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Leica Q2 sample gallery updated

13 May

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We’re wrapping up our full analysis of the Leica Q2, and in the process of testing we have (naturally) taken lots and lots of photos with the camera. Take a look at what we’ve been shooting, and keep an eye out for our full review in the near future.

See our updated Leica Q2 sample gallery

Articles: Digital Photography Review (dpreview.com)

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Adobe Price Hike Just a ‘Test’; Should Photographers Be Worried?

13 May

The post Adobe Price Hike Just a ‘Test’; Should Photographers Be Worried? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Adobe made waves earlier this month when it doubled the price of its Creative Cloud Photography plan–from $ 9.99/month to $ 19.99/month.

Soon after, the price reverted back to the original. And Adobe has assured its customers that it was just testing a new price.

But this begs the question:

Should photographers be concerned?

It’s not like we haven’t seen this before. Last year, Adobe announced price increases for a number of its CC products, though the Photography plan was spared. So the Photography plan – which includes Photoshop, Lightroom, and Lightroom Classic – remained an affordable deal for professional photographers.

But if Adobe is testing out a price increase, then it’s no doubt a real possibility for the future.

If that’s the case, would Lightroom and Photoshop be worth it?

The increased price did come with one benefit: Creative Cloud storage, which currently sits at 20GB, shot up to 1TB.
(It’s now back to 20GB.)

But how many photographers have been waiting for additional storage? For many photographers, the increased CC storage is worth little.

Maybe it’s time to start looking into other options.

In the past few years, a number of strong Photoshop and Lightroom contenders have been released–and at significantly lower price points.

For instance, Affinity Photo retails at a one-time payment of $ 49.99. It offers many of the same functions as Photoshop, including basic editing tools, layers, and some more sophisticated options, such as lens distortion corrections.

And ON1 Photo RAW is a neat alternative to Lightroom. For a single payment of $ 79.99, you get a combination of advanced photo editing and photo organization software. Plus, it comes with a set of excellent presets.

Photographers should also check out Luminar 3. This is a full-featured program, offering an excellent combination of basic editing options, local adjustments, and photo organization. All for a one-time price of $ 70.

A couple more options:

ACDSee Photo Studio Ultimate (for $ 8.90/month or a one-time fee of $ 84.95)
Exposure X4 (for a one-time fee of $ 119)

Here’s the bottom line:

With Adobe considering a Lightroom/Photoshop price hike, other options (which you can purchase for a one-time fee) have suddenly become far more enticing.

For those of you who aren’t willing to fork out the additional US$ 10 per month, take a look at these other options.

Just in case.

The post Adobe Price Hike Just a ‘Test’; Should Photographers Be Worried? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Olympus celebrates its 100th birthday with a short documentary on its imaging division

13 May

To celebrate its 100th anniversary, Olympus has shared a trio of short documentary videos showing the history and subsequent evolution of its three primary business divisions: medical, scientific solutions and imaging.

The above video, officially titled ‘Olympus 100th Anniversary Documentary: A Great Moment,’ shares not only the history of Olympus’ imaging division, but also interviews with Olympus research and development executives, camera store technicians and Pulitzer Prize-winning National Geographic photographer and Olympic visionary Jay Dickman.

Olympus has also created a dedicated website for its centennial celebration, which includes a timeline of the history of Olympus products, from the first microscope it produced to the launch of its mirrorless camera system and beyond.

Articles: Digital Photography Review (dpreview.com)

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How to Put Some “Sparkle” in Your Photos with Sparkler Photography

13 May

The post How to Put Some “Sparkle” in Your Photos with Sparkler Photography appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Sparklers are fun, festive, and can add, well…Sparkle to your photos! Getting good sparkler shots will test your skills too, teach you new ways of operating your camera and allow you to make some “hot shots” people will admire. So let’s look at the tools, techniques, and tips for sparkler photography as well as give you some ideas to try.

4 seconds, f/11, ISO 100

Playing with fire – Safety First!

If you play with fire, __________________ (complete the rest of that common saying). You’ve heard that, right?

“Play with fire and you’ll get burned.”

That’s NOT what we want to happen! So, Safety First!

These things ought to be common sense, but I’d be remiss if I didn’t list some precautions. After all, you are playing with fire.

Sparklers are HOT! The best sparklers for photography, (those with metallic nature and metal wire handle), burn between 1000 and 1600 degrees Centigrade, (that’s 1,800-3000 F)! Even after they burn out, the sparkler will be red hot for some time. Use them with great caution.
Flying sparks can burn you and your photo equipment. I have pitted glasses used as props in my shots with the sparks and the same can happen to your lens if too close. Stay back and zoom in, keeping your camera out of the range of flying sparks. Put a UV filter on your lens for extra protection.
Make your shots in a safe area with no flammable materials nearby. Sparkler photography is best done outdoors with cement, pavement, or other non-flammable surfaces underneath. I have read too often of photographers setting areas on fire (even historic sites!) by improperly using fireworks. I have also read of weddings where the bride’s dress was set on fire with a sparkler and all kinds of other sad and ugly stories. Don’t be that idiot! Have a bucket of water, perhaps even a fire extinguisher, nearby just in case. A water bucket can also be useful for disposing of expended but still hot sparklers.
Be careful when lighting sparklers. Often they take a bit to light, and standard paper matches could burn your fingers as they burn down. A long fireplace-style lighter works well. Light one at a time, never a bundle of them.

I could go on and if you search for “sparkler injuries” you might decide not to try this at all, but the point is, be smart, be safe, and above all…be careful!

2 - sparkler photography

What you need

Camera – Full manual control of exposure and manual focus is pretty much required. Automatic modes won’t cut it for good sparkler photography and autofocus will cause much frustration.

Tripod – You will be shooting long exposures, often several seconds, and you can’t possibly hold your camera still enough for that time. Also, unless you have an assistant, you will also be busy with the sparkler. Your camera needs to be on a stable tripod.

Sparklers – I’ve found the best sparklers for photography are the metallic type with wire handles. Those with bamboo handles and a paper end produce a different-looking spark pattern, a lot of smoke, and are not well-suited to photos. You can also buy sparkers of different sizes.

Consider the amount of time it will take to make the shot you want as well as the distance you will be from the camera. Standard size (#10) sparklers work fine for shorter effects up close. Consider the bigger ones if you need more time or will be far away. I stock up during the Fourth of July season here in the U.S. If you have to buy online in the off-season, search for “Smokeless Sparkers” and you will find sites that sell the proper type in various sizes.

Props and People – The right props in a photo can help “tell a story” which the sparklers enhance. (See the shots in this article). Have those ready and be sure to consider their flammability. If you will have people in your shot, especially if they are children, be sure you carefully instruct them in the safe use of sparklers. Their safety is your responsibility! Also, consider the clothing people wear. Obviously, easily flammable clothing is a big NO. Dark colors will help them “disappear” in the shot if that’s what you want while lighter colors will help them show up. Again, if you have any doubts about being able to use sparklers in your photography and doing it safely, just don’t do it – period.

4 seconds, F/14, ISO 400 – Flash Fill light was also used here

Remote trigger for your camera – If you are any distance from your camera, (especially if you are working alone), you will need a way to fire the shot remotely. You might get by with the timer, tripping the shutter and then running into the shot, but I like to be able to do multiple shots using just one sparkler. (They are hard to extinguish and re-light. If you need to run back to the camera to make another exposure, your sparkler will likely burn out by the time you can do that.)

I use a Yongnuo RF602C radio trigger with my Canon 6D and so can work from a distance, repeating the shot several times in the duration of just one sparkler. A wired remote could work too, depending on the length of your cord and distance from the camera to subject.

Flashlight (aka “Torch”) – You will most likely be working in the dark, so being able to set your camera, adjust focus, and do what you need to without too much fumbling will require a flashlight. We also discuss other uses for the flashlight along with Flash below.

Flash and Orange (CTO) Gels – This is optional, depending on the shot you’d like to make. We’ll get into using flash with your shots a bit later.

Bucket of Water and Fire Extinguishers – I discussed why previously but will repeat it. Have a place to put still hot sparklers after they burn out and also a means to quickly douse a fire in the chance things go bad.

2.5 sec. f/11, ISO 100

Long exposure and camera settings

You will want full control over all your camera settings, so Manual Mode is a must. You will also want to be able to set and lock focus, so Manual Focus is needed. Shooting Raw (not .jpg) images will free you from having to worry about white balance and also give you greater latitude for adjusting exposure in editing if you aren’t right on.

As for the specific camera settings, that will take some experimentation. Start with ISO. You’ll be taking long exposures and keeping the ISO low. ISO 100 is fine and will help limit image noise. The desired depth of field will help determine your aperture, and that in combination with your shutter speed, (which will need to be long enough to accomplish whatever action you’ll be capturing) will determine your exposure. Sparklers are brighter than you may think and I achieved many of my shots with the light of the sparkler alone.

Take a look at the sample photos included in this article for which I’ve listed the camera settings. Note that ISO is almost always 100, aperture between f/8 and f/11 with the shutter speed determined by the duration of the action I’m capturing. Sometimes, rather than guessing how long you will need, it might be a good idea to use the Bulb mode for your shutter. Click the shutter once to open it as you start the action, then close it when finished.

0.5 sec., f/8, ISO 100

Use with still-life photography

Your imagination is your only limit to how you can use sparklers to put some pizzaz in your shot. I am a fan of using them in Still Life photography for several reasons:

Use the sparkler to contribute to the theme and story you’re telling with a photo. Note the images in this article where sparklers add to the festive or holiday feel of the image.
Consider how the light of the sparkler plays with the other props or people in the scene. Glass which allows the sparkler light to shine through. Reflective objects or things that might look good backlit can make for interesting shots. You will often be able to make the shot with the light of the sparkler alone.
Back to the safety factor – With still-life images, you can be more in control of the situation, the location, and the other variables when working with inanimate objects. Working with people increases the hazard.
If an object moves, (and is lit well enough) during a long exposure, it will be blurred. I like the sparkler to be the moving object while the other objects in my scene are static and thus sharp even with a longer shutter speed.
Multiple takes are usually necessary to get a “just right” shot. I often make multiple shots even during the duration of one 35-second burn of a small #10 sparkler. After it’s exhausted and I toss it in the water bucket, I chimp my shots, decide what I might do differently or better, adjust and make another series. Still-life subjects don’t care while your model might not be as patient with many multiple takes.

1/160 sec, f/3.5, ISO 800 – The sparkler was added with the technique described below

Use in wedding photography

Using sparklers in conjunction with wedding photography has become popular and can make for some nice images. A personal confession here – I’ve done wedding photography and find it scary enough. Add fire to the mix – as well as some potentially inebriated guests wielding that fire! – and the fear-factor goes up exponentially for me. I’m not saying don’t do these kinds of shots if that’s something you’d like to add to your wedding photography repertoire. Do your homework and read up on how other wedding photographers are using sparklers. Then, as you should with all wedding photography, do it with due diligence and the safety of your clients utmost in mind.

That said, read on in the Special Effects Section below to learn how you can include sparkler effects in your wedding images through some creative editing while not having to have them physically present during the wedding shoot.

This sparkler shot was done independently – 14 seconds, f/11, ISO 100, and then layered over the dance shot below

Writing with fire

Another popular effect done with sparklers is to “write” or “draw” with the light trail created when a sparkler moves during a long exposure. (Interesting that in the Greek roots of the word “photography,” Phos means light and graphi means writing.) During a long exposure, a sparkler can be used to “write” words, draw pictures, or trace the outline of an object. A tip when writing letters or words; usually the subject doing the “sparkler writing” will be facing the camera and for them, (so the letters appear proper to the camera), they would need to form backward letters. Make it easier for them by letting them write as they normally would and then flipping the image later in post-production.

8 - sparkler photography

I’ve also made some fun shots, such as that of the bicycle in this article, by “outlining” the basic shapes of the object with the sparkler during a long exposure. For this kind of thing, you might want to look into longer-burning sparklers such as #20 types which burn for about 2 minutes. They even sell extra-long #36 sparklers which will burn for up to 3 ½ minutes. Get what you need to accomplish the shot you’ll be making.

80 seconds, f/11, ISO 100. I probably could have traced the bicycle just once to simplify the shot and use a shorter exposure

Mixing ambient light and using flash

What you want to show up in your shot will determine your exposure settings and other techniques. Sometimes, all you want to show up is the sparkler itself. If that’s the case, put your camera on a tripod, put the unlit sparkler (or a stand-in object) where you expect the sparkler to be, use your flashlight and focus on that spot. Then turn off the autofocus so the focus is locked on that spot. You will want to shoot in the dark, have a dark background, and wear dark clothes if you or your subject will be in the shot moving the sparkler. Make a shot without lighting the sparkler with the ISO at 100 and adjust the aperture, so the resulting image is totally black. Shutter speed will be dependent on how long you expect the action to take.

Now, leaving all the settings there, light the sparkler and make the shot. Evaluate the shot to see what adjustments might be necessary. Once you have it dialed in, repeat as needed with another sparkler. If you are shooting relatively short, say under 5-second exposures, you may get multiple shots during the 35-second burn of even a small #10 sparkler.

Now, say you want your subject to appear in the image with the sparkler. A still-life object might work just fine with a similar technique with the light of the sparkler enough to illuminate the subject. The cocktail glasses and flag shots here were done in that fashion. The bicycle shot was too, though a long 80-second exposure was needed to trace the subject fully.

The New Year 2017 shot needed a little help from a flash. The 4-second exposure was about right for the static sparkler placed behind the glasses, but it’s placement behind the glasses, and the amount of light it cast, wasn’t enough to illuminate the other objects in the scene, so some fill-flash was used.

2.5 sec, f/16, ISO 100

Say you want to see your subject holding the sparkler, perhaps drawing with it, or maybe show a wedding couple in the shot with sparkler effects in the shot too. Set up the shot as before with enough shutter duration to capture whatever motion you want with the sparkler. Then, just before completing the exposure, pop a flash on your subject to illuminate and freeze them.

If your camera and flash support second curtain sync, that’s a great way to do this as the flash will be automatically triggered just before the exposure is completed. If not, or if perhaps you want to put the flash off camera, you can also manually trigger it with the test button. It takes a bit more timing and luck, but being able to put the flash where you want it and timing the flash to your action might be worth it.

Another option, since you will be making a long exposure, is to use a flashlight to “light-paint” your subject. As with the flash, if you want the sparkler to produce a trail but the person or subject to be frozen, illuminate them with the flashlight at the end of the exposure.

I mentioned the use of a CTO (Color Temperature Orange) gel with your flash. Because most sparklers burn with a warm gold light the much bluer light of the flash won’t match them. Putting a piece or two of CTO gel over your flash allows its light to better match that of the sparkler. Carefully crafted, you will be able to make it look like it was the sparkler lighting the subject when in fact the flash was doing the work.

1 second, f/11, ISO 100

Special effects with sparkler shots

I mentioned a wedding shot where it had the sparkler effect but without actually having the sparkler there. Here’s how you do it:

Shoot your sparkler shots on a dark background. Then in post-production, adjust the black so the only thing visible is the sparkler and light trail itself.
Open the image you want in Photoshop, say the wedding shot.
Open the sparkler shot as a separate image. Then “Select All” and “Copy” that shot.
Go to the wedding shot and then “Paste” the sparkler shot over it on a separate layer.
Change the blending mode on the sparkler layer to “Screen.” The black will become transparent, leaving the sparkler trail over your wedding shot.
Adjust the placement, size, and so forth on the sparkler overlay to put it where you like.
Using masking tools on that later, mask out any of the sparkler effects you don’t want to show.

Sparker effected added using Screen Blending mode with the sparkler on a separate layer.

The beauty of this technique is you can make your own “stock images” with various sparkler effects and have them available later when you might want to add them to other images. The other advantage is you don’t have the hassle and risks of using sparklers around your subjects.

If you don’t want to mess with sparklers at all but still want the effects, you can also buy “sparkler effects” packages and alphabets which you can use with this same technique.

So, have fun, be safe, and put some sparkle in your photos! Then, be sure to share them with us in the comments below.

The post How to Put Some “Sparkle” in Your Photos with Sparkler Photography appeared first on Digital Photography School. It was authored by Rick Ohnsman.

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5 Camera Accessories You Shouldn’t Buy Cheap

12 May

The post 5 Camera Accessories You Shouldn’t Buy Cheap appeared first on Digital Photography School. It was authored by Suzi Pratt.

With each passing year, it seems that camera gear and accessories get progressively cheaper. Third-party brands now offer everything from lenses and flashes to batteries and tripods. This gear is typically priced at a fraction of the price of name brand manufacturers and the quality is often on par. Photographers have often said that “you get what you pay for” when it comes to camera gear, implying that cheaper goods offer less quality. But is that still true today?

In this article, I’ll highlight 5 camera accessories you shouldn’t buy cheap and should consider paying full price for. This isn’t to say that there aren’t cheap, third-party brands offering solid quality for less. But these are items that you’ll want to research extra hard to make sure you’re buying the best product for your camera.

Camera Strap

1. Camera strap

All cameras come with a stock camera strap that you can use to secure your camera on your shoulder. However, the quality and long-term durability of these camera straps are often questionable. Thus, it’s becoming more commonplace for photographers to purchase their own camera straps. Peak Design and Black Rapid are two popular brands offering sturdy and stylish camera straps. These straps are on the pricey side with the Peak Design Slide coming in at $ 64.95 and the Black Rapid Breathe at $ 68.99. Each strap also attaches to your camera differently, but their main benefit is being able to detach on demand if you need to remove the strap (ie. for use on a tripod or gimbal).

Are there cheaper camera strap alternatives? Certainly. But consider the fact that you are trusting the camera strap to hold hundreds or thousands of dollars of equipment and be sure to buy a camera strap that you can trust.

Manfrotto tripod

2. Tripod

Along the lines of keeping your valuable camera gear safe, it’s also wise to invest a little extra into a high-quality tripod. I’ve spent years buying cheap, compact tripods for travel only to have them fail on me sooner than expected. As a result, I’ve amassed a pile of broken tripods. Last year, I finally took the plunge and bought a more expensive Manfrotto tripod. Solid and reliable, I now wonder why I didn’t just buy this tripod in the first place.

When purchasing a tripod, it’s also important to buy a quality tripod head. Ball heads are popular and are often the default tripod head that you’ll receive. However, they tend to loosen over time. Luckily, there are many other tripod heads out there that offer more stability and precise control over your camera movement. My personal favorite tripod head is the Manfrotto MH804-3W, which I now use for all of my architecture and real estate photo shoots.

Camera batteries

3. Camera batteries

When buying a new camera, it’s always important to budget for a few extra camera batteries. You’ll always want spares just in case, and authentic spare camera batteries are generally not cheap. For example, a spare Sony Z-battery for the A7III costs $ 78. Similarly, a spare Fujifilm battery is $ 65. Third-party brands such as Wasabi Power offer cheaper battery knock-offs, but there’s a risk in using these.

Battery knock-offs may or may not offer the same amount of power as the original batteries. I’ve used third-party batteries for certain cameras such as my Canon DSLRs and not seen any difference in their power. However, camera brands are getting smarter and will sometimes detect knock-off batteries. For instance, my Fujifilm X-T3 flashes a warning sign if Wasabi Power battery is inserted, and it definitely does not last as long as an authentic Fuji battery.

It’s also said that using third-party batteries can void your camera’s warranty. I’m not sure how the camera brand would know if you were using a knock-off battery, but it’s still something to look into.

High-megapixel cameras come at a price as they eat up storage on your memory cards and hard drives.

4. Memory cards

All of your photos and videos are recorded onto memory cards, so it is very important to select quality memory cards. SanDisk is one of the biggest and most reputable memory card makers. There are other brands such as Lexar and PNY that also make quality memory cards. But I’d be wary of buying memory cards made by any other brands. With that said, even the most reputable memory card brands tend to fail and malfunction, so also be sure to use multiple memory cards if your recording device offers multiple card slots.

Hard drives

5. Hard Drives

Related to memory cards, hard drives are also important for storing and backing up your photos and videos. If you’ve ever had a hard drive fail, you know the importance of choosing a quality hard drive and making sure you have a backup for your backup.

Similar to memory cards, even the most high-quality hard drives can fail, so the best brand names are up for debate. Western Digital and Seagate are generally good hard drive brands, even though I’ve experienced hard drive failures from them both.

Lately, I’ve had the best luck with Samsung SSD hard drives. I use a 1TB Samsung T5 as my main working hard drive and a 4TB LaCie Rugged Mini as my secondary backup. This combo is great for working on the road, as well as in the office.

Conclusion

There you have it – 5 camera accessories that you’ll want to consider splurging for because in some cases, you still get what you pay for. Are there cheaper, high-quality alternatives for these items? Certainly. But when it comes to these 5 items, take the extra time to read customer reviews and make sure you’re buying the best gear for your camera.

Would you add or remove any items from this list? Let me know in the comments below!

The post 5 Camera Accessories You Shouldn’t Buy Cheap appeared first on Digital Photography School. It was authored by Suzi Pratt.

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CP+ 2019 Panasonic interview: ‘We’re proud of our cameraness’

12 May

The CP+ 2019 trade show in Yokohama, Japan, gave us the chance to speak to most of the major camera makers. Panasonic put forward an extensive team to discuss the company’s move into the full-frame market.

Michiharu Uematsu – Technical PR Adviser, Merchandising Dep., INBU
Tetsuya Uno – Group Manager, Optical Engineering Dep., INBU
Koji Shibuno – Manager, Software Engineering Dep. Key (responsible) engineer of AF engineering, INBU
Takayuki Tochio – Senior Coordinator, Product Engineering Dep., INBU Key engineer of Picture Quality
Hidenari Nishikawa – Senior Coordinator, Merchandising Dep., INBU
Shiori Kitaoka – Senior Coordinator, Communication Dep. CMD

Please note that this interview was conducted partly via an interpreter, and has been edited for clarity and flow.

How different is it to design a lens for a much bigger sensor? What are the challenges?

When we’re designing a lens, we look first at the most important properties: sharpness, transmission, distortion, vignetting, CA. But there are also some things are not measurable, quantitatively, such as bokeh. These are the ‘taste’ of the lens. So we need to understand this.

We assess bokeh at various distances. With Micro Four Thirds, the depth-of-field is deeper, relatively speaking. It’s obvious where the tack-sharp range is and where is the ‘big bokeh’ [significantly out-of-focus area] range is. But now, for the full frame we need to consider the intermediate range: the ‘small bokeh’ area. It could be around the focal plane: that may already begin to be defocused with a full frame sensor.

We’re constantly developing this to ensure the perfect ‘taste’ to our S-series lenses

We segment with depth: for the big bokeh area we want the beautiful bokeh with no onion ring effect and no unpleasant vignetting [of the bokeh: the ‘cats’ eye effect’]. We need to have smooth vignetting from the center to edges, with circular bokeh in the center and a smooth progression to non-circular bokeh near the corners.

With the small bokeh [transitional] area we think about the double-line bokeh: which is considered a ‘busy’ bokeh effect. Around the focal plane area the transition between tack-sharp and out-of-focus is very important.

We needed a way to quantify and evaluate these usually qualitative aspects. This feeling when we look at the picture, we need to calculate or transfer those parameters to the quantitative evaluation.

We’re constantly developing this to ensure the perfect ‘taste’ to our S-series lenses.

How well can you model bokeh or do you just have to build a sample lens and test it?

Thanks to very good simulation system we can roughly predict what the bokeh will look like beforehand. We create a prototype model but there can be gaps between what we expected from the simulation and exactly what we made, so we iterate with creation of the prototypes. So we model, create pre-production samples, evaluate and adjust before making another prototype model.

We firstly simulate a typical value of what we’d like to develop, then we can simulate the differences made by manufacturing tolerances, so we can predict those as well.

What are the challenges of making larger lenses with the high speed AF performance we’ve seen in Micro Four Thirds?

In terms of the mechanical part of the lens, we have a newly-developed double focus system and ultrasonic assist system. We have the double focus system in the 50mm lens and ultrasonic assist in the 24-105mm and 70-200mm.

In our double focus system, we have two groups of lenses which move independently for autofocus. Because we’ve separated the two groups, we can broaden the freedom of the development to give the best image quality and fast autofocus. Because we divided the AF into two, each group ends up being lighter, so they’re faster, too.

We have a newly-developed double focus system and an ultrasonic assist system

For the ultrasonic assist, it’s a new addition, on top of the linear focus actuator. The system keeps the lenses moving constantly, so that they don’t have to overcome ‘stiction’ [the friction that needs to be overcome to start moving] before being driven to the correct location. This means the force needed to drive the lens is much less. So we have an ultrasonic system moving the lens a matter of nanometers, to ensure the lens isn’t having to move from a dead start each time. It’s a small enough vibration that you don’t see it as AF wobbling.

Have you shared your DFD technology with Sigma and Leica?

The autofocus system protocol between the body and the lens is standardized in the L-mount alliance. So the other alliance members know what information the autofocus system needs. Beyond that it’s up to the individual lens businesses whether they include that information to be fully compatible. It’s up to them what they implement.

How do Leica L-mount lenses behave on the S1 and S1R?

Because this [DFD information] is already included in the protocol standard of the L-mount alliance, they already know how the body can command the lens to work.

The protocol hasn’t changed: L-mount lenses that already exist should work in the same way as our new lenses. The protocol was already fixed when Leica started it as the SL system. Of course we’re working on it all the time so it may be upgraded at some time, but for now it stays the same.

How does Panasonic plan to balance its resources between L-mount and Micro Four Thirds?

Because this was the launch of the S-series, we put the maximum effort into the S-series, including lenses. But you already know that we’re developing the 10-25mm F1.7 lens for Micro Four Thirds, that’s coming soon. So of course we are developing both S-series and G-series at the same time.

The forthcoming Panasonic Leica DG Vario Summilux 10-25mm F1.7 is supposed to show the company’s continued Micro Four Thirds ambitions.

Has the expansion to a new system involved any expansion of engineering or manufacturing capacity?

We have optimized our human resources internally so that we can develop both S series and G series to the highest standard.

The S1 video spec is good but not up to GH standard. Do you see L-mount making sense for pro/semi-pro video?

First of all, let us confirm the concept of these cameras: the S1R is for the professional photographer while the S1 is for the hybrid stills and video photographer, so the concepts of those models are a little bit different. This might be why the spec is not beyond the GH series.

In the future, we’d like to consider the users’ needs: it’s open to users’ feedback.

Do you feel there’s an advantage to Micro Four Thirds, when it comes to video?

There are many categories of video shooters from broadcasting or run-and-gun, through to cinema and creative videography. If we are thinking about broadcasting or run-and-gun videographers, there may be some advantage to the small, compact and lightweight combination. That’s the first benefit, compared to the larger sensor system. Image stabilization and overheating will be less of an issue, compared to full-frame sensors.

The degree of [creative] freedom broadens if you use a larger sensor, so maybe the cinema type of videographer would prefer the larger sensor, such as full frame. Maybe for cinema it’s better to take full frame.

Was EVA-1 level videography considered when developing the L system and its lenses?

Of course we have been discussing with professional camcorder team as a fundamental part of the engineering, but we haven’t discussed deeply how we might create such models. We’re not discussing which mount would be used for the coming product.

Of course we don’t disclose any further product information. At this point we don’t have any future information we can disclose.

Panasonic talks about the ‘cameraness’ of the S1: the degree to which it feels like a camera

You’re arriving in a very crowded sector of the market. What is it you think Panasonic can uniquely bring?

Firstly, cameraness: the interface, in terms of both hardware and software [making the device feel like a camera]. If you look at competitor models, they’re very innovative cameras but they’re having some negative comments in the market that the grips are smaller than expected or that the interface is [too] cutting-edge, leaving people confused when they first try to use them. We listened to a lot of customers’ feedback to create the S-series, so we designed the position of buttons, shape of buttons and also the menu settings accordingly. We’re proud of this cameraness and the interface, first of all.

In terms of features, we have the high resolution mode, which is number one in the market and Dual IS that gives up to six stops of stabilization. 4K/60p is a feature only we have in the full frame market and the electronic viewfinder is really high resolution: that too is number one in the market. This isn’t everything, of course, but we can offer all those functions and features, to even professional users so that they can easily come to our system and start using them for their professional work.

Also our HLG Photo mode: this comes from our background in videography and this allows for a new photographic style.

What does HLG mean for stills photography: what happens next? Editing tools for HDR images?

The editing, as you say, and the public awareness are important in the near future. Firstly we’d like everyone to try the HLG HDR photos, where people can have a [means] of expression beyond the standard definition.

In terms of editing, we are co-working with an alliance: we’re trying to find a solution to edit HDR images. On the technology side we’d like to be at least one step ahead of our competitors, so we will keep improving the image sensor technology to be capable for the high dynamic range world.

Of course we’re one of the few companies that can create HDR TVs as well as cameras, so of course we’re working with [our] TV business group. That way you’re not only shooting but can also display and view HDR images in the best possible environment.

For the HDR Photo style we’re working to have a wider [DR] option so that you can be really creative when shooting HLG photos.

Editor’s note

This meeting was a mixture of briefing and interview, which is why some of the answers are quite long and detailed. The upshot of this is, perhaps, that you don’t have to read quite so closely between the lines to see the message Panasonic wants to send. My own interpretation of it would be ‘we’re not just an electronics company: we care about even the most subtle aspects of image quality.’ Or maybe that’s just my response to hearing the word ‘cameraness’ again.

The thing I haven’t been able to capture in the text is the slide Panasonic showed me about the autofocus hit-rate they measured when shooting their cameras side-by-side with phase-detection-based rivals. The testing protocol wasn’t fully disclosed, but it showed their products delivering a hit-rate comparable to some pretty good cameras, and even out-performing phase-detection systems when the subject gets close to the camera.

My own interpretation of it would be ‘we’re not just an electronics company: we care about even the most subtle aspects of image quality.’

This is something we’ll be looking at as we test the S1 and S1R, because the general perception of DFD is that it’s flat-out inferior to phase-detection. This isn’t helped by the visually disturbing ‘flutter’ as the cameras try to maintain focus on moving objects (an effect made more dramatic by the high res viewfinders and shallow depth-of-field of the lenses on the S cameras).

Overall, though, it’s clear that Panasonic wants its S1 and S1R to appeal specifically to professional stills photographers. When it comes to video, the company’s plans seem less well-developed. For now, at least, it seems that Panasonic sees the GH series as its main video/stills camera platform.

Articles: Digital Photography Review (dpreview.com)

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How to Travel Light With Your Photography Gear

12 May

The post How to Travel Light With Your Photography Gear appeared first on Digital Photography School. It was authored by Karthika Gupta.

For the longest time, one of my dreams has been to live away from home and travel with my family for an extended period of time. I used to dream about all the places I could travel to, and how much fun I would have living a nomadic life. Of course, then I would wake up, and the realities of my responsibilities would take over.

Travel light with gear Karthika Gupta

A couple of years ago after a major life setback with the loss of my mom to cancer, I decided that my life was too short not to make my dreams come true.

That year, after several months of discussion and planning, my husband and I decided that our little family would spend our summer in India – traveling and visiting family. Somewhere along the way a trip to Ladakh, London, Zurich, and Rome got added to the roster. Pretty soon I was in charge of planning and packing for a life on the road for two and a half months. We’d be living out of just four suitcases – one for each one of us. As a photographer, I knew that somewhere in those suitcases I had to pack my camera equipment along with my essentials.

Since that year, my family made a conscious decision to take time away from everything over the summer and spend at least 3-4 weeks traveling. Last year we spent two weeks in Utah, and back-country camped for a week in the wilderness of Denver. As the official photographer (both for personal reasons as well as professional ones), I have had to nail down the task of packing my gear and traveling as light as possible to make the most of the trip.

Here are a few things that helped me make the most of my time away from home. It is very likely that I have missed some key photographic opportunities, but overall I am pleased with my gear setup, the opportunities that my family has experienced, and the images that I have created. As a bonus, all the camera equipment I take along make it back without any significant mishaps along the way. If traveling has taught me anything, it is that not every moment needs to documenting and not every piece of gear needs to be used at the same time!

1. Gear choices

Let’s face the reality of life as a photographer – we all love and want all the gear that we think we need wherever we go. As I pack, I realize that as a photographer I always have so many things I want to take. However, often the need for gear is quickly overruled by the need for practical things like clothes, shoes, and books. After a few days on the road, showers are not an overrated thing, they become necessary! I narrow down my list based on where my travels are taking me and what gear I could realistically carry and transport safely without any damage.

This is my typical kit for most travel adventures

A wide zoom lens – my go-to is the Canon EF 24-70mm f/2.8
A simple point and shoot camera (yes, this is my backup as weight is a concern on most trips)
One telephoto lens – I have the Canon 70-200mm f/2.8
One camera body – Canon 5D Mk III
3 camera batteries
1 battery charger
A small travel tripod – this is my latest addition and it fits in my carry-on bag
A remote trigger
7-8 camera CF cards ranging from 8GB to 32GB
One compact 2TB External Hard drives (backup photo storage)
Two generic lens and camera cleaner kits

All of these things comfortably fit into my REI brand hiking backpack. I use this bag for everything and store my gear in individual soft-cover bags inside the pack. This is what I have done since day one and something that has worked well for me.

As a mom of young kids, my backpack not only carries my gear but also snacks, extra t-shirts, books, color pencils and at a minimum, 5 matchbox cars of many colors. Just as the camera is my toy, my kids have their own toys that have to make it on every trip.

How to travel light with your gear Karthika Gupta

My most recent trip to Portugal had very limited gear because we were traveling light. So I had to get creative with my 24-70mm lens around town as I was enamored with all the beautiful tiles all over Lisbon!

The one thing I always wish I’d taken with me is a rain cover for the camera itself. My backpack has a rain cover, which I use when caught in a sudden downpour, but without a separate rain cover over my camera, I am not able to use it in the rain – which can be disappointing. Somehow, I always forget to buy one before my trips.

2. Organize and plan your trip

For me, being prepared and organized includes having a rough idea of where I am going and the kind of environment I am going to expose myself and my gear to. Before I leave for a trip, I jot down all the serial numbers, make and brand for my camera equipment, and store them in a document on my cloud-based Dropbox account. This gets updated and checked multiple times in the year as I sell and buy new gear. Just add this as one of your to-dos before you depart on your trip. All my external hard drives are stored off-site at a friend’s place as well as the remainder of my gear.

Now, obviously, this is a friend I trust. But another option would be to lock it in an off-site storage facility. As part of your research, another good thing to keep in your back pocket is the name, address, and contact information of authorized service dealers for your gear in the country you are visiting. Sometimes things go wrong no matter how prepared you are. Having information about services centers and authorized dealers for your gear is a time saver – especially when you are traveling in areas where internet connections are not very reliable.

During my travels, my gear choices depend on the activities planned and the kind of travel we are going to do. When traveling with my family in Rome and Zurich, we traveled everywhere either on foot or used public transportation. So I just carried my camera body and the 24-70mm lens among other daily necessities in my backpack. The rest of my camera equipment was either packed away in the hotel room safe or locked away in my suitcase.

When we hiked and camped in the Himalayas, my camera, along with both my lenses, were always on my person. The tripod was handed off to the porters that were carrying our camping gear. For my camping trips, I just carried all my CF cards and ditched the charger and external hard drive at the house where we were staying because it was highly unlikely I’d find a charging port on the journey.

Sometimes, if I ask nicely, my husband will carry my gear bag but only because it is not too feminine!! Also, it doesn’t scream camera bag.

How to travel light with your gear Denver Colorado Camping Trip

This is my camera bag, day pack, and hiking bag. It can hold a lot of stuff and has back support which is really important. Plus it is not too”girly” in case I need some help carrying it!

When we travel on a road trip, my camera and 24-70mm lens sit up front with me and store the rest of the gear in the car trunk. When I fly, I carry all my gear in my backpack – I am too paranoid about checking in any gear.

My next purchase for a long haul trip is going to be a Pelican case, so I don’t have to carry anything on my person. As I age, I find that I cannot carry heavy bags as easily.

All these choices are possible because of the research I do ahead of time.

Additionally, a good mindset to have when you travel to far-off exotic locations is one of acceptance of physical and mental limitations of both your and your camera gear.

I experienced some altitude sickness when I traveled to Leh and Ladakh as we were traveling on roads at almost 17,000 feet above sea level. I also found my gear did not function as efficiently at that altitude. My batteries did not last as long, and the camera also did not shoot as fast. The first few times it happened I freaked out. However, then I just accepted it as something beyond my control and gave myself some extra time to be patient when getting the shot that I wanted.

3. Know your gear

This one is too basic to include here, but it is amazing how many of us don’t follow this simple tip. We are so enamored with the latest and greatest gear available, but yet don’t quite know how to use the stuff that we do own.

The best way to get over this is to limit yourself to a few key pieces of camera equipment for an extended period. One of my photography goals is to capture star trails and the Milky Way. The opportunity presented itself when I traveled to Ladakh. After all, I was going to be in a remote part of the country at an altitude of almost 15,000-17,000 feet above sea level.

Now astrophotography is not my thing. I always limited myself from trying it out because I don’t usually travel with a tripod, nor do I own an intervalometer. So this time I downloaded the camera manual on my phone and studied it before I left. With that information, I was able to comfortably and confidently use the B (a.k.a Bulb mode) on my camera to capture star trails in Ladakh. It was quite a thrilling experience for my maiden attempt.

Nothing quite prepares you for seeing the milky way. That first glimpse takes your breadth away and without the right gear, it is impossible to capture.

This is one of my first milky way shots and now I find myself looking out for stars every night! This would have been impossible without a tripod and proper remote trigger.

Another good thing to practice before you head out is gear maintenance. I routinely clean my lens and camera throughout my trips, so I carry two camera cleaning kits because I know my gear gets a lot of time out in the elements when I travel.

Before every major outing, I spent the time to clean out the dirt and dust from the camera and the lens. I keep the dust pen in my camera bag in case I need it while I am out and about photographing.

4. Be local and think like a local

I have to include this one in any travel photography related article because it does relate indirectly to taking care of yourself and your gear. I often find photographers I meet along my journeys have a fake sense of entitlement. When you are a guest in someone’s house, are you not on your best behavior? Why is it that when you are a guest in another country, common sense and basic manners seem to fly out the window?

Locals are still people who deserve the same amount of respect and courtesy as anyone. Put yourself in their shoes and try to imagine what they experience when someone shoves a camera in their face without so much as a hello or a smile.

My 24-70mm lens is my go-to travel lens. It really lets me get into small places and photograph a variety of things. I am not one for a more obscure lens where people don’t know I am photographing them. Instead, I prefer to interact with people and let them know, rather see, that I am taking their picture. This is just the way I work.

While in Ladakh, we visited a lot of beautiful monasteries. Most of them are still in use, and we saw many temples where the monks were in prayer. Even if there is no sign discouraging photography, please use common sense not to invade their private space – especially when they are chanting.

I cannot tell you how many times I have come across tourists that almost jump over each other or hang out of moving cars just to take pictures of monks chanting and praying. Seeing this rude behavior almost made me embarrassed to take my camera out!

Being respectful has everything to do with travel and travel photography.

Additionally, flashing your fancy gear around is almost begging for the wrong kind of attention. One evening in Rome, I was out with my kids taking photos around beautiful horse-drawn carriages. We lost track of time and soon found ourselves in a deserted alley. I quickly put my gear away in my backpack, stuffed it with our jackets, grabbed my kids, and sprinted towards a more crowded piazza.

5. Make friends with local photographers

The internet is an amazing tool for almost anything. It is such a great resource to find and connect with other photographers, especially if you are traveling to areas that are new and foreign to you. When I travel, I always try to connect with some local photographers. We sometimes meet for dinner/drinks, chat on the phone, and just become friends.

They even give me advice on some of the local, non-touristy spots to photograph as well as offered to lend me gear if I need it (Well! Some do…not all want to part with their gear to a total stranger).

How to travel light with your gear Chicago Illinois

A recent trip to the city where I got to try out a 40mm lens and get some cool shots indoors in low light.

Conclusion

I hope these tips are helpful as you plan your next vacation in a far-off destination. Travel in itself is quite the adventure and adding photography to it is just the icing on the cake. However, remember to travel light and enjoy your trip for all that it is – not just a photography expedition.

Also, there is no such thing as perfect photography, but there is something known as a life-changing experience. Travel to experience more of those than just taking pretty pictures.

Do you have any extra tips for traveling light with your photography gear? If so, please share them with us and our readers in the comments below.

The post How to Travel Light With Your Photography Gear appeared first on Digital Photography School. It was authored by Karthika Gupta.

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

11 May

There’s no doubt that the Fujifilm XF 8-16mm F2.8 is a beautifully built lens. It’s also quite heavy, and at £1750 / $ 1900 it’s a pretty serious investment. Is the expense worth it? Chris and Jordan take to the hiking trails of Alberta to answer that question.

Beautifully-built lens. Is the expense worth it? hike in mountains in Alberta

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Introduction
Design
Lack of OIS
Autofocus
Coma
Vignetting and Sun Stars
Close-Focusing
Sharpness
Compared to Sony 12-24mm F4 G
Conclusion

Sample gallery from this week’s episode

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Our Fujifilm XF 8-16mm F2.8 sample gallery

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_0216755794″,”galleryId”:”0216755794″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
Articles: Digital Photography Review (dpreview.com)

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How to Create and Use Gradient Maps in Photoshop

11 May

The post How to Create and Use Gradient Maps in Photoshop appeared first on Digital Photography School. It was authored by Glenn Harper.

We often perceive color in digital photos to be “correct” when the neutral tones – if they exist – are indeed neutral. But in the real world, light always has some color cast or other that affects the areas it illuminates. A camera sensor ruthlessly reproduces these uninvited hues, but still, we try to edit photos to reflect our own vision. Gradient maps can either correct color or spin it to your advantage.

A blue gradient map removes the reddish color cast of artificial lighting (as per right of picture). Your choice of hue, saturation and brightness gives you fine control over the result.

You can use gradient maps for dramatic black and white conversions or create different monochromatic effects, but this article focuses on color gradient maps to:

Use them to subtly improve photos
Separate elements within your compositions using color contrast
Make subjects stand out

Color gradient map on a black and white image

This image was originally black and white. Because the fog in the picture creates smooth transitions in tone, you can clearly see what the “robin egg to orange peel” gradient is doing.

What does a gradient map do?

A gradient map at its simplest is a smooth gradation between one color (or tone) and another. Let’s say you have a gradient map that goes from green to orange. When you apply that to an image, the shadows would have a green tint and highlights an orange one. The mid-tones are typically least affected except with more complex multi-color maps.

Here, a black and white gradient occupies the lower half of the image. Above that is a color gradient map, and above that is the effect it has on the lower half once an “overlay” or “soft light” blending mode is applied (soft light tends to be more subtle). Don’t worry if you can see banding.

You might be wondering at this point: why would I want to twist the color of a photo and effectively give shadows and highlights a color cast? This, after all, is virtually the opposite of a white balance correction. One reason is to enrich the colors that already exist in a photo.

Using a color gradient map to enhance colors

For this picture, I’ve created a custom gradient map that emphasizes the orange brickwork and the deep blue sky. This is one way of warming up the building without forfeiting the color of the sky.

Another good reason to use gradient maps is to harness the power of complementary or analogous colors and create more eye-catching pictures. Sometimes, the feel of a photo is more important than the truth, which only ever exists in degrees to begin with.

an old color wheel - complementary colors

An old color wheel illustration. Opposite colors are complementary colors, so they’re a good choice for gradient maps.

If you imbue your shadows and highlights with complementary colors, you will often make the photo a little more eye-catching. It might be subtle, but it still works in your favor. This isn’t a magic bullet that makes all photos great, but it’s fun to experiment with. You’re becoming a colorist.

Creating gradient maps

The simplest way to create a gradient map in Photoshop is to go to your toolbar and set the background and foreground colors to the ones you want at either end of your gradient. Then, when you open the gradient map, the colors are already in place.

If you want to use precise colors in your gradient map – perhaps complementary colors you’ve found on the Internet – you can enter the hex numbers into the color picker pane instead of randomly sampling.

Gradient maps don’t have to include radically opposing colors. This one has a cold effect all the way through.

Method 1

This is one method for creating a gradient map:

Open your image in Photoshop.
Go to the toolbar and set the background color (click on the rear of the two squares to bring up the color picker pane). This will be your highlight color, bearing in mind you can reverse the gradient in Photoshop anyway.
Do the same with the foreground color by clicking on the front square. This will be your shadow color.
With the shadow/highlight gradient colors chosen, open a gradient map adjustment layer. At this point, the photo looks drowned by color, but we’re not done yet.
Choose either soft light or overlay blending modes and adjust the opacity to taste.

Needless to say, not all gradient maps suit all pictures. One way to create useful gradient maps is by looking for color schemes on the Internet. There are also websites that discuss the color palettes used in movies or movie scenes, which you can “borrow” for your own photos.

Adobe color themes - complementary colors

You can use “Adobe Color Themes” to find the perfect complementary color for one that you’ve chosen. Create a gradient map accordingly. In this case, the yellow-green hue in the little squares is the opposite color to this patch of purple.

Method 2

A more tailored way to create a gradient map is as follows:

Open your image in Photoshop.
Open a gradient map adjustment layer.
Set the blending mode to soft light or overlay.
Click on the gradient to open the gradient editor.
Click on the left color stop (square slider at lower left), then click in the color window that activates.
At this point, you can adjust the shadow color and see its effect in real time on your photo as you move the color picker around.
Do the same with the right-hand highlight color stop.
Now you have a custom-made gradient map for that image.

Note: you have to use the preset manager in Photoshop to save your gradient maps if you want to use them again. Otherwise, they vanish when you close the program.

Color gradient - layer mask - selective editing

If you use gradient map layers rather than direct edits, you have a layer mask built in. In this picture, I wanted the deep blue-green of the water that contrasts well with the reflecting lights, but I didn’t want to lose the warm shadows in the buildings. I brushed those back in, so the gradient map only affects the water and sky.

Gradient maps vs color LUTs

An alternative to gradient maps is color LUTs (look-up tables), which you can also find in Photoshop and other programs. Rather than applying color according to the tone of the image as a gradient map does, a LUT shifts hues numerically.

The latter often causes a radical change in mid-tone subjects like skies and trees, whereas simpler gradients tend to leave those areas relatively unscathed. But it depends. LUTs, like gradients, vary a lot in their effect.

Comparison between color luts and gradient maps

This is a comparison between an orange-teal color LUT (left) and an orange-teal gradient map. Both are more atmospheric than the neutral image I started with, though the LUT has completely altered the color of the trees to the right. Mid-tones are less changed in the gradient map, but highlights are decidedly more orange.

The starting point: white balance

Whether you apply a gradient map or a LUT, the end result is affected by the preexisting white balance in the image. As photographers, we don’t always want to drain a photo of warm or cold light with a white balance adjustment. It’s frequently this light that makes the picture – adds to its atmosphere. However, such an adjustment ensures a purer result with gradient maps and LUTs.

Color LUTs and gradients are usually designed from a white-balance-corrected starting point. So, if you want to see them as the author intended, consider correcting white balance at the raw stage. This isn’t anywhere near compulsory: you can simply lay these edits over photos and they’ll act as filters. Just know that their effect can be exaggerated, skewed or diminished if the photo already has a color cast.

If you customize a gradient map to suit the image, the need for a prior white-balance adjustment obviously disappears. But this is time consuming compared to having a set of tried-and-tested presets at your fingertips.

The color in the red lens at the front is brought out by this gradient map and the tone of the wood becomes darker than the original. There’s some cool-warm contrast going on here between wood and glass.

Creating multi-color gradient maps

I find simple two-tone gradient maps more useful and certainly more versatile than complex ones, but you can add further colors to the gradient if you wish. You might add a separate color to mid-tones, for instance.

Use analogous colors (sets of three closely related hues) or triadic colors to inspire you, or customize a gradient to enhance the colors that exist in a photo.

I probably wouldn’t go for this look, but it illustrates the effect of a three-color gradient map (violet, green, orange – a triadic combo). The different tones in this abstract architectural shot bring all three into play, albeit with a very subtle orange in highlights.

Here’s the method for adding a further color to your gradient:

Open your image in Photoshop.
Create a two-color gradient map as above (steps 1-7).
Click under the center of the gradient in the gradient editor to create a third color stop.
Click on the newly created color stop to activate the color window, then click in that window.
Choose a third color that complements the image (e.g. for mid-tones) and adjust its effect by changing the position of the middle slider. The small outer sliders alter the area affected by this color regardless of its position along the tonal range.

The more colors you add, generally the muddier and less “realistic” the photo appears, but that may be an effect you’re going for.

mullti-color gradient - Photoshop preset

I can’t think of a useful role for this multi-color gradient map. However, it does serve to show you how colors are distributed across different tones. By initially viewing the image in “normal” blending mode, you get a clear idea of how colors will affect the photo before you switch to overlay or soft light.

Using restraint

You can add gradient maps to photos and many people won’t notice you’ve done it. But that’s not to say they don’t have the desired effect.

Just like in the movies, you’re using color to create a mood or make the subject or foreground stand out from the background. You’re not necessarily trying to draw attention to the color itself, even if it pleases your eye.

Many photographers think in terms of light and dark to create impact, or saturation boosts, but color contrast is a rarer consideration.

Although gradient maps (and color LUTs) are powerful tools for making pictures stand out, it’s easy to get carried away with them. After a period of overdosing, you’ll come to recognize the types of images they work best on and which of your gradients to use where. Here are five free gradients you might like to try out. Happy colorizing!

Try out these techniques and share your images with us in the comments below.

The post How to Create and Use Gradient Maps in Photoshop appeared first on Digital Photography School. It was authored by Glenn Harper.

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How to Buy A DSLR Camera For Beginners

11 May

Thinking of buying your first camera? Congratulations! Upgrading to a DSLR or mirrorless camera is an exciting time, and will open up many opportunities for you to expand your photography. Maybe you’re thinking of upgrading from your camera phone –and are looking for a DSLR that’s up to the task. Regardless of whether you’re looking to take your photography to Continue Reading

The post How to Buy A DSLR Camera For Beginners appeared first on Photodoto.

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