three-dimensional color control improves the color reproduction of both bright and shadow areas. This results in natural, true-to-life images from low to high sensitivity. Taking advantage of sufficient light condensation, the LUMIX S1 boasts a wide dynamic range and reproduces sharp images with exceptional clarity. Noise is minimized even when shot at maximum ISO 51200 high sensitivity. It is an ideal camera to use especially in low-light situations.

An AR coating applied on the sensor of both LUMIX S1R/S1 minimizes ghost and flare even in backlighting. In combination with the high-quality LUMIX S Series lenses based on the L-Mount, this further enhances the potential of the camera.

Plus, the LUMIX S1R/S1 integrates the Body I.S. (Image Stabilizer) for powerful handshake correction. Panasonic developed an algorithm that precisely calculates shake information acquired not only from a gyrosensor, but also from the image sensor and accelerometer sensor. This enables more accurate shake detection and compensation, making it possible to use a 5.5-stop slower shutter speed*1. Combining the Body I.S. (5-axis) in the camera and the O.I.S. (Optical Image Stabilizer, 2-axis) in the LUMIX S Series lens, the 5-axis Dual I.S. 2 compensates for larger movements that were conventionally uncontrollable. Maximizing both O.I.S and B.I.S. is highly beneficial in telephoto shots and in adverse situations, such as in low-light or with one-handed shooting with a 6-stop slower shutter speed*2. The 5-axis Dual I.S. 2 works for both photo and video recording, including 4K. The Body I.S. compensates for camera movement even when other L-Mount lenses without O.I.S. are used.

Taking full advantage of its high-resolution sensor, the LUMIX S1R/S1 provides a High Resolution mode that faithfully reproduces precise details to be saved as beautiful, highly realistic RAW images. Eight consecutive images are automatically shot while shifting the sensor using the Body I.S. (Image Stabilizer) mechanism and synthesized into a 187-megapixel equivalent (16,736 x 11,168-pixel) image for LUMIX S1R and 96-megapixel equivalent (12,000 x 8,000-pixel) image for LUMIX S1 by the new Venus Engine, which boasts high-speed signal processing. This mode is suitable for taking natural landscapes or fine arts with delicate details. This magnificently high resolution photo is ideal for landscape photography of stationary subjects using a tripod. However, it can also be used in situations where moving subjects are included in the scene, by switching the sub mode.

The HLG*3 Photo mode is a whole new style of photo expression that Panasonic proposes. It provides a wider dynamic range to reproduce light and shadow with more natural contrast. The HLG Photos can also be produced as an HSP file*4 with compressed high-brightness signals in stunning 8K resolution (7,680 x 4,320 in 16:9, with LUMIX S1R) or its full resolution (5,888 x 3,312, in 16:9, with LUMIX S1) in addition to JPEG/RAW files. It excels in the expression of lights, such as sparkling starlight or glaring sunlight. The user can playback these vibrant images on the latest Panasonic HLG-compliant 4KTV via HDMI cable connection or other HLG-compliant devices. It is also ideal for photo presentations by photographers.

The high-precision shutter unit offers the highest shutter speed at a maximum 1/8000 second to capture spur-of-the-moment, fast moving subjects and to use a high-speed lens with a fully open aperture even outdoors for impressive defocusing. The external flash can be synchronized with the industry’s fastest shutter speed of a maximum 1/320 second.*5*6
*1 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=50mm, when S-X50 is used.]
*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm, when S-R70200 is used.]
*3 “HLG (Hybrid Log Gamma)” is an international standard (ITU-R BT.2100) HDR format.
*4 “HSP” is an HDR picture format using HLG format video technology.
*5 The guide number decreases when the shutter speed is set to 1/320 of a second.
*6 As a Digital Single Lens Mirrorless Camera, as of February 1, 2019.

2. High-speed, high-precision AF system LUMIX S1R LUMIX S1
Panasonic has achieved a high-speed AF with its advanced control technology over the major devices – lens, sensor and imaging engine. The lens and sensor communicate at a maximum 480 fps. Combining the Contrast AF with DFD technology, the LUMIX S1R/S1 realizes an ultra-high-speed, high-precision AF of approximately 0.08 sec*1. The LUMIX S1R/S1 also boasts high speed burst shooting at 9 fps (AFS) or 6 fps (AFC). With its high subject tracking performance, the LUMIX S1R/S1 never loses the target subject. As a camera that excels in low-light shooting, the LUMIX S1R/S1 boasts -6EV*2 luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. The face/eye detection technology makes it possible to capture people in crisp focus, the Eye AF even detects the pupil of the eye and precisely focuses on it for impressive portrait shooting. The LUMIX S1R/S1 also incorporates advanced AI technology that detects specific subjects – humans and fast-moving animals, including dogs, cats and birds. The camera keeps tracking these subjects even when they turn their back to the camera.

For more continuous burst shooting, 6K PHOTO*3 makes it possible to capture unmissable moments at 30 fps by extracting the frame with the best timing out of a 6K burst file (in 4:3 or 3:2 aspect ratio) to save as an approximate 18-megapixel equivalent high resolution photo. The 4K PHOTO enables 60-fps high-speed captures in approximate 8-megapixel equivalent resolution. In 6K PHOTO /4K PHOTO, three exclusive modes can be chosen from depending on the situation; 6K Burst/4K Burst, 6K Burst (Start/Stop)/4K Burst (Start/Stop) and 6K Pre-burst/4K Pre-burst. Users can choose the most suitable burst shooting mode in addition to the regular consecutive shooting mode in full resolution depending on the situation.
*1 11EV, at wide-end with S-R24105 (CIPA) in LVF120 fps setting.
*2 At ISO100, F1.4, AFS
*3 6K PHOTO’ is a high speed burst shooting function that cuts a still image out of a 4:3 or 3:2 video footage with approx.18-megapixel (approx. 6000 x 3000 effective pixel count) that the 6K image manages.

3. Operability from ingenuity for intuitive control LUMIX S1R LUMIX S1
The LVF (Live View Finder) is the key factor for completing the ultra-high-speed response of the camera. The LUMIX S1R/S1 has the largest level of Real View Finder which boasts the world’s highest 5,760k-dot resolution.* The 0.78x magnification ratio can be switched to 0.7x or 0.74x according to the shooting situation. Adoption of a high-speed, high-precision OLED (Organic Light-Emitting Diode) for the LVF achieves smooth display at 60 fps/120 fps (switchable) and high-speed response with minimum time lag of less than 0.005 sec as well as 10,000:1 high contrast for exceptional visibility. With minimum distortion and high optical performance, this Real View Finder provides a natural view as seen with the naked eye. It is always sharp and clear from the center all the way to the corners.

The 2,100K-dot high resolution monitor in 3:2 aspect ratio has adopted a triaxial tilt moving element to secure both durability and operational ease. It also has a touch control system. Live View Boost is another practical feature that makes it possible to check the composition even in total darkness by boosting the sensitivity just for live view. It also incorporates a night mode that provides mild backlighting. It lets the user watch the subject comfortably even after viewing the monitor in a dark situation for a long time. The LUMIX S1R/S1 includes a largest-in-class Status LCD on the top, allowing users to check the settings at a glance.

To make the camera just like a part of the photographer’s body, the LUMIX S1R/S1 provides a firm grip, making it easy to hold for long periods. The control buttons and dials are located based on an ergonomic study to enable the user to concentrate on shooting. The adoption of an 8-directional joystick and refined UI (User Interface) also supports quick operation during shooting. In addition, illuminated buttons can be of help in low-light situations. An operation lock lever prevents unintentional operation, and the user can choose which operation to lock.
* As a Digital Single Lens Mirrorless Camera, as of February 1, 2019.

4. Rugged design, reliability and expandability LUMIX S1R LUMIX S1
To be tough enough to withstand heavy field use, the main structure is composed of a magnesium alloy full die-cast front/rear frame. Robust construction and a sealing for every joint, dial, and button make the LUMIX S1R/S1 not only splash resistant* and dust resistant,* but also freeze resistant down to -10 degrees Centigrade. The shutter unit is also durable for approximately 400,000 cycles.

The LUMIX S1R/S1 is equipped with a double memory card slot compatible with SD (UHS-II) or XQD memory cards for high-speed, high-capacity continuous data recording. Users can flexibly choose the recording method from Relay Recording, Backup Recording or Allocation Recording using the double slots. It will also be compatible with CFexpress in the near future. The 7.4-V 3,050 mAh high-capacity battery can be quickly charged via USB PD (USB Power Delivery) using the bundled USB3.1 Type-C cable. And it also realizes high-speed data transfer.

A variety of new accessories are available for the LUMIX S1R/S1, including Remote Shutter (DMW-RS2),?Eyecup (DMW-EC6), Battery Grip (DMW-BGS1) and Battery Charger (DMW-BTC14). The Battery Charger also complies with USB PD and enables quick power charging in approximately 2 hours. The camera can be used while charging via this adaptor. The conventional External Flash (DMW-FL580L / FL360L / FL200L) can also be mounted on the LUMIX S Series cameras.
*Dust and Splash Resistant does not guarantee that damage will not occur if this camera is subjected to direct contact with dust and water.

5?Outstanding video recording performance in a full-frame camera 4K 60p video recording for more creative freedom LUMIX S1R The LUMIX S1R is a camera designed and developed to boast exceptional performance in photography, yet is capable of 4K 60p video recording.*2 To elevate the video expression even more, a variety of effects are available for video recording.

Exceptional video recording performance for professional videographers LUMIX S1
The LUMIX S1 features outstanding video performance for professional videography with 4K 60p recording. It realizes a crop factor of 1.0x in 4K 30p/25p*1/24p, which means that the user can record video in the original viewing angle of the lens. There is no recording time limit*3 for both 4K 30p/25p*1/24p and Full-HD video. Notably, the CMOS Sensor with high sensitivity on the LUMIX S1 achieves full-pixel readout for an excellent S/N ratio. The HDR (High Dynamic Range) video recording is available, which reproduces both the bright parts and dark parts of an image, making it look just like human eyes see it. The camera records video with a designated gamma curve compatible with ITU-R BT.2100, and you can now choose Hybrid Log Gamma (HLG) in Photo Style. The LUMIX S1 further expands its potential with a firmware update including 4:2:2 10-bit 4K 30p internal video recording and 4K 60p/50p HDMI output as well as V-Log, with a Software Upgrade Key (to be sold separately) following soon in 2019.

As a camera from Panasonic that has been overstepping the limit of video performance in digital cameras, a host of functions are available on the LUMIX S1R/S1. The High Speed Video lets users record slow motion video in 4K (maximum 60 fps and FHD (maximum 180 fps).

For the terminal, an HDMI Type A is provided. Plus, a cable lock holder for the HDMI cable is included in the LUMIX S1R/S1 to prevent unplugging trouble on location. LINE input is also supported by a 3.5-mm microphone jack. This makes it possible to input sounds from an external audio device, for more efficient video production. A 3.5-mm headphone jack is also available. In addition, it complies with the Microphone Adaptor DMW-XLR1 (sold separately), which is a plug-in type adaptor for an XLR microphone to record high-quality stereo sound. It is ideal for lip-sync recording. Dedicated switches allow direct, quick control. MIC, LINE and CONDENSER MICROPHONES are switchable.
*1 PAL area only.
*2 Maximum 15 minutes in 4K60p and unlimited recording time in Full HD until the SD Memory Card becomes full or the battery runs out.
*3 Maximum 29 minutes 59 seconds in 4K60p until the SD Memory Card becomes full or the battery runs out.
– When the ambient temperature is high or continuous recording is performed, the camera may stop the recording to protect itself. Wait until the camera cools down (*2*3).

6. Other Features LUMIX S1R LUMIX S1

  • Photo Style Featuring a New Flat Mode
    To shorten post-processing work, JPEG photos can be adjusted precisely according to the photographer’s intention. The LUMIX S1R/S1 also provides a Flat mode that features a plain finish with less contrast and saturation for versatile use.
  • Variable Aspect Ratios With New 65:24 and 2:1
    In addition to the standard 3:2, 4:3, 16:9 and 1:1, 65:24 (Film Panorama) and 2:1 (6 x 12 cm) aspect ratios are available for photo shooting.
  • I.S. Status Scope
    The user can consciously remove the cause of shake by checking a pointer that indicates the camera’s shaking condition. It is available while the viewfinder or rear monitor blacks out even during a long-time exposure.
  • Flicker Decrease
    When the flickering of a fluorescent light is detected, the camera indicates it and releases the shutter when its effect is the least to suppress the discontinuity of exposure or color across a sequence of photos.
    *Not available in 6K PHOTO, 4K PHOTO and Post Focus.
  • Highlight Weighted Light Metering Mode
    The Highlight Weighted Light Metering Mode meters light with the priority on highlighted parts, to prevent it from washing out.
  • New AWBw Auto White Balance Mode
    In Auto White Balance, a new AWBw that retains a reddish tint is available in addition to conventional AWB (standard) and AWBc (bluish tint). AWBw reproduces healthy, rosy skin color even under fluorescent light.
  • Bluetooth 4.2 and Wi-Fi 5GHz (IEEE802.11ac)* / 2.4GHz (IEEE802.11b/g/n)
    Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. The settings of a LUMIX S1R/S1 camera can also be copied and transmitted wirelessly to other S1R/S1 cameras when using multiple S1R/S1 cameras*1. Also, Wi-Fi 5GHz (IEEE802.11ac)*2 is effective in addition to 2.4GHz (IEEE802.11b/g/n.) This provides even secure and stable connection not only with a smartphone/tablet but also with other devices on location for smooth remote control. Transmission speed of photo/video data is also increased up by using the 5GHz-band*2.
    *1 The Settings of LUMIX S1R can be copied to S1R only and the settings of LUMIX S1 can be copied to S1 only.
    *2 5GHz Wi-Fi is not available in some countries.
  • Lumix Tether
    This software enables tethered shooting via USB. Users can control the camera by connecting it to a PC via USB. It lets you view the image on a large PC screen while shooting, which is helpful in commercial photoshoots of portraits, products and more, where continuous confirmation is required. You can use [6K PHOTO] [4K PHOTO] and start and stop video recording with tethered shooting. It is also possible to choose the folder to save the image files in the PC.
  • Lumix Sync
    Lumix Sync is a new application for iOS/Android devices, which enables photo transmission to a smartphone or tablet via easy wireless connection. It also allows remote control of the camera using a smartphone or tablet.
  • Leica is a registered trademark of Leica Microsystems IR GmbH.
  • L-Mount is a trademark or registered trademark of Leica Camera AG.
  • Android and Google Play are trademarks or registered trademarks of Google Inc.
  • IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license.
  • XQD is a trademark of Sony Corporation.
  • All other company and product names are trademarks of their respective corporations.
  • Some accessories are not available in some countries.
  • The use of recorded or printed materials that are protected by copyright for any purpose other than personal enjoyment is prohibited, as it would infringe upon the rights of the copyright holder.
  • Design and specifications are subject to change without notice.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix S1R pre-production sample gallery

02 Feb

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We’ve been able to do a little shooting with a Lumix S1R running pre-production firmware. While we wait to get our hands on a fully testable camera, take a look at some initial shots.

See our Panasonic Lumix S1R sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Olympus E-MX1 video features review

02 Feb

Chris and Jordan recently reviewed the Olympus E-M1X as a camera for still photography. Now they’re back with a whole episode about its video features. Watch to find out where this camera really excels – as well as a couple places where there’s room to grow.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • Cinema 4K capture
  • 1080p quality
  • Time-lapse
  • Flat and OM-Log profiles
  • Menus
  • Video autofocus
  • Image stabilization
  • Body design
  • Microphone and pre-amp
  • Wrap-up

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – Rain

02 Feb

The post Weekly Photography Challenge – Rain appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is RAIN!

Nikolay Zakharov

Your photos can include anything that has rain. It can be storms, lightning, after the rain, cities soaked from rain, forests, people in the rain. Have fun, and I look forward to seeing what you come up with!

Some Inst-piration from some Instagrammers:

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A post shared by Ronan Setias (@setias11) on

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A post shared by mojtaba_sarmadi (@mojtaba_sarmadi) on

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A post shared by Cristiano Provini (@ph4mkr) on

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A post shared by Will Eades ? Australia (@willeadesphotography) on

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A post shared by Sarah ? (@bitsnbobs19) on

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A post shared by R?MIRO (@desdigital) on

 

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting RAIN

Tips for How to Make the Most of Rainy Days as a Photographer

A Portrait Lighting Project for a Rainy Day

7 Ideas for Rainy Day Photographic Activities at Home

7 Things I’ve Learned from Photographing Storms

Video Tips: How to Photograph Lightning

5 Incredible Storm Photographers and Their Best Images

 

Weekly Photography Challenge – RAIN

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSRain to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Rain appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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