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Archive for March, 2019

10 Ways to Use the Beauty and Complexity of Reflections in Photography

27 Mar

The post 10 Ways to Use the Beauty and Complexity of Reflections in Photography appeared first on Digital Photography School. It was authored by Anthony Epes.

I’m a huge fan of simple ideas that will create immediate effects for your photography.

Photography is a vast subject and learning all the intricacies of your camera, shooting on manual, as well as processing can seem overwhelming.

But there are so many ways to take wonderful photos, using simple ideas you can play with, that will create compelling photos for you right now.

When you take great photos, it inspires you to keep learning and pushing yourself on this intensely fulfilling creative journey.

In this article, you’ll learn how the simple idea of reflections can bring a wonderful complexity, beauty, and depth to your images.

The fantastic thing is reflections are everywhere! In the puddles you pass on your way to work, on shop windows, and on the sun-soaked sea of your holidays. They are on shiny cars, floors, walls, rivers, and streams. They are, of course, wherever you can find a reflective surface.

Reflections are fun to play with – bringing humor, abstraction, and patterns into your images. Here I’ll suggest many different ways to use them in your photography and give you tips to use right now, to create new effects and new looks in your images.

And, by focusing on one technique or one concept and really learning how to use that, you will become incredibly strong in that area.

By picking up one technique at a time, you can build a toolbox of skills that will help you feel confident and able to create magnificent photos.

Let’s get started. Let’s look at all the different aspects of capturing reflections in photography.

1. Reflections create depth

A reflection can create a feeling of depth within an image.

In the photo above taken in the early morning in Venice, the subtle reflection in the puddle on the street creates an image with a strong midground, background, and foreground – so the image isn’t so flat.

Here is another image from Venice, where the rain on the streets creates long reflections from the street lamps. They enhance the journey down the street and help draw you into the scene.

Tip: To get a smoother look for your reflection, use a long exposure, like in the photo above.

2. Reflections create eye-pleasing patterns

The eye finds symmetry and patterns very pleasing. In the photo below, I needed absolutely perfect positioning.

Tip: Finding the best angle for your shot is incredibly important. Many people get so awed by their subject they just start shooting instead of working out where the very best angle for that subject is.

So go up somewhere high, or lie on the ground. Move around until you find the perfect angle for your composition.

Try capturing patterns in the world around you, that when photographed as reflections, become an intriguing abstract image:

3. Reflections can create humor

As well as wicked patterns, reflections can be used to enhance or create humor.

I am not a particular ‘humor’-driven photographer – but occasionally I find something funny I want to capture.

Tip: There are two focal points in most reflections: the surface and the subject of the reflection. Shoot reflections using different shutter speeds and this will blend the colors. This sounds tricky, but with practice, you can nail it.

4. Reflections can create mystery and abstraction

“In photography, there is a reality so subtle that it becomes more real than reality.” – Alfred Stieglitz

I have taken a lot of photos of reflections in shop windows. I love to play with the different shapes you can create, superimposing the outside reflection onto the items in the shop window.


Of course, don’t include yourself in the image – unless you want to! I sometimes do for added interest, but generally, I keep out of my photos.

The photo below has a very intriguing reflection. What is it? Where is it? I know, of course, but I sometimes like to create mystery. To remove reality from reality and play with shapes, textures, color, and reflections.

When I am wandering around, I look everywhere. I look up, look around – and then my favorite – I look down.

I think we get so used to our environments we often don’t look all around us – particularly upwards or downwards. Think of a street you walk down every day. Do you look at the tops of the buildings, the roofs, the upper floors? It’s the same with the world at our feet. There is so much going on down there that we don’t notice.

Colorful, strong light reflecting off the wet pavement.

5. Reflections create texture

In the photo below, whilst walking past a canal, I noticed some strong yellow light that, with the texture of the water, created a sensual reflection and a lovely pattern.

When you see a reflection it’s not always obvious where it is coming from, look for the source, seek the light!

6. Reflections to enhance your photo

I often like to use reflections in quite subtle ways in my photography. It doesn’t have to be a big obvious reflection to be engaging.

One question I always ask my students on my workshops is, what is the light doing here in this situation?

We are all able to see the apparent sources of light, but what about the more subtle ways that the sunlight is bouncing off the glass and into the puddle on the floor?

In the photo above you have reflections in the water which are quite subtle but add a nice complexity and depth to the image.

In the image below the scene is made intriguing by the reflected light of sunrise in the windows of the buildings. Without it, the scene would be flat and boring.

The glint of golden light on a dark morning brings beautiful color as well as a hint of magic and mystery. The scene has turned into something quite compelling.

Tip: Always be looking to see what the light is doing, and how it’s affecting everything around you.

7. Reflections are beautiful, passing moments

I feel that reflections are little pretty moments, bringing an appreciation of the present moment of lovely light:

“Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever… It remembers little things, long after you have forgotten everything.” – Aaron Siskind

In the photo above of some birds in Istanbul on a foggy day, the reflections are subtle but create some depth to the photo. I think the movement of the birds is brought to life by the reflections.

8. Reflections create an alternative reality

Wherever I have beautiful light and reflective surfaces I am looking for reflections. In the photo above I like that the water is moving just enough to make what would be quite a bland photo a little surreal.

Tip: As you often have a lot of different and contrasting light sources in a reflection, expose for the brightest part of your photo.

9. Reflections of light create exuberance

Here is a simple photo with the sunrise reflected in the sea. Warm, beautiful sunshine is a wonderful thing to photograph. Sometimes it’s the simplest elements in your image that create the most impact.

In the photo below it’s also the sea, but this time the reflection of the moonlight:

What a gorgeous scene, right? And to show the wash of reflected moonlight makes the image stunning.

10. The sheer joy of light reflected on water

Water is involved in so many of my reflection photos. Here we have gorgeous light reflecting off the moody sea with the clouds reflecting the light around them.

I find clouds endlessly fascinating to photograph – they create wonderful texture within an image.

Last, but not least, I love having fun taking my own portrait using reflections. I mean, why not?

I hope this lesson has helped you with new ideas and ways to capture the complexity and beauty of reflections in photography.

What I love about photography is how much it helps us see the world in new, fresh ways. So keep going on your photography journey. There is always more to capture, more to see and more to learn. It’s a wonderfully enriching life pursuit.

“Through this photographic eye you will be able to look out on a new light-world, a world for the most part uncharted and unexplored, a world that lies waiting to be discovered and revealed.” – Edward Weston

I’d love to know what you thought of these ideas – let me know in the comments below.

The post 10 Ways to Use the Beauty and Complexity of Reflections in Photography appeared first on Digital Photography School. It was authored by Anthony Epes.


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DPReview TV: Fujifilm XF 16mm F2.8 quick review

27 Mar

Want a compact, wide angle prime for your X-mount camera? If so, Fujifilm’s new XF 16mm F2.8 might just be the lens for you. In this quick review, Chris and Jordan put it to the test – which, somehow, involved shooting through the glass floor of a skyscraper.

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

  • Introduction
  • Perspective
  • Shooting from the Calgary Tower
  • Design
  • Autofocus
  • Close focus
  • Bokeh
  • CA and distortion
  • Wrap-up

Sample gallery from this week’s episode

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Articles: Digital Photography Review (dpreview.com)

 
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A Baker’s Dozen: 13 Key Ideas

27 Mar

Thirteen years ago this month, Strobist.com launched with a cutting edge design (heh) and a novel mission (at the time) to be a free source of education for small flash lighting techniques.

Today, a triskaideka-appropriate post: thirteen of the most important principles I have learned related to lighting.
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The Sony RX0 II offers internal 4K/30p recording, improved Eye AF and a flip-up LCD screen

27 Mar

Sony has announced the RXO II, an ultra-compact camera that packs a lot of tech and specs into tiny device that’s roughly the size of a GoPro camera.

At the heart of the second-generation device is a 1″-type Exmor RS CMOS sensor, powered by Sony’s BIONZ X image processing engine that features a sensitivity range of ISO 80-12800. The camera uses a 15.3-megapixel crop from a 20MP sensor.

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In front of the sensor is a ZEISS Tessar T* 24mm-equivalent F4.0 fixed wide-angle lens that has a minimum focusing distance of 20cm. The device measures 59mm x 40.5mm x 35mm and weighs just 132g. Its ruggedized frame keeps the internals waterproof down to 10m (32.7ft), shockproof up to 2m (6.5ft), crushproof up to 200KG of force and rustproof.

One of the most interesting additions is an updated LCD screen that tilts upward 180-degrees, downward 90-degrees and even works underwater. This addition will be a welcomed addition for vloggers and the selfie-obsessed, but it should also prove useful when trying to get footage in hard-to-reach situations.

The RX0 II features internal 4K/30p internal recording with full pixel readout and no pixel binning. Sony says ‘by oversampling this data, the appearance of moiré and jaggies is reduced to deliver smooth, high-quality 4K footage with exceptional detail and depth.’ The camera also features high frame rate filming at up to 1,000 frames per second, uncompressed 4K HDMI output and simultaneous proxy movie recording. The RX0 II includes Picture Profile, S-Log2 and Time Code / User Bit functions for maximum post-production latitude.

On the photography front, the RX0 II includes an anti-distortion shutter up to 1/32,000th of a second and a maximum burst speed of 16 fps. Sony has improved the color reproduction from the original RX0 and included an optional Soft Skin Effect that can be used when taking portraits to help minimize blemishes.

Below is a sample gallery of images provided by Sony:

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Sony has also improved the Eye AF functionality of the RX0 II. Like the firmware version 5.0 update for the Sony a9, the RX0 II will now lock-on to the eye of a subject when the shutter is half-pressed.

Up to five RX0 II cameras can be synced together and controlled wirelessly using Sony’s Imaging Edge Mobile app. If five cameras isn’t enough an upcoming access point, due for a Summer 2019 release, will be able to control between five and fifty cameras at once. The RX0 II is also compatible with the Camera Control Box CCB-WD1, which is able to control up to 100 cameras.

The RX0 II will ship in April 2019 and be available at authorized Sony retailers for $ 700 / CAN$ 900.

Articles: Digital Photography Review (dpreview.com)

 
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US Supreme Court rejects request to hear ‘Jumpman’ copyright suit against Nike

27 Mar

The U.S. Supreme Court will not hear Jacobus ‘Co’ Willem Rentmeester’s copyright case involving the Nike ‘Jumpman’ logo, the high court has announced. The reason for the court’s decision remains unclear, but it leaves in place the 2018 ruling by an appeals court that found Nike hadn’t infringed upon Rentmeester’s image copyright with its iconic ‘Jumpman’ logo.

The legal matter began in 2015 when Rentmeester filed a copyright lawsuit against Nike over its ‘Jumpman’ logo featuring a silhouette of athlete Michael Jordan. The logo was based on an image of Michael Jordan produced by Nike in 1985, which was itself allegedly based on an image Rentmeester took of Jordan as a freelancer for Time Magazine. The two images, while expressing the same idea, are different.

Nike had originally paid Rentmeester $ 150 to license two of his 35mm transparencies featuring Jordan. Following that, the company paid Rentmeester $ 15,000 for a two-year license to use its own image based on the one Rentmeester took after he threatened litigation. In 1987, Nike then created the Jumpan silhouette logo based on its Michael Jordan image and it has used that logo in the years since.

Rentmeester’s January 2015 copyright infringement lawsuit was rejected by a federal court in Portland, Oregon, in June 2015. According to that court, Nike’s image presented a different expression of the idea behind the two images and copyright law only protects the expression of ideas.

The legal spat went to an appeals court, which ruled in 2018 that Nike’s image didn’t infringe upon the protected expression in Rentmeester’s image. The appeals court stated that the subject’s pose cannot be copyrighted, which would prevent other photographers from taking images of the person striking the same pose. Elements like shutter speed, camera angle, and timing all contribute to the expression of the idea in Rentmeester’s image, the court said.

Articles: Digital Photography Review (dpreview.com)

 
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SkyPixel Reveals Winners of its 2018 Storytelling Drone Photography Contest

27 Mar

SkyPixel Contest 2018 Winners

DJI’s SkyPixel, one of the world’s largest photography and videography communities, has announced the winners of its 2018 Aerial Storytelling Contest. Over 30,000 entries were submitted by professional videographers, photographers, and hobbyists from 141 countries.

The grand prize-winning entry in the photo category, pictured above, was taken in Northern France by Deryk Baumgartner. He used a Mavic Pro to capture the sunbathed Mont Saint Michel monastery, shrouded in a thin layer of fog, and framed with snaking ribbons of water.

“I was sitting on a rock fighting with stubborn wind and thick rain for the whole morning. The sun came up when I was just about to stand up and go home,” Baumgartner said. “This photo tells a simple story of you and me. Stick to it for a little longer in life when you are just about to fold, the silver lining would often unveil itself.”

In addition to the Grand Prize, First, Second, and Third prizes were awarded to images spanning four categories: Nature, Fun, Architecture, and Sport. A panel of six judges including Ben Nott, ACS, an award-winning cinematographer and Josh Raab, the Director of Instagram at National Geographic, selected the winners with the exception of People’s Choice Prize.

To view all the winners, nominees, and People’s Choice, for both photography and videography, visit the official SkyPixel Contest 2018 hub.

Hungry hippos

‘First Prize’ category winner, Nature: Hungry Hippos by Martin Sanchez (@zekedrone)

About the photo: “There’s no party like a hippo party” said photographer Martin Sanchez about this top-down perspective, taken in Tanzania, of a group of hippos convening in a small body of water. Sanchez used a DJI Mavic 2 Pro.

Alien footprints

‘Second Prize’ category winner, Nature: ????” by ? ??

About this photo: Snow in the Taklimakan desert, located between two mountain ranges in Northwest China, combined with ice formed a unique texture on the lake during the winter. The photographer captured this image at 400 meters AGL with a Mavic 2 Zoom and likened the patterns as “alien footprints.”

Nature Engraving

‘Third Prize’ category winner, Nature: “Nature Engraving” by ???

About this photo: Using a Phantom 4 Pro in the Utah desert, the photographer used golden hour light, the texture of the badlands, and the icy hues resulting from shadows cast against patches of snow to his advantage.

Flowers on the water

‘First Prize’ category winner, Fun: “Flowers on the Water” by Khánh Phan

About the photo: Using a Phantom 4 Pro V2.0, Phan created an aerial perspective of three women methodically cleaning gun flowers, arranged in a circle, for bundling to sell in the markets.

Salt harvest

‘Second Prize’ category winner, Fun: “Burden Salt Harvest” by Tu?n Nguy?n

About the photo: Hon Khoi is the largest salt field in Vietnam. Using a Phantom 4 Pro, this nadir perspective fixates on the shadows of workers carrying buckets of salt on one of their daily shifts that range from 3:00 to 7:00 am.

Ducks in black and white

‘Third Prize’ category winner, Fun: ???” by ? ??

About the photo: A Phantom 4 Pro was used to capture this black and white image containing dozens of white peking ducks clustering around piles of food.

Hong Kong small planet

‘First Prize’ category winner, Architecture: “Not a Small HK Island” by Panvelvet

About the photo: Panvelvet used a Phantom 4 Pro to create 43 images of Hong Kong. They were stitched together into a tiny planet sphere, and inverted for a visual effect of a city circling toward a bright orb.

Myanmar temples

‘Second Prize’ category winner, Architecture: “Bagan” by Witold Ziomek

About the photo: Bagan used a Mavic Pro to capture the sunrise reflecting off a temple in Bagan, Myanmar.

Golden hour in Macau

Third Prize’ category winner, Architecture:?????” by ??

About the photo: Golden hour light brightens up the Grand Lisboa hotel in Macau, China. The photographer used a Phantom 4 Pro.

Running through sand dunes

‘First Prize’ category winner, Sport: “Running Through the Sand Dunes” by Trung Pham

About the photo: Pham used a Mavic 2 Pro to get an aerial perspective of children running through sand dunes in Phan Rang, Vietnam, early in the morning. The black and white image accentuates the vastness of the dunes in relation to the children.

Shadow skier

‘Second Prize’ category winner, sport: “Shadow Skier #5” by Christoph Oberschneider

About the photo: A Mavic 2 Pro was used to capture a lone skier gliding down a slope in Austria.

Hammer throwing

‘Third Prize’ category winner, Sport: “Throwing IT to the Moon” by Taavi Purtsak

About the photo: Purtsak used a Mavic Pro and set the shutter speed at 1/2500s to freeze the motion of Estonian hammer throw champion Kati Ojaloo mid rotation.

Articles: Digital Photography Review (dpreview.com)

 
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What You Need to Know About Using Manual Mode on Your External Flash

27 Mar

The post What You Need to Know About Using Manual Mode on Your External Flash appeared first on Digital Photography School. It was authored by Jackie Lamas.

When you’re getting started in flash photography, it can seem like your flash has a mind of its own. You’ll be surprised to know that in a way it does. However, switching to manual mode can give you the control you really want.

1 - Using Manual Mode on Your External Flash

Using flash in manual mode lets you set the amount of light that you want to fire from your flash to light your subject.

What is manual mode?

External flashes are default set to the ETTL setting. This setting lets the flash meter the light and then give what it thinks is the correct output of light. ETTL is rather inconvenient since each photo you take will have a different output because the flash is constantly metering before each frame, causing a lot of inconsistency from photo to photo.

2 - Using Manual Mode on Your External Flash

Refer to your manual to find out how to change your flash from ETTL to Manual. On Canon, you push the MODE button until you cycle through to M which is manual.

Manual mode is where you take control of the power output of the flash and therefore get more consistently lit photos. For example, if you are in one spot photographing a portrait and don’t need to adjust for ambient light changes constantly, then you can set your flash at 1/4 power and leave it there until you move or want something different.

3 - Using Manual Mode on Your External Flash

When competing with the sun, full power or half power is your best bet.

In manual mode, you override the flash’s metering and have full control. It also allows you to control taking photos at shutter speeds of more than 1/200th of a second, which is the fastest shutter speed in ETTL.

4 - Using Manual Mode on Your External Flash

On this particular flash, hitting the button with the “H” on it will allow you to use a shutter speed faster than 1/200 of a second. Refer to your flash manual to find this option.

You can use manual mode in both outdoor and indoor settings. Practicing using your flash in manual gets easier over time, and eventually, you’ll be able to select the correct output for the ambient light or the effect that you want to achieve.

Manual mode is also really helpful when you ‘slave’ more than one flash. Slaving is when you sync more than one flash so that they go off at the same time. In manual mode, each flash can be set to a different power output so you can choose which is your key light and which is your fill – giving your photos more depth and contrast.

5 - Using Manual Mode on Your External Flash

For these photos, two flashes were used to light the couple and keep the ambient in the background.

Metering output for flash in manual mode

Your camera meters ambient light, however, it does not do the same for flash output. Don’t worry though, with practice and a bit of trial and error, you will get to know your flash and when to use full power or half power, for example.

6 - Using Manual Mode on Your External Flash

Now you’re probably wondering what full power even means. An external flash has power output levels which are read in fractions. Full power output means that the flash is giving everything it has got and this is transcribed as 1/1. From there it can go to 1/64 of its power output.

There is no right way to begin practicing, however, it’s best to meter for the ambient light that you want to achieve in-camera. For example, if you’re photographing a family during sunset, meter for the sunset. Once you have that settled, put your flash in manual mode and begin with a power output of 1/4 power.

7 - Using Manual Mode on Your External Flash

No flash was used for this portrait.

 

8 - Using Manual Mode on Your External Flash

Same family, location, ambient light and used flash at 1/8 power.

From there, adjust the power of the flash until you get the desired result. This way, you’re guaranteed to have the ambient light metered correctly and use the flash to fill in the light where you want it – in this case, on the family.

You can use your flash on your camera or off-camera in manual mode. Using it off-camera will give you a more angled direction of light and may inspire some creative lighting. On camera, be careful of the power output and angle you have your flash. Outdoors, you’ll probably want to point the flash at your subjects. Indoors, however, you might want to bounce the light off of a ceiling or adjacent wall.

9 - Using Manual Mode on Your External Flash

If you’re using a modifier like a flash diffuser, be aware that the light output will be different than using the flash without a diffuser. The power needed to light your subject also depends on the distance at which the flash is from your subject. When your flash is closer to your subject, it requires less power because the light is closer.

10 - Using Manual Mode on Your External Flash

If you are at a distance, then you’ll need to up the power on the flash in order for it to reach your subject at all. This can be especially tricky outdoors so make sure you are checking your photos after taking some test shots.

When to use your flash in manual mode

You should strive at getting comfortable using your flash in manual mode every time you need to use flash. This can really help you to get consistent photos when you’re not moving around or when the ambient light isn’t changing.

11 - Using Manual Mode on Your External Flash

The left photo is with flash and the right is without flash. Note the blue of the ocean and the sky with the flash versus without flash.

The best times to use flash are when you want to pop some light onto your subject when you’re competing with the sun outdoors, or when you want to control and create light in a studio, to fill in shadows, during sunset or low light, and for indoor settings.

For example, when you are photographing family portrait sessions outdoors with the sunset, you may need to use the flash to fill in light so that you can get the beautiful sunset and not have your subjects in the dark.

12 - Using Manual Mode on Your External Flash

Left without flash and right with flash.

Another example is when you are in an indoor setting, like a bride getting ready and you can bounce your flash off the ceiling to add some light into the room.

Using your flash in a studio setting can be a little more tricky since flashes don’t come with modeling lights. If you’re photographing in a dark room, using a flashlight to focus your camera first can be a big help. Some flashes have a fluttering effect to help with focusing, check your manual to turn this function on.

13 - Using Manual Mode on Your External Flash

One flash used for both photos. The left has the flash in front of the couple and the second has the flash behind the couple.

Using more than one flash at different power output levels can also create stunning photos with lots of depth, much like real studio strobe flashes but with more portability and less expensive.

To do this, you’ll need transmitters or some flashes also come with built-in sync transmitters. This means that when one flash sees another go off, it also goes off.

Other important factors when shooting with flash in manual mode

A few things to keep in mind when you’re photographing subjects with flash in manual mode include the batteries, shutter speed, ambient light metering, and high-speed sync.

14 - Using Manual Mode on Your External Flash

Using flash to fill the couple in and capture the sunset.

When you’re photographing at 1/4 power or more, you’ll go through batteries much quicker. A battery pack especially made for flash and professional cameras can come in handy especially if you’re going to be using flash for a long period of time. It can also make recycling the flash much faster.

What is flash recycling? It’s the amount of time that it takes the flash to recycle and be ready to flash again. The more power you set the flash at, the more time it takes to recycle. For example, a flash at 1/2 power takes longer to get ready to fire again than a flash powered at 1/16.

15 - Using Manual Mode on Your External Flash

Using flash at an angle to light your subject creatively.

The flash also takes much longer to recycle when the batteries begin to drain and lose charge. Have at least three or more sets of batteries at the ready in case this begins to happen.

When you’re using a flash in ETTL, the fastest shutter speed that you can use is 1/200th, on some, it can go up to 1/250th of a second. This isn’t too fast if you’re photographing in outdoor light or competing with the sun. Many flashes have the ability for high sync speeds when you’re using the flash in manual mode.

16 - Using Manual Mode on Your External Flash

Using flash indoors bounced off the ceiling at about 1/16 power.

The distance of the flash to your subject can also affect where to set the power on your flash in manual mode. The further away your flash is from your subject, the more power you’ll need in order for the light to reach your subject. The closer you are, the less power you’ll need. Of course, this depends on where you are photographing your subject and if ambient light is a factor.

Practice makes perfect

Using flash can seem really intimidating. However, controlling your flash by using it in manual mode can be just the right move for you to get comfortable using a flash. Practice makes perfect and the more you practice with your flash, the more you’ll understand how to power it in certain lighting situations.

17 - Using Manual Mode on Your External Flash

Flash used at 1/16 power to fill in light and get catchlights in eyes.

Unfortunately, cameras don’t record flash settings in the metadata of your images. It only records if the flash fired or not. This isn’t helpful when you’re trying to practice flash in manual mode.

Carry around a small notebook and record your settings in your camera for each image that you take. This way, you can remember what your flash settings were in that particular set up and light for future reference.

18 - Using Manual Mode on Your External Flash

Using flash at a 45-degree angle toward the subject off camera helps fill in the light.

As time goes on, you’ll be more comfortable setting, testing, and using your flash in manual mode.

In conclusion

19 - Using Manual Mode on Your External Flash

Using flash at 1/2 power indoors off-camera, on a flash pole high and pointed directly at the subject. This imitates the light of the sun for these indoor photos.

If you feel like using your flash sometimes gives your images an inconsistent look, try using your flash in manual mode. Manual mode lets you be in full control of how much light you want the flash to fire giving you more consistent exposures and taking out the guesswork of the flash itself.

Try it out and let us know if these tips helped you out!

The post What You Need to Know About Using Manual Mode on Your External Flash appeared first on Digital Photography School. It was authored by Jackie Lamas.


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Huawei P30 Pro features super-wide-angle, 5x optical zoom and ISO 409,600

27 Mar

One year after launching the P20, Huawei has announced its new P-series high-end smartphone models: the P30 and P30 Pro. As usual, the Chinese manufacturer is at the forefront of smartphone camera development and the P30 Pro in particular has some real innovation to offer in the camera department.

The top-of-the-line device comes with a triple-camera setup (Huawei calls it a quad-camera, counting the time-of-flight (ToF) sensor), covering a focal length range that has previously been unheard of on a smartphone. The primary camera features a 1/1.7 40MP quad sensor that puts out 10MP images. The optically stabilized lens comes with an 27mm-equivalent focal length and F1.6 aperture. If you want to go wider there is also a 20MP 16mm-equivalent super-wide-angle option but the P30 Pro’s real highlight is the stabilized 5x (125mm-equivalent) periscope-style tele-camera with folded optics.

Huawei P30 Pro

The concept is very similar to OPPO’s prototype zoom system and allows for a much longer reach than would be possible with a conventional lens in a thin smartphone body. In addition Huawei also uses clever software algorithms to further enhance the P30 Pro’s zoom performance. In combination with a super resolution algorithm which merges several RAW frames into one high-resolution image that is then cropped to produce a zoomed image, a maximum zoom factor of 50x can be reached.

During the presentation Huawei CEO Richard Yu also put a lot of emphasis on the the camera´s low light capability, claiming a maximum ISO of 409,600 and the capability to capture well-exposed images in near darkness (1 Lux). This is made possible through the use of an RYYB sensor in the primary camera. According to Huawei the chip is 40 percent more light sensitive than a conventional RGB sensor. Combined with OIS and a fast F1.6 aperture the new Huawei should be one of the best performing smartphone cameras in low light we have seen.

There is also an improved portrait mode that creates a background-blurring bokeh effect. A first depth-map is created using data from the super-wide and primary cameras. It is then refined with the help of the ToF-laser that can precisely measure subject distance in all ligh conditions. Other imaging innovations include adaptive frame rates in video mode – the camera shoots at 60fps in bright light and with camera motion and reduces to 30fps in lower light or when the camera is held still – and HDR video recording on the front camera.

Other key specs include a Kirin 980 chipset, 8GB RAM, a 6.47-inch display with minimal bezels and FHD+ resolution as well as a 4,200mAh battery with fast charging. The Huawei P30 Pro is available from today but unfortunately isn’t quite a bargain. Pricing ranges from 999 ($ 1130) Euros for the 128GB version. You’ll have to invest 1249 Euros ($ 1410) for the 512GB top-of-the-range model.

Huawei P30 Pro key camera specifications:

  • Triple-camera setup
  • Primary: 40MP, 1/1.7-inch quad sensor; F1.6 aperture, OIS, 27mm-equivalent
  • Tele: 8MP sensor, folded optics with F3.4 aperture, OIS, 125mm-equivalent
  • Super-wide: 20MP, F2.2 aperture, 16mm-equivalent
  • PDAF/Time-of-flight (ToF) autofocus
  • LED flash
  • 32MP front camera, 26mm equivalent, F2 aperture, HDR video
Huawei P30

The P30 is the Pro version’s mode affordable cousin. In the camera department it lacks the 5x optical zoom and comes with a similar camera setup to last year’s Mate 20 Pro. The primary camera uses the same sensor as the Pro but has to make do without an OIS system. The super-wide comes with a lower 16MP resolution and the conventional tele ‘only’ offers an 80mm equivalent focal length.

Other differences include a smaller 6.1-inch OLED display and a lower capacity 3650 mAh battery. The Huawei P30 comes with 6>GB of RAM and 128GB of storage and will set you back 799 Euros ($ 900).

Huawei P30 key camera specifications:

  • Triple-camera setup
  • Primary: 40MP, 1/1.7-inch quad sensor; F1.8 aperture, 27mm-equivalent
  • Tele: 8MP sensor, F2.4 aperture, OIS, 80mm-equivalent
  • Super-wide: 16MP sensor, F2.2-aperture, 16mm-equivalent
  • PDAF/Time-of-flight (ToF) autofocus
  • LED flash

Articles: Digital Photography Review (dpreview.com)

 
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Review: Langly Alpha Globetrotter Backpack is more style than substance

26 Mar

Langly Alpha Globetrotter backpack
$ 249 | Langly.co

Langly’s Alpha Globetrotter Backpack.

It seems that nostalgia for classic designs continues to be an obsession in the photography world and beyond. Cameras like the Nikon Df and much of Fujifilm’s X Series exemplify this. It’s no surprise that this same retro-ism has found its way to camera accessories – a perfect example of this is Langly’s Alpha Globetrotter backpack (hereafter referred to as “The Alpha”)

The Alpha is a bit like if your average front-loading Lowepro backpack had a baby with a classicly-designed Fjallraven backpack – and this cross-over comes with a high price tag. You can pick Forest Green for $ 249 or Slate Black with either Brown or Black leather trim options for $ 269.

Key specifications:

  • Dimensions: 18 x 14 x 8in /45 x 29.5 x 20cm
  • Weight: 4lbs / 1814g
  • Water resistant, TPU-coated canvas exterior
  • Waterproof zippers
  • 15in Laptop Sleeve
  • Gear storage for DSLR body and 3-5 lenses (lens size dependent)
  • 3 exterior pockets with pin-buckle snap closures
  • Tripod holding straps on bottom of bag

Compared to Other Bags

The Alpha’s price tag puts it in the same bracket as bags like Peak Design’s Everyday Backpack and Mindshift’s Backlight and Firstlight. Both of Mindshift’s bags carry a good deal more gear and have more of an outdoor focus. Despite Langly’s outdoor-focused aesthetic, Mindshift’s bags win in this category due to similar levels of weather-resistant materials and a harness design more akin to hiking backpacks, including padded hip straps. That said, neither of Mindshift’s bags have very solid compartment sections for everyday items.

Alpha’s style is really what’s going to separate it from other bags

The Alpha’s style is really what’s going to separate it from other bags. Classic and retro are the ideas here; if that’s not your thing and you like a more technical/futuristic design, then look to Peak Design’s Everyday Backpack or Tenba’s DNA 15 Backpack. The Peak Design bag is essentially the same price and offers a bit more storage between its side panels and expandable top compartment. Meanwhile the Tenba also has an expandable top compartment, but like the Alpha has a front loading gear compartment and for only $ 199.

Design and Construction

The lower portion of the bag is the gear storage compartment, the upper portion is for personal items. The Alpha’s straps are not as padded as we’d like to see in a premium backpack and hip straps offer no padding.

The Alpha looks a lot like Fjallraven’s bags, featuring a single color with a leather-like insignia. Its shape also resembles old hiking backpacks a bit. Make no mistake, it looks good. I actually got a compliment or two on the bag when I was out wearing it. Again, the style is definitely a huge selling point here.

I normally go for black in almost everything, but I enjoyed having something with a solid earth tone like the Alpha’s forest green.

The TPU-coated canvas exterior feels sturdy and truly weather-resistant. A flap over the top compartment provides an additional barrier to keep water out, though it feels somewhat redundant. The two main zippers (one for the gear compartment and one for the top compartment) are weatherproof, while all the other pockets are enclosed with a pin-buckle system.

The Alpha’s pin-buckles snap and lock into place, securing the flaps they’re attached to.

The weather-proofing is definitely welcome but while Langly advertises itself as an outdoor-oriented brand, I’m a bit disappointed by the relatively simple nature of the Alpha’s harness system. The shoulder straps are only slightly-padded and the hip straps have no padding at all.

Another odd design choice here is the shoulder straps have plastic buckles you can undo, presumably for the purpose of storing them behind the large velcro strap in the middle of the back of the bag. There isn’t really any issue here but it seems weird that the shoulder straps are storable but the hip straps really aren’t.

Straps, everywhere.

The Alpha also features straps on the bottom to use as a tripod holder (or to hold a sleeping bag – though I’d be surprised if anyone was taking this on extended hiking adventures). They’re definitely useful for their intended function, but with all the other straps for the harness, plus the straps used for the pin-buckles, the Alpha feels way too ‘strappy’ for my taste. Some people like to have a lot of stuff dangling from their bags and that’s fine, but I found it to be distracting and annoying more than anything else.

My basic organization for the gear compartment allowed me to fit a DSLR, four lenses and a flash.

The Alpha includes 6 dividers in 3 different sizes. You likely won’t need them all at once.

The gear compartment also feels sturdy and the included dividers do their job. There’s not much to note here other than the fact that the dividers don’t come installed in any way. If you really like a blank slate to start from you might appreciate this but I definitely prefer to have some kind of organization in place that I can build from, mainly because I found getting the dividers to fit was just kind of a hassle. That said, once they were in there they feel snug and secure.

In use

Despite my gripes with the design of the Alpha, I enjoyed using it. Everything felt secure, the zippers were fairly smooth, and I was able to carry a pretty solid kit plus a book, some snacks, an extra sweater, etc. I was convinced I would hate the pin-buckles but actually found them super satisfying to use and had confidence in their staying locked.

I found the weatherproof zipper plus double pin-buckles for the top compartment flap to be a bit confusing. It works just fine and protects everything but the flap just feels unnecessary. It’s made of the same weatherproof material that’s underneath, so other than giving the zipper a bit of added protection it’s just added weight and bulk.

Comfort-wise, I felt good about wearing this bag for a bit, but I doubt it would be all that fun to lug on a hike

The top flap also makes me think that the top compartment would be expandable, but because of the zipper, it isn’t. Granted, it is plenty big for carrying your everyday essentials, so no complaint in terms of size. I’m just hung up on some of these odd design choices that feel counter-intuitive to what Langly seems to be aiming to accomplish with its bags.

The non-expandable side pockets are my least favorite aspect of The Alpha.

Comfort-wise, I felt good about wearing this bag for a bit, but I doubt it would be all that fun to lug on a hike. While Langly is clearly trying to carve out an audience in the outdoor photography community, the Alpha feels pretty lacking when it comes to the sorts of things I’d expect to see in a hiking/shooting backpack.

The only thing about the Alpha I strongly dislike is the design of the side pockets – they’re fine for carrying additional items that might not fit in the other compartments. But the flap flops about when using them to carry a water bottle – they’re also too snug to fit larger containers like a 32oz Nalgene. I definitely would have preferred an expandable mesh pocket or something similar with a breathable bottom.

Bottom line

To sum up the Alpha in a simple phrase, I’d choose: ‘style over substance’. This bag looks great and would feel extremely appropriate in any #PNW #GetOutside #Adventure -tagged Instagram post, but anyone that’s spent a lot of time in the outdoors would know that this bag isn’t really any better-suited for that sort of thing than most other camera bags. It feels like it was designed for people to look like they spend time outdoors, rather than being designed for anyone to actually spend time shooting the outdoors.

With that said, that’s not such a bad thing. If you’re into the style, it feels perfectly at home as an everyday shooting backpack to use in the city as well. It’s probably not applicable to anyone shooting real professional stuff (photojournalism, sports, weddings, etc) but for engagement sessions out in the park? Sure. Actor head-shots downtown? You bet. If you like the style of this bag and your gear-carrying needs are pretty straightforward, then it will probably suit you well.

If you’re into the style, it feels perfectly at home as an everyday shooting backpack for the city

The design flaws here aren’t really deal breakers, they just feel like crossed wires in regards to what’s important in a bag. Assuming you’re okay with ~$ 250 of ‘looks cool’ on your back, get it, but I would at least consider some of the other options listed above if you’re looking for something of a different style.

What we like:

  • Looks stylish
  • Sturdy and made from solid materials that feel truly weather-resistant
  • Lots of space to pack gear, personal items in main compartments

What we don’t:

  • Pricey
  • Minimal padding on shoulder straps
  • No padding on hip straps
  • Redundant design elements lead to bulk
  • No convenient way to carry a water bottle
  • Too many straps dangling about

Articles: Digital Photography Review (dpreview.com)

 
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Using Color Temperature in Black and White Conversions

26 Mar

The post Using Color Temperature in Black and White Conversions appeared first on Digital Photography School. It was authored by Adam Welch.

Digital photography has opened up enormous possibilities for black and white photography. The ability to first shoot in color and then convert the image to black and white offers photographers a way to express themselves in ways that reach beyond the influence of color. Well, for the most part.

You see, advanced black and white conversions take advantage of the different luminance values present in our RAW files so that we can individually manipulate those values after we have converted the color image to black and white. Usually, this is done via the HSL (BW) Panel in Lightroom or other processing software.

color-temperature-black-and-white-digital-photography-school-adam-welch

But there is one ingredient of the black and white pie that gets constantly overlooked during the average photographers (let’s pretend) black and white conversion process; color temperature. I know, the operative word here is COLOR and black and white photos…you know…don’t really have a lot of color.

In this article, we’re going to take a cruise aimed at getting a little closer to understanding how much of a role color temperature plays in our digital black and white conversions. We’ll look at how we can leverage this constantly neglected aspect of digital black and white photography so that we have many more opportunities to make even more impressive monochromatic images.

I also intend to make at least one black and white related pun before the end.

Let’s get started!

A quick refresher on color temperature

When we talk about color temperature, we are referring to the hue-based Kelvin scale (there’s a temperature-based one too) which measures the hue of color and thus relates to white balance; which is the theoretical absence of color cast within an image. More blue or “cool” colors have a higher Kelvin number, and more red or “warmer” colors have a lower Kelvin number.

“Adam…but wait! Most image processing software shows lower Kelvin color temperatures as blue and warmer colors as red!”

Yes, you are precisely correct. You paid excellent attention in science class!

color-temperature-black-and-white-digital-photography-school-adam-welch

In short, the color temperature sliders in most photo editors are in fact reversed from the true Kelvin scale. From what I’ve gathered, this inversion is due to the approach that white balance adjustments in digital photography are based on “compensation” rather than direct cooling or warming of colors. This means that if a photo is “cool” out of the camera, we will tell the software to “warm it up” by increasing the Kelvin value to bring the white balance closer to the original scene. Thereby, making the photo perceptibly warmer.

Yeah, it’s confusing.

Luckily, we don’t have to worry about any of that.

For our purposes, we are just concerned with how the cool or warm the colors are within the image regardless of actual numeric Kelvin temperature.

Thank goodness for that.

How color temperature affects black and white photos

The remainder of this article assumes that you are shooting in RAW format or at the very least in color JPEG.

We need the color information from the image file to exploit the impact of color temperature on luminance values after the black and white conversion. This means it is imperative that you do not shoot in a dedicated monochromatic mode.

Got it? Good.

Now that we’ve got that out of the way it’s time to experiment.

Let’s first convert an image to black and white in Lightroom Classic CC and see what happens when we begin to adjust the color temperature. I just happen to have a photo ready to go right here. It is a RAW file with a relatively well-balanced color temperature that I converted to black and white.

color-temperature-black-and-white-digital-photography-school-adam-welch

Color temperature slider set to 5050K in Lightroom

First, let’s slide the color temperature slider entirely to the left and “cool” the image.

color-temperature-black-and-white-digital-photography-school-adam-welch

Color temperature slider at 2000K in Lightroom

Next, we’ll move the color temperature slider all the way to the right to “warm” the image.

color-temperature-black-and-white-digital-photography-school-adam-welch

Color temperature slider set to 50000K in Lightroom

From this, we can see that there are some readily apparent changes in contrast based solely on the adjustments in color temperature.

So, what exactly is happening here?

Let me show you.

Have a look at the original histogram with conventional white balance:

color-temperature-black-and-white-digital-photography-school-adam-welch-1-2

HIstogram with normal white balance

Now with a much cooler color temperature…

color-temperature-black-and-white-digital-photography-school-adam-welch-1-2

Histogram at 2000K

And lastly, with warmer color temperature.

color-temperature-black-and-white-digital-photography-school-adam-welch-1-2

Histogram at 50000K

When we cool down the image we are causing the colors to become more blue, purple and magenta in hue; hence the shift in the histogram and resulting contrast change. The same is true for the warmer color temperature where the photo becomes more red, orange and yellow.

What we are doing is setting a bias towards certain colors which in turn augments their luminosity when converted to black and white. The benefit here is that these drastic changes in color temperature allow us to make some impressive adjustments to the luminance values beyond what might usually be possible once you have converted it to black and white.

Practical applications

Advanced digital black and white conversions rely heavily on specific adjustments in luminance values based on color information contained within the image file. If we increase the amount of a particular color within an image, we then have more latitude in manipulating the brightness values of that color in relation to the other colors within the photo.

Here are three separate versions of the Golden Gate Bridge photo from earlier. The first photo was processed using the HSL/BW Panel to brighten the bridge and darken the sky.

color-temperature-black-and-white-digital-photography-school-adam-welch-2

Next, I went to work on the 2000K version from earlier. Seeing as the blue tones had skyrocketed, I was able to achieve some interesting results.

color-temperature-black-and-white-digital-photography-school-adam-welch-2

Last but not least is the warm-toned version which clocked in at 50000K. Which if you recall, would make the photo cooler instead of warmer if we were operating in the world. However, we’re not. This is photography.

color-temperature-black-and-white-digital-photography-school-adam-welch-2

These extreme swings in color temperature are useful almost exclusively in the domain of black and white digital photography. Outside of that, the only result will be gruesomely unappealing white balance.

color-temperature-black-and-white-digital-photography-school-adam-welch-2

I mean really unappealing (caption)

color-temperature-black-and-white-digital-photography-school-adam-welch-2

Just look at it…terrible.

Ok, I’ll admit that maybe I low-key like that last one.

Final thoughts on color temperature and black and white photos

We can get caught up with the idea that there are certain “rules” which must always be adhered to when we process our photos.

Nothing could be further from the truth.

While it’s true that color temperature plays an important role in rendering colors within your image accurately, we must remember that we are still allowed to paint outside the lines whenever we choose. Perhaps the benefit of this free-thinking mentality is no more apparent than when it comes to working with our black and white photos.

Making drastic changes to the white balance of your black and white images is not only allowed, but it can make for some exciting outcomes and boost your creative thinking.

Even though your mind may not immediately jump to color when you think of black and white photography, the fact remains that even though we may not see color within a photo, the inherent color information remains (as long as you shoot RAW) and that information is still wholly adjustable, including white balance. The role color temperature plays in processing your photographs is never black and white. See, I told you I would work that pun in there somewhere.

Experimenting with some interesting black and white conversions using color temperature? As always, we’d love to see what you’ve been up to, so feel free to post your photos in the comments below!

The post Using Color Temperature in Black and White Conversions appeared first on Digital Photography School. It was authored by Adam Welch.


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