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Tips for Styling and Photographing Interiors

27 May

The post Tips for Styling and Photographing Interiors appeared first on Digital Photography School. It was authored by Lily Sawyer.

dps-how-to-style-interiors-for-photoshoots-lily-sawyer-interior-design

On Instagram, I run a page called Layered.Home that’s focused on interiors: design, styling, home improvements and lifestyle in an interiors setting. Here, I work with brands on their brand awareness campaigns and product placements. All these involve styling and photographing products and spaces, sometimes with a specific brief to adhere to and at other times I have the freedom to style as I wish.

The unprecedented rise and popularity of social media platforms has paved a way for a new photography niche: personal brand photography. This is where photographers shoot content for brands to use on their website, promotional materials and social media posts. Whilst this is not my niche, I have photographed businesses, interiors and products both for clients and for my own social media page and continue to do so.

Here are some articles I have written on this topic before: shooting interior spaces , taking better photos for Instagram and photographing mixed lighting for interiors.

Whilst I hope the above articles will give you some photography techniques, this article will focus on some techniques when styling interiors for photoshoots and some tips for photographing them at the end. Let’s dive in.

dps-how-to-style-interiors-for-photoshoots-lily-sawyer-interior-design

Purpose of the photoshoot:

Before you can style interiors successfully, first you have to ascertain the purpose of the photoshoot. Who is it for? What is it for? Are there any targets to meet? Regardless of the answer, bear in mind that the styling must always be on-brand.

Whatever the purpose may be, it is imperative that you understand your client’s branding first and foremost and that you style to strengthen the brand, not to dilute it.

Some purposes of styling might be for the following:

client’s website – images for landing pages, blog posts, slideshows etc.
social media feed – styling content for Instagram, Facebook, Twitter etc
seasonal promotions – spring, summer, autumn, winter, etc
advert in a magazine
feature in a magazine – magazines also have their own niches and styles so stylists match interiors to appropriate magazine brands
product placement
brand awareness campaigns

The latter two usually allow scope for styling off-brand. It may be because the client wants to reach your audience. Therefore, they may want you to style the product for your brand instead of theirs to reach your audience and as a result, expanding their customer base.

dps-how-to-style-interiors-for-photoshoots-lily-sawyer-interior-design

Style

There are many styles with now trendy names coined to describe them such as Scandinavian or Scandi, Bohemian or Boho, Scandi-Boho, Modern, Mid-century modern, Minimalist, Maximalist, Eclectic, Mediumalist(!), Retro, Vintage, Contemporary, Traditional, Transitional(!), Industrial, Country, French-Country, Rustic, Shabby Chic, Hollywood Glam, Period (eg. Victorian, Edwardian), Coastal. And it goes on.

Play it safe by reading up on the style or mixtures of style and nailing down the accessories and pieces that are appropriate for them.

Understanding both purpose and style will help make you an effective stylist.

Styling Tips

1. When it comes to styling, there are two general camps: hero or layer?

Hero styling is putting a piece in the spotlight, the piece that takes all of the attention. Nothing else surrounds it that might take away any of that attention and make the piece disappear. The aim is to evoke a strong response from the viewer and create maximum impact.

Layering is the opposite type of styling. This is where you carefully style a piece within an arrangement of various other pieces, often varying in texture and form. Layering creates a cohesively styled space that evokes a strong response – the same aim as hero styling, but as opposed to hero, it doesn’t do so alone.

If you think about it, the aim for many, if not all images, whether viewed on print or digital media is the same: the scroll-stopping, track-stopping, breath-taking response from the viewer. I’m sure there are many other ways to get there, but the aim is the same.

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2. Evaluate what goes on the 6 walls!

In a space, there can be up to 6 walls; the latter two are almost always forgotten! When one walks into a room or space, the first things we see are usually eye level surfaces and spaces, and that means the walls in front of us and around us. We notice pictures, mirrors, tall lamps, and accessories at eye level.

A successfully designed space invites the viewer’s eye to wander everywhere and notice, not just eye-level design, but all-levels design. This includes the 4th and 5th walls – the floor and ceiling. A rug can do wonders to a floor in the same way a statement light or a painted/wallpapered ceiling can draw attention upwards.

Regardless of the style you are creating, bear in mind the 6 walls in your space.

dps-how-to-style-interiors-for-photoshoots-lily-sawyer-interior-design

3. Play with scale

Whether you are styling a Minimalist Scandi space or a Maximalist eclectic interior, do not underestimate what playing with scale can do to a space. You may be designing an all-white Scandi minimalist room with only six pieces in the room. Imagine having all of those six pieces at all the same scale – all small, medium or large.

Alternatively, imagine playing with scale using those six pieces so that you are putting an oversized light arching towards the center of the room or hanging low from the ceiling and an oversized rug on the floor. The rest of the pieces are a mixture of medium and small. Immediately you are upping the interest level and increasing the dynamic of the space.

dps-how-to-style-interiors-for-photoshoots-lily-sawyer-interior-design

4. Arrangement

In a Maximalist interior, it is easier to play with scale because you are dealing with so many decorative items often in varying sizes. The challenge is not so much the “what” as it is the “how.” How do you group and arrange together all these items so that there is order in the madness? Or so a full room does not look cluttered, and somehow there is a tidy structure to it all?

You can arrange by size, color, theme, in rows, or you can mix-and-match and group items, so a busy space gets punctuated by quieter spaces in between. I find that having such a structure helps with how the space is received.

dps-how-to-style-interiors-for-photoshoots-lily-sawyer-interior-design

Photographing interiors

Finally, you have finished styling. It is now time to photograph your space.

Photograph wide so that you show the entire space. Be careful of going too wide where distortions are disturbing or cannot be corrected, especially when shooting at 24mm and wider. A focal length between 35mm – 50mm is easy on the eye and won’t give you distortions.

Although interiors favor a wide-angle view of the space, close-ups are just as important. Use them to focus on specific features of the space or product. Get closer in and photograph vignettes and interesting compositions. Use mantle pieces or shelves for horizontal bases and alcoves or chimney breasts or sofa arms for vertical lines. Think of strong compositional framing and use elements in the space to achieve them.

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Spaces look better when there is a contrast between light and shadow. This is why the use of flash (especially head-on, and flash that creates flat light illuminating an entire space) is often frowned upon and natural light is more favored. Choose a time of day where the light is at an angle, and you can photograph light and shadow. It looks natural and evokes emotion from the viewer.

That is what really makes an image successful.

dps-how-to-style-interiors-for-photoshoots-lily-sawyer-interior-design

I hope these tips help you style and photograph spaces and interiors.

Do comment below if you have tips to share, or if you would like to share some of the spaces you style after using these tips.

The post Tips for Styling and Photographing Interiors appeared first on Digital Photography School. It was authored by Lily Sawyer.

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Are Early 2000s Digital Cameras Secondhand Bargains?

26 May

The post Are Early 2000s Digital Cameras Secondhand Bargains? appeared first on Digital Photography School. It was authored by Glenn Harper.

Today, digital photography is ubiquitous, but there is still a demand among enthusiasts for classic film cameras. By all accounts, the analog medium has made a comeback over the last 2-3 years. What you don’t often hear of is people hankering for older digital cameras, even for the sake of nostalgia. Technology has moved on, but has it moved on so much that they are obsolete? Or are early 2000s digital cameras secondhand bargains? We’ll find out.

There is still plenty of love out there for old film cameras. This is an Olympus OM10 (c. 1978-87).

Inescapable truths

Those of us that have been shooting digitally for over ten years probably don’t miss the early days of post-processing. The sensors were noisier and there was no in-camera dust removal. One way or another, a lot of time was spent trying to clean things up. Less advanced, too, was the software we used to process photos. Trying to recover highlights or remove noise, for instance, was harder than it is today. Photos were abandoned that might be saved with modern editing.

The original Canon EOS 5d (c. 2005) had no dust-cleaning capability. Neither did I. Whenever I had the sensor cleaned, dust spots quickly reappeared.

Aside from noisier, dirtier sensors and editing limitations, exterior hardware on cameras was also inferior in the early days. LCDs were smaller with a lower resolution, and electronic viewfinders weren’t as clear. The benefit of a bright viewfinder shouldn’t be underestimated, and it’s still a feature of higher-end cameras today over entry-level models (e.g., pentaprism vs. pentamirror optical viewfinders).

Sensor resolution

With camera age comes the question of sensor resolution. Modern cameras have high-res sensors. More resolution gives you more freedom to crop pictures after the event and still end up with a decent-sized print. It’s like having an extra lens. Many photographers prefer not cropping pictures, but it’s a luxury that didn’t always exist. In the “old” days of low sensor resolution, there was more discussion among photographers on interpolation methods. People wanted to make their digital files bigger so they could create larger prints. That subject is now almost archaic.

The CCD sensor of the Panasonic Lumix DMC-FZ28 (c. 2008). Despite having a smaller sensor than the earlier FZ30, the FZ28’s resolution was higher. Advances in sensor technology are frequently used to increase resolution rather than substantially decrease noise. Photo: Thomas Bresson [CC BY 3.0], via Wikimedia Commons

Glimmer of light

Despite the drawbacks of using old digital cameras, some had useful features that are rare or even extinct today. And the minuses are mostly surmountable. Let’s examine three cameras that are all 10+ years old and see what we can do with them. All of the following are eminently affordable on the secondhand market: more so than many classic film cameras.

Old camera #1: Sony Cyber-shot DSC-R1

Even by today’s standards, the 2005 10.3-megapixel Sony DSC-R1 is an innovative camera. It never sold well, but it had a unique combination of a fixed 24-120mm Carl Zeiss lens, an APS-C sized CMOS sensor, full-time live-view LCD display (a first at that sensor size), and live histogram. The technical quality was/is excellent.

Sony Cyber-shot DSC-R1 - early 2000s digital cameras

The Sony Cyber-shot DSC-R1 is a bridge camera with a large APS-C sensor. It was unusual in 2005 and remains so today.

The main limitation of the Sony R1 is a sensor that gets noisy above ISO 400 combined with an absence of image stabilization. This is not a camera you can easily use for high-quality interior photos without a tripod. You have to employ old-school sturdy shooting methods with controlled breathing, a good stance, a steady hand, and a camera braced against pillars or posts if necessary.

This is a Sony R1 JPEG with a bit of fill light from the built-in flash. I persist with the raw files despite their slowness in writing.

At ISO 160-200, Sony R1 pictures are clear with great color. At ISO 400 they’re still good. When viewed at 100%, the images are satisfying with lots of detail. On the minus side, raw files take a long time to write on the R1 (several seconds, typically). This was never a rapid-fire camera for those aiming to pull the most quality from it. The R1 takes CF cards or Sony memory sticks – no SD cards.

The quality of the R1’s Carl Zeiss T* 24-120mm lens doesn’t disappoint. Exposure: 1/160th sec, ISO 160, f/8, approx 40mm equivalent focal length.

The R1’s WLF (waist level finder)

The flip-out 2″ LCD of the R1 didn’t appeal to everyone as it swivels upwards, effectively making the camera bigger. It’s already quite a bulky bridge camera. Personally, I love the fact that the LCD screen can slot flush into the top of the camera, turning it into a waist-level finder. That’s great for candid portraits or street photos, even if you have to wait for those big Sony raw files to write (you can shoot JPEGs). The camera has an electronic viewfinder that’s dimmer and lower resolution than you’d expect from today’s cameras, but it’s usable.

I’m not aware of any other digital stills camera that allows this. The LCD is only 2″ wide, but that allows it to slot neatly into the top of the camera like a WLF.

Of all the digital cameras I’ve used, the Sony R1 is one of the few that I haven’t sold over time. I can’t bring myself to get rid of it because of its quirkiness and quality. For those familiar with him, well-known US photographer and blogger Kirk Tuck was still singing the praises of the R1 just a few years back. This is a secondhand bargain if you can cope with the cons.

Old camera #2: Panasonic Lumix DMC-FZ30

The main problem with the 2005 Panasonic Lumix FZ30 is the noise from its 8-megapixel CCD 1/1.8″ sensor. Even at ISO 80, it’s there. That aside, there are many appealing features. The 12x Leica-branded optical zoom lens with image stabilization is sharp across its whole range. Despite its age, the electronic viewfinder in this camera isn’t bad, even if the dioptric dial nudges out of place too easily. I tend to use the EVF more than the 2″ flip-down LCD.

The 12x optical zoom of the Lumix FZ-30 is fairly modest by today’s standards and isn’t very wide at the wide end. But still, you get good long-lens versatility that doesn’t seem to exceed its Mega O.I.S. ability (Optical Image Stabilization).

Offering all the exposure control you’d expect from an SLR, the Lumix FZ30 also allows raw shooting – a strong point in its favor. With today’s processing, and by restricting your photography to base ISO where possible, you can achieve good results. Limiting? Yes, but you get 36-432mm versatility for your trouble. The stabilization is effective, allowing you to make use of that long zoom at relatively low speeds with good technique.

Panasonic Lumix DMC-FZ30 controls - early 2000s digital camera

The Panasonic Lumix DMC-FZ30 feels well made and gives you as much control as you want. Aside from allowing raw files, it captures modest VGA res video (typical for its age).

This is a camera that yields detailed pictures, is quick to handle, has long battery life and doesn’t hold you up with big raw files. One frustrating aspect is the need for 2GB SD cards to run it, which many people will not have in this day and age. It doesn’t accept SDHC cards (4GB+).

This is a 100% section of an FZ30 file with Adobe’s “enhanced details” and some basic masked capture sharpening applied in Lightroom. The detail isn’t at all bad at base ISO and unsharpened noise is unimposing. (Best viewed full size @ 1500 pixels.) Exposure: 1/500th, f/5, ISO 80.

Although noise is an issue with the Lumix DMC-FZ30, that is less important now than 14 years ago when the camera came out. Software like Topaz AI Sharpen, though not perfect, is good at suppressing noise and bringing out detail. The tools in Lightroom and other programs have also improved no end. Old cameras become more viable as processing technology advances.

Panasonic Lumix FZ30 - Early Digital Cameras

Exposure: 1/160th @ f/4 – ISO 80. The focal length is 52mm, equating to around 250mm in 35mm terms. Image stabilization is probably helping a little here.

Old camera #3: Canon EOS 450D/Rebel XSi

I wouldn’t recommend early digital SLRs to anyone based on dust problems alone, but that becomes a non-issue four generations in. The Canon EOS Rebel XSi (450D in Europe) came out in 2008. It was an entry-level DSLR offering many benefits over previous models. Among them were a sizeable 3″ LCD, Live View with phase and contrast detection AF, spot metering and a bigger, brighter viewfinder.

The lightest camera among the three even with its lens is the EOS Rebel XSi (450D). The kit lens is good, but a cheap 50mm f/1.8 would make even more of the camera’s excellent sensor.

The Rebel XSi is small and light by SLR standards and won’t give much satisfaction to metal-loving traditionalists. It doesn’t feel substantial. However, it’s understated and functional, and lets you go about your work stealthily. No-one is going to think you’re a pro, no matter how well you hold the camera. The most noticeable flaw is some wacky white balance results from time to time, especially under artificial light. Shooting raw, that’s not a deal-breaker.

Caanon EOS 450D - eary 2000s digital cameras - bargains

This 100% view (with capture sharpening) shows good detail from the 18-55mm Canon kit lens. A 50% view creates more of a real-world impression, so this is okay at full size.

As you might expect from a Canon CMOS sensor, noise levels are low with the EOS Rebel XSi (lower than the Sony R1, for instance). Obviously, they’re not as impressive as a high-end camera from today or even yesterday, but you can risk ISO 800 or even max ISO 1600 images for some indoor shots and polish them up later. Better still, you can make use of live view, manual focusing and a tripod if circumstances allow.

Topaz Sharpen AI is good at sorting out detail from noise, though you have to check over the result for artifacts. This is an ISO 800 shot viewed at 100% with Topaz sharpening and noise suppression. This type of software is only going to improve.

A question of balance

If you’re using heavy “L” series lenses, they may not sit well on the Rebel XSi. It doesn’t have any heft. The original 18-55mm kit lens is sharp, lightweight and has good image stabilization. A modern equivalent of the Rebel XSi would give you more resolution, more advanced processing (a little quicker, less noise at high ISOs), a higher res LCD and video. All this was available in the camera that superseded it in 2009 – the EOS Rebel T1i (500D). But the stills photographer looking for a bargain DSLR might find an answer in the Rebel XSi. It has just enough and a bit more.

Canon 18-55mm IS kit lens - EOS 450D - bargain early 2000s cameras.

This 50% crop gives you a good idea of what the 2008 18-55mm kit lens can do, albeit through a compressed JPEG. There’s not much to complain about quality-wise, even if the sensor promises more.

Conclusion

With modern processing at our disposal, digital cameras from the early part of this century have more potential now than they had when new. Especially those that shot raw files. Yes, you’ll find it hard to go back to them if you’ve spoiled yourself with ultra-high-res LCDs and mega-bright EVFs. But some of the downsides in old cameras have upsides of their own: less brightness and resolution means better battery life. Low-res sensors mean not editing football-pitch-sized files.

You wouldn’t use old cameras if your living relied on the best high-ISO performance. Still, any of the three models I’ve discussed can easily produce a publishable, high-quality photo if you accept their constraints and process the files carefully. Other than the Sony R1’s slow write times, the cameras are quick and easy to handle.

So, with one or two caveats, I’d say early 2000s digital cameras can definitely be bargains.

Do you use any of these cameras, or have any to add to this list? Please share with the dPS community in the comments below.

The post Are Early 2000s Digital Cameras Secondhand Bargains? appeared first on Digital Photography School. It was authored by Glenn Harper.

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Mastering Photography: Nature vs. Nurture

26 May

I have three kids and they are all so different, one is quite shy, one is super confident and the third never stops talking – they have all been raised the same so I often wonder about ‘nature or nurture’.

I was recently in the Faroe Islands and had planned to make a video on the rules of photography but ended up discussing the nature vs. nurture argument for photography, which actually produced a more compelling result.

Evening rays on one of the many amazing fjords in the Faroe Islands.

Ever since I can remember, I have been fascinated by photos and rich visual communication. At school I had difficulties with English, reading and writing and it was only when I was in my twenties that I found out I was dyslexic. Although reading was a struggle, I loved to look at photo books and would spend hours studying them, pondering over the photos, and trying to work out why they looked so good.

I took up photography at the age of 13 and found it to be a great way to express myself – I was much more comfortable producing a photograph that told a story, rather than the written word. Even though I enjoyed being creative through photography, I didn’t have a natural talent for it and my early results left a lot to be desired!

Jump forward over 30 years and I now consider myself to be a competent landscape photographer. Practice doesn’t make perfect, and there is always something new to learn; but I feel that I can usually find a good composition when I go out shooting; and I now have a portfolio of photographs of which I am proud and which people are willing to buy so that they too can enjoy the images.

Spring – Printed on Fotospeed NST bright white paper.

So if I didn’t have a natural talent for photography, have I managed to nurture what little artistic talent I did have to make myself into a better photographer?

Ansel Adams once said, “There are no rules for good photographs. There are just good photographs.”

Although I agree with the sentiment behind this quote, I have actually spent the last few years building my YouTube channel and trying to explain to people what makes a good photo and how they can improve their photography. There are certain rules, or maybe best to call them guidelines, that apply to landscape photography that usually help us to achieve better results.

Ansel Adams once said, “There are no rules for good photographs. There are just good photographs”.

Photography isn’t quite like the art of drawing a cartoon or painting a picture. It is a combination of technical knowhow and artistic interpretation. If you just have one part of the puzzle, you aren’t likely to get the best results. Don’t get me wrong, give an accomplished artist a camera phone and they would likely produce something superior to a less artistic person. But a non-artist can also produce a great photo.

My wife, Ann is a prime example – she can’t even draw a straight line but she is actually great at finding unique and interesting compositions for photographs (probably a result of spending hours out on location with me and listening to me rambling on about composition and getting excited about great light).

When it comes down to it, there are four elements that you need to master in photography and these are subject, light, composition and timing which are discussed in my video on the four elements of landscape photography. It is really only the composition element that is the artistic one – how you go about placing all the elements in the scene in the most pleasing way; or perhaps more importantly, what do you leave out?

Passing Storm, Faroe Islands.

So, can you learn this? Is there a set of rules for you to follow to improve your composition? Is there a limit to how good you can get by learning such rules and can you become more artistic?

Take this image for example – can you say what makes it a good photo or what can be improved?

Essence of the Faroes.

Try it with a friend. Critically consider ten photos that aren’t yours and explain to each other why they are good or bad, what you like and what you think could be improved – you’ll be surprised how useful an exercise this is.

In this video I consider a number of photographs and explain why I think one of the keys to becoming a great photographer is to study accomplished images and try to work out what makes them so good.


The first shot I took: great composition, great subject, but poor light and poor timing.	Ten minutes later: great composition, great subject, great light, great timing.

Even if you have all the elements in the same place, you also need to have patience (a quality that I wasn’t born with, but which I have learned to master) in order to wait for the best conditions and get the timing right. Light can make an enormous difference to a shot. Take a look at the two images above. The only difference is time. The light has changed significantly and the photographer moved, but it was just a case of waiting for the right moment.

I explore ‘nature or nurture’ a bit more in the video below, where I also discuss light and simplicity in more detail. What are your thoughts on nature vs. nurture? Let me know in the comments!

Articles: Digital Photography Review (dpreview.com)

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X-Rite’s ColorChecker Camera Calibration software gets DNG support, more in 2.0 update

26 May

X-Rite has released an update for its ColorChecker Passport software that adds a few new features to help get the most accurate colors possible in your photography workflow.

ColorChecker Camera Calibration software version 2.0 (updated from version 1.2.0) has added support for X-Rite’s Digital ColorChecker SG target and now offers the ability to produce camera profiles for both the DNG and ICC color management workflows.

The software update is available for macOS and Windows computer systems and is available to download from X-Rite’s support page.

Articles: Digital Photography Review (dpreview.com)

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7 Photography Exercises to Take Your Nature Photos to the Next Level

26 May

The post 7 Photography Exercises to Take Your Nature Photos to the Next Level appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Do you want to improve your nature photography skills? Do you want to take stunning nature photos, consistently?

Don’t worry.

In this article, you’ll discover 7 photography exercises all designed to get you capturing unbelievable nature images.

(Plus, the exercises are a lot of fun!)

So, if you want to improve your nature photography…

…keep reading.

1. Shoot a single nature subject from 9 different angles

Here’s your first nature photography exercise (and my favorite):

Choose just one nature photography subject.

And shoot it from at least nine different angles.

This will force you to stretch the boundaries of your creativity. It will force you to start looking at your subjects in many different ways.

The first five angles might be easy enough. But the last four will be a struggle – as it should be!

A few excellent angles to try:

Shoot on a level with your subject
Shoot from directly above your subject (if you can)
Get below your subject and shoot upward

Then, once you’ve finished the exercise, pull up the photos on your computer. Take note of the different angles and how they gave your subject slightly different looks.

And next time you’re doing photography, use those angles!

2. Shoot a subject you normally avoid

This exercise is all about getting you out of your comfort zone.

Because if you don’t get out of your comfort zone, you’ll never grow as a photographer.

So here’s what you do:

Think about the subjects that you normally shoot.

And then…

Pick a subject that’s radically different. And shoot that subject, instead.

If you normally photograph birds, shoot flowers for a day.

If you normally photograph landscapes, shoot wildlife.

Just pick something that you don’t normally like shooting.

If you want to make this exercise extra useful, then don’t just shoot another subject for a single outing. Instead, do it for a week (or even a month).

You’d be amazed by the tricks you pick up from learning another area of photography.

3. Bring just one lens into the field

Here’s the thing:

When photographers go out for a photoshoot…

…they tend to take multiple lenses (and even multiple cameras).

And while this will give you a lot of flexibility, it won’t force you to think outside the box.

But I want you to think outside the box. I want you to think in new ways.

So the next time you go out to shoot, leave all your normal lenses behind.

Instead, bring just one lens.

And (if you’re feeling adventurous) make sure it’s a lens that you don’t use very often.

This will force you to take nature photos that you would’ve never even considered.

4. Shoot a Scene With Four Types of Light

Nature photography is all about the light.

Which means that, as a nature photographer, you must learn to master the light.

This exercise is designed to help you do that.

You start by picking a scene.

Then you photograph that scene with four types of light:

Cloudy light
Midday light
Sunrise/Sunset light
Shade

This will undoubtedly involve coming back several days in a row.

But it’s worth it.

Because once you’re done, you should look at all the photos you took.

And note how the different types of light gives you different types of nature photos!

5. Take both still shots and action shots of your subject

Oftentimes, we get in the habit of shooting the same type of subject, over and over again.

I’ve already given you one way of avoiding this problem.

But another way…

…is to keep shooting that same subject. But shoot it in a different way.

Specifically, try to take a combination of shots:

Still shots.

And action shots.

For those of you who shoot birds or wildlife, this shouldn’t be too difficult.

But for flower and landscape photographers?

This will be tough.

If you generally photograph still subjects, you may have to get creative. Try to take some intentional camera movement photos. Or see if you can get some sort of action to happen in the frame (e.g., flowers blowing in the wind, waves crashing on the beach).

And that’s it! This will force you out of your comfort zone. And get you taking some fresh photos!

6. Edit your favorite nature photo in 5 different ways

One thing that you need to know:

Post-processing is a significant part of capturing stunning nature photos.

Even small adjustments go a long way.

So for this exercise, you should start thinking about different post-processing options. And edit your favorite nature photo in five distinct ways.

You should experiment with edits in Lightroom, Photoshop, or another high-quality editing program. See what happens when you increase the saturation. See what happens when you drop the contrast.

And try to do some new edits. Things that you haven’t done before.

For instance, try some yellow/blue split toning. And try playing with the HSL options.

You’ll be amazed by what you can do!

7. Take a nature photo every single day for a month

This last exercise is a classic – but that doesn’t mean it’s any less useful!

One of the absolute best ways of improving your nature photography…

…is to photograph constantly.

Because practice really does make perfect.

And if you take a nature photo every day, you’ll find that your mind starts to open up. You’ll start to see photography opportunities that you didn’t even know were there.

Your skills will increase rapidly.

And you’ll start to take stunning nature photos, consistently.

Nature photography exercises: next steps

Now you know 7 great exercises – all designed to improve your photography skills, fast.

You don’t have to do them all at once. But try them out whenever you can.

That way, you’ll become better, faster.

You’ll soon be taking nature photos like a pro!

Feel free to share some of the photos you take with the dPS community in the comments below.

The post 7 Photography Exercises to Take Your Nature Photos to the Next Level appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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How to Achieve an Airy, Light and Bright Look in Photography

25 May

The post How to Achieve an Airy, Light and Bright Look in Photography appeared first on Digital Photography School. It was authored by Karthika Gupta.

The beauty of photography is that there really is no right or wrong way to take pictures (excluding any technical camera issues). It is such a subjective medium – what someone may consider a bad photograph, others might consider artistic. There are many different styles of photography. Dark and moody versus light and bright, or HDR and oversaturated versus desaturated and selective coloring. And there’s many more. But no matter your imaging preference, there is bound to be a market for that particular style of photography.

Karthika Gupta CulturallyOurs Light Bright Airy Photography Style

Having said that, I gravitate toward images that have a clean, natural look. My aesthetic style lends itself toward light, soft pastels, and bright images that have a sense of freshness. I find that I am my most creative self when I put myself in situations that give me the ability to photograph in this way.

Give me a dark room, or a scene with lots of bold, warm colors and tons of contrast, and I feel mentally bogged down. I almost start to feel claustrophobic with all that color and contrast. Now perhaps this might seem a little silly, but that is my personal preference. It also goes back to my earlier comment about photography being a very subjective art form.

I get asked quite frequently about how I achieve this “light, pastel, and airy” look in my photographs. It’s not that hard. It boils down to a few simple tips. These tips will help you to better visualize your intended photograph, and thus help you to achieve the light, pastel look.

1. Lighting

I can’t stress enough how important the lighting is when using it to achieve a particular look for your photography. Not all lighting is equal. And I have to say that there is no such thing as bad light. Light is just different at different times of the day. Sometimes the light is perfect – that warm, soft glow that translates beautifully in pictures. Other times, the lighting is harsh and strong. I wouldn’t say that type of lighting is always bad; it is just not the same every time.

Once you train your eye to read the different types of light, and what the light can do to your images, you will be able to analyze your imagery better. You’ll also get photos closer to the style you like without wasting too much time in post-processing. No amount of editing can really fix an image taken in poor lighting.

a. Golden Hour light

Karthika Gupta CulturallyOurs Light Bright Airy Photography Style

For outdoor photography, if you want those warm, creamy tones, then schedule your photo sessions as close to sunset as possible. That last hour, the Golden Hour, is when you will get some of the best light. This is because as the sun sets closer to the horizon, the range of light is broad and spreads more evenly.

This type of light also lends itself well to the light, bright, and airy look that so many of us love in photographs. One thing to be aware of when you are using the Golden Hour lighting (a.k.a. shooting around sunset), make sure that you don’t photograph directly into the setting sun. This leads to a lot of sun flare entering your frame. It can also make the shot appear muddy and blown out to the point of not being able to see the subjects clearly, as shown in this image.

When all else fails, a little bit of editing in post-production can fix it.

b. Soft morning light

Soft morning light is another favorite lighting scheme of mine because the light is subtle and soft. It tends to be more even-toned than when the sun is high up in the sky.

Karthika Gupta CulturallyOurs Light Bright Airy Photography Style

c. Harsh midday sunlight

High noon lighting can be thought of as a spotlight directly over your head. This overhead lighting tends to create unflattering shadows. These shadows result from the angles and protrusions on your face, like your nose and eyebrows. If you wait until the sun hits the horizon, you will be pleasantly surprised to see how soft the tones are and how beautiful and even the lighting is. At this time of day, you can open up your aperture to smooth out the background.

Sometimes when you are traveling or taking landscape shots, you cannot always control the time of travel. Here, you must make the best of the lighting situation and photograph scenes that will lend themselves to the light and airy look when tweaked in post-processing.

Karthika Gupta CulturallyOurs Light Bright Airy Photography Style

I added a bit of contrast and brought down the blues in post-production just to keep with my style. I have nothing against blue skies but maybe not so much blue in my photos!

d. Overcast light/diffused light

This type of light is also great for images where you want an even tone. The clouds act as a natural diffuser and help to balance out the light falling from the sun. However, this light does tend to be a little flat. But the good news here is, when there is cloud cover or an overcast sky, you can shoot at any time during the day without worrying about harsh, strong shadows.

This day in the marina was overcast with a lot of clouds. Considering most of the boats were also white, I had to blow out the sky a bit and use the accessories (like the yellow kayak) to add a pop of color.

e. Backlighting/open shade lighting

The bright, even lighting of open shade plays well into the light and airy style of photography. However, playing with backlit sunlight is another way to get that bright, fresh look. Light and airy photographers shoot backlight about 80% of the time.

This means the sun is somewhere behind the subject. This is the tricky part. It’s more than just having the sun behind your subject. If you only do this, you’ll find that your images have a lot of sun flare – to the point of haze – and your camera autofocus may have trouble grabbing focus, resulting in out-of-focus shots.

The trick here is to block the sun from actually hitting your lens. My favorite way to do this is the use of trees. The branches and leaves act as a type of diffuser that filters the sun’s light rays from hitting your lens.

What you will get is called rim light from the rear of your subject. In front of your subject, you will achieve an even unshadowed lighting scheme. You might have to look for a natural reflector to bounce light back onto your subject’s face. Sometimes it is as simple as wearing something white so you can act as a natural reflector.

Yup, being a photographer also means being aware of fashion and color trends!

Another trick is to overexpose the skin tones by at least half a stop. Your highlights may blow out a little, but your subjects’ skin tones will look great. Of course, if you have a very interesting sky that you want to retain, you may not be able to overexpose your image. Most light and airy style photographers are okay with blowing out the details in the sky because this slight overexposure lends itself to a brighter image that is part of the light and airy look. If the background is important, you must consider that in your exposure calculations.

90% of my shots have the sky blown out and I am okay with that. My style is consistent with what my personal preference is with my images. To each their own.

2. Scenery or background

Personally, I feel like scenery or background is as important as the lighting for a great image – no matter what the style. Gorgeous mountainous backdrops with tall pine trees will look more majestic than a messy backyard with overgrown grass and a swing set in the shot.

But don’t let a simple background deter you from taking a shot.

Every place has hidden treasures, and it is up to you as the photographer to seek them out. I have been known to clear out a client’s home if I feel some furniture or clutter is getting in the way of the shot.

For outdoors and travel photos, I wait patiently for crowds to clear if I feel all the other elements are there to make a great shot. After you’ve established where the good lighting falls, you can then search for the pretty scenery.

For light and airy photos, look for backgrounds that are white or have pastel colors. White or light colored backgrounds add even more “airiness” to the image. It is hard to achieve a light, bright look if you have a dark or black wall in the background.

Remember that both the lighting and scenery combined make for a natural recipe to that “light and airy look” that you want to achieve in your image.

When in doubt, choose a clean neutral-colored background that can make the subject pop even more by eliminating any distractions.

Karthika Gupta CulturallyOurs Light Bright Airy Photography Style

3. Details

Often, as photographers, we tend to only focus on the lighting, location, and subject. We feel that once we have these three elements, all else will magically fall into place.

However, remember this; every single detail that is a part of the frame helps to make or break the image.

If you have the perfect soft light, perfect background, and perfect subject, but they happened to show up wearing a graphic t-shirt with neon shoes, then that is not going to get you that light and airy image! In fact, details like the clothing, accessories, and props play a huge part in the overall look and feel of an image.

For my portrait and editorial work, I am not afraid to send clothing and prop choices to my clients. It is there for them to use if they need it. This gives them an idea of “the look” that I am going for, and it helps me to get the images that I want for my portfolio based upon my style and my brand aesthetics. Props don’t have to be elaborate or expensive. Sometimes it is the little things like a simple off-white napkin that can do the trick.

Clothing choices and color preference is given but my clients have the freedom to choose what they want to wear at the end of the day!

4. Camera settings

If you are shooting digital and have a camera that allows you to photograph in RAW format, then definitely do so. Images created in RAW format retain more of the original details than a JPEG file format. The RAW file format also provides the most leeway for making edits to the image in post- processing when looking to achieve a specific “look.”

Avoid extreme bright spots in your photograph by using the histogram feature on your camera. Digital images don’t handle the result of huge overexposure very well, so you’ll want to watch for that.

Karthika Gupta CulturallyOurs Light Bright Airy Photography Style

Having said that, I tend to overexpose my images by about 1/2 a stop about 95% of the time. I find that editing an underexposed image to the “light and airy look” is more difficult than adjusting a slightly overexposed image. I am less concerned about blown-out highlights than I am about dense shadows.

5. Consistency in photography and editing styles

Consistency in photography and editing styles is huge, and not something that too many photographers pay attention to. Photographic style develops over time. It takes a lot of practice, continuous shooting, and consistent editing procedure to make our pictures look a certain way and convey certain emotions. This is my 9th year in business, and my style has taken time to develop. After a lot of trial and error, I know what I like and how I want my images to look and feel – even if it is just for me!

Some people jump on the latest editing bandwagon and are all over the place in terms of trying everything out there. Tempting as it may be, I have found that it just leads to more frustration and anxiety when finding one’s style. When you are just starting out, go ahead and try out all the different styles of photography. See what you like and dislike. Once you have narrowed down your personal style, stick to it. That way, it becomes second nature and helps you develop a consistent and strong portfolio.

The post How to Achieve an Airy, Light and Bright Look in Photography appeared first on Digital Photography School. It was authored by Karthika Gupta.

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Olympus Tough TG-6 sample gallery

25 May

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We’ve long held Olympus’s Tough cameras in high regard – they tend to be the most capable of the cameras in their class and also offer the best features, like Raw support. And even though the TG-6 is a modest update over the TG-5, it’s easily one of the best water/dust/crush-proof cameras you can get for under $ 500.

See our Olympus Tough TG-6 sample gallery

Articles: Digital Photography Review (dpreview.com)

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DPReview TV: Our USB ports should do more!

25 May

Chris and Jordan are kicking off a new segment in which they make feature suggestions to manufacturers for the benefit of all photographer-kind. To start things off, they take a look at the humble USB-C port and everything it could be doing for us. If we’re going to live the #donglelife, then we might as well get the most out of it.

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

Articles: Digital Photography Review (dpreview.com)

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Fujifilm GFX 100 offers 100 Megapixels, phase-detect AF and 4K video for $10,000

25 May

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We’ve known about the Fujifilm GFX 100 since it was shown at Photokina last fall, and in about a month, you can get one of your own.

The GFX 100 features a medium-format (44 x 33mm) BSI-CMOS sensor with 102 million effective pixels. The camera is powered by a quad-core X-Processor 4 and offers a native ISO range of 100-12,800 (which expands to 50-102,400) and support for 16-bit Raw files. In-body 5-axis image stabilization reduces shake by up to 5.5 stops according to Fujifilm, and the entire sensor is mounted on springs to reduce shutter shock.

If the GFX 100 uses the Sony IMX 461 sensor, which we strongly suspect it does, we expect significantly improved low light and high ISO performance thanks to the sensor’s dual gain architecture.

The DSLR-styled body is incredibly well-built, with the durability you’d expect from a high-end camera. About the same size as a professional DSLR, the GFX 100 weighs in at 1.4kg (3.1lbs). The camera has a built-in grip for portrait shooting that can hold one or two NP-T125 batteries, for up to 800 shots per charge. The camera has twin SD card slots with UHS-II support, along with ports for USB 3.2 (Type-C), an external mic and headphones, a wired remote, and HDMI.

Fujifilm has put a hybrid autofocus system on the GFX 100, with 3.76 million phase-detect pixels spread across nearly 100% of the frame

The GFX 100 has a dual-hinged, 3.2″ touchscreen LCD with 2.36 million dots that can tilt in both landscape and portrait orientations, just like on the GFX 50S. The camera comes bundled with a removable, tilting OLED EVF that has a whopping 5.76M dots. There are also a pair of OLED displays – one on the top, another below the LCD – that display various camera settings, battery life and shots remaining.

Fujifilm has put a hybrid autofocus system on the GFX 100, with 3.76 million phase-detect pixels spread across nearly 100% of the frame. The company claims that AF speeds are 210% faster than on the contrast-detect-only GFX 50R, and our early experience suggests that autofocus is indeed vastly improved.

The last of the major features on the GFX 100 is its video capabilities. It can capture DCI and UHD 4K video at bit rates up to 400Mbps, with your choice of H.265 or H.264 codecs. It supports Fujifilm’s Eterna Film Simulation mode and can output 10-bit 4:2:2 F-Log video to an external recorder.

The GFX 100 will be available at the end of June for $ 9999.95.

Go hands-on with the GFX 100 for more

Pre-production sample gallery

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Press Release:

FUJIFILM INTRODUCES THE GFX100, A GAME CHANGER IN DIGITAL CAMERA TECHNOLOGY AND CAPABILITY

-100+ megapixel sensor in a 55mm diagonal length large format offers highest resolution in the history of mirrorless cameras
-Fast, accurate autofocus with the world’s first phase detection system, 4K video capability, and in-body image stabilization in a large sensor format¹.

Valhalla, New York, May 23, 2019 – FUJIFILM Holdings America Corporation today announced the upcoming release of its flagship GFX100 mirrorless digital camera, incorporating a newly-developed 102 megapixel (MP), 55mm diagonal length large format image sensor that is designed to deliver image clarity and capability previously unheard of in the photography and video industries.

The GFX100 features several ‘world firsts’ for a large format camera with an image sensor larger than the 35mm (full-frame) format: including its 102MP back-side illuminated sensor (BSI), in body image stabilization (IBIS) and on-board phase detection hybrid auto-focus (AF) with near 100% coverage. In addition to pioneering features, the GFX100 is fully equipped with Fujifilm’s unparalleled color reproduction technology and film simulations. Resulting from years of research and technological innovations, the GFX100 will provide photographers with exceedingly high-quality imagery and best-in-class camera responsiveness for filmmaking and photography in a simple-to-use large format system with a growing selection of lenses.

Offering large-format video capability, the GFX100 is the world’s first mirrorless digital camera with an image sensor of this size to offer 4K, 30p video recording capability (4:2:2 10-bit). These groundbreaking features make the GFX100 a camera of unparalleled innovation and versatility, fulfilling photography’s intrinsic mission of capturing and recording precious moments that may never be repeated with the utmost image quality.

Resolution Redefined: World’s First 100 MP BSI CMOS Sensor in a Mirrorless Camera
The GFX100 pairs a newly-developed back-illuminated 102MP CMOS imaging sensor with Fujifilm’s blazingly fast X-Processor 4 processing engine to create a combination capable of outputting 16-bit images with amazing color fidelity, rich shadow detail, and incredible dynamic range. Its back-illuminated structure promotes crisp image quality by bringing the exposure plane in extremely close proximity to the color filter array, which results in ultra-low noise levels and a native ISO of ISO 100.

1. First for a camera with image sensors larger than the 35mm full-frame format

Noteworthy Stability When It Matters: World’s First Five-axis IBIS in a Camera Featuring an Image Sensor Bigger than the 35mm Format
High-resolution image sensors require high-level stability to ensure image sharpness. With built-in 5-axis image stabilization, GFX100 users are reassured that vibrations won’t interrupt the capture process. The function offers up to 5.5-stop image stabilization (when using the GF63mmF2.8 R WR lens)². The entire shutter unit is suspended with four springs to minimize the effect of shutter shock. This dramatically broadens the scope of situations where a user can hand-hold the camera and still enjoy the world of 100MP+ ultra-high resolution, pushing the boundaries of photographic expression.

Practical Auto-Focus for Large Format: World’s First On-Board Phase Detection Hybrid AF with approximately 100% Coverage
Compared to traditional medium format digital systems, the GFX100 raises the bar in AF performance by utilizing phase detection pixels across the sensor to help photographers obtain focus wherever they choose to position their subjects in the frame. With 3.76 million phase detection pixels, at approximately 100% coverage, near perfect auto-focus performance with speed and accuracy is now a reality for photographers needing optimum performance in subject tracking, face/eye detection and low-contrast environments. The effect is particularly notable when using fast prime lenses, achieving speed improvement of up to 210% over the conventional contrast AF system used in GFX 50R.

Pushing Creative Boundaries for Filmmakers: Large Format Camera with 4K video at 30p
With a sensor size of 43.9mm x 32.9mm, the GFX100 supports filmmakers in achieving their creative visions. The new sensor and processor combination support 4K video recording at 30p with a unique cinematic look. It’s now a breeze to explore shallow depth-of-field, wide tonal reproducibility and extra high ISO sensitivity, producing high- quality video footage with detailed textures while reproducing three-dimensional definitions and even capturing the atmosphere of the scene. With the ability to apply Fujifilm’s highly respected Film Simulations (including ETERNA cinema film simulation mode), record in F-Log Rec 2020, and capture 4:2:2 10-bit uncompressed footage through the HDMI port, GFX100 should certainly be coming soon to a screen near you.

Dust-resistant, Weather-resistant, Lightweight and Highly Robust Magnesium Alloy Body with Integrated Vertical Grip
Maximizing its use for even the toughest conditions, the GFX100 has weather sealing in 95 locations across the camera body and detachable EVF to ensure an exceptionally high level of dust and moisture resistance. Photographers will have the opportunity to capture moments in even the most remote locations as the GFX100 can maintain reliable operation even under tough natural conditions.

2. Based on CIPA standard. Pitch/yaw shake only. With GF63mmF2.8 R WR lens mounted.

Although it sports a large image sensor, the GFX100’s body is equivalent to that of a flagship 35mm full-frame DSLR camera in terms of dimensions (6.15” (W) x 6.44” (H) x 4.05” (D), measuring 1.93” at the thinnest part) and weight (approx. 3 lbs. including two batteries, memory card and EVF).

Designed for protection, the GFX100’s core imaging unit, consisting of the lens mount, image stabilization mechanism and image sensor, has been structured completely separate from the main body panels. This “double-structure” is designed to ensure a high level of precision and robustness while minimizing resolution degradation caused by external stress to the body. To maximize usability, the GFX100 incorporates a vertical grip, enabling effective use of in-body space.

Advanced Color Reproduction Technology, Delivering Astonishing Quality in Stills
The combination of the newly-developed image sensor and the fourth-generation X- Processor 4 processing engine means the camera supports the 16-bit RAW capture requested by many professional photographers seeking files that tolerate heavy post- processing. The GFX100 also features the newly-developed “Smooth Skin Effect” function, which automatically smooths the skin tone of the subjects, as is often performed in portraiture. It allows the photographer to skip a portion of post-processing work so that images captured with this function can be finished at an extremely high level of perfection, faster.

The GFX100 will be the flagship model of the GFX Series of mirrorless cameras, which have garnered strong praise from professional photographers and photo enthusiasts for their use of 55mm large format image sensor, measuring 55mm diagonally (43.8mm x 32.9mm) and providing approximately 1.7 times the area of the regular 35mm full-frame sensor.

The GFX100 digital camera body will be available on June 30, 2019 at a suggested retail price of USD $ 9,999.95 and CAD $ 13,299.99.

For details of product support and other information please visit https://fujifilm-x.com/en- us/special/gfx100.

Fujifilm GFX 100 specifications

Price
MSRP	$ 9999
Body type
Body type	SLR-style mirrorless
Body material	Magnesium alloy
Sensor
Max resolution	11648 x 8736
Image ratio w:h	1:1, 5:4, 4:3, 3:2, 16:9
Effective pixels	102 megapixels
Sensor size	Medium format (44 x 33 mm)
Sensor type	BSI-CMOS
Processor	X-Processor 4
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-12800 (expands to 50-102400)
Boosted ISO (minimum)	50
Boosted ISO (maximum)	102400
White balance presets	7
Custom white balance	Yes (3 slots)
Image stabilization	Sensor-shift
CIPA image stabilization rating	5.5 stop(s)
Uncompressed format	RAW + TIFF
JPEG quality levels	Super fine, fine, normal
File format	JPEG (Exif v2.3) Raw (14/16-bit RAF) TIFF (8/16-bit)
Optics & Focus
Autofocus	Contrast Detect (sensor) Phase Detect Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Manual focus	Yes
Number of focus points	425
Lens mount	Fujifilm G
Focal length multiplier	0.79×
Screen / viewfinder
Articulated LCD	Tilting
Screen size	3.2″
Screen dots	2,360,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic (optional)
Viewfinder coverage	100%
Viewfinder magnification	0.86× (1.09× 35mm equiv.)
Viewfinder resolution	5,760,000
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/4000 sec
Maximum shutter speed (electronic)	1/16000 sec
Exposure modes	Program Aperture priority Shutter priority Manual
Built-in flash	No
External flash	Yes (via hot shoe or flash sync port)
Flash X sync speed	1/125 sec
Continuous drive	5.0 fps
Self-timer	Yes
Metering modes	Multi Center-weighted Average Spot
Exposure compensation	±5 (at 1/3 EV steps)
AE Bracketing	±5 (2, 3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV, 2 EV steps)
WB Bracketing	Yes
Videography features
Format	MPEG-4, H.264, H.265
Modes	4096 x 2160 @ 30p / 400 Mbps, MOV, H.265, Linear PCM 4096 x 2160 @ 25p / 400 Mbps, MOV, H.265, Linear PCM 4096 x 2160 @ 24p / 400 Mbps, MOV, H.265, Linear PCM 4096 x 2160 @ 23.98p / 400 Mbps, MOV, H.265, Linear PCM 3840 x 2160 @ 30p / 400 Mbps, MOV, H.265, Linear PCM 3840 x 2160 @ 25p / 400 Mbps, MOV, H.265, Linear PCM 3840 x 2160 @ 24p / 400 Mbps, MOV, H.265, Linear PCM 3840 x 2160 @ 23.98p / 400 Mbps, MOV, H.265, Linear PCM 1920 x 1080 @ 60p / 200 Mbps, MOV, H.265, Linear PCM 1920 x 1080 @ 50p / 200 Mbps, MOV, H.265, Linear PCM 1920 x 1080 @ 30p / 200 Mbps, MOV, H.265, Linear PCM 1920 x 1080 @ 25p / 200 Mbps, MOV, H.265, Linear PCM 1920 x 1080 @ 24p / 200 Mbps, MOV, H.265, Linear PCM 1920 x 1080 @ 23.98p / 200 Mbps, MOV, H.265, Linear PCM
Microphone	Stereo
Speaker	Mono
Storage
Storage types	Dual SD/SDHC/SDXC cards (UHS-II supported)
Connectivity
USB	USB 3.1 Gen 1 (5 GBit/sec)
USB charging	Yes
HDMI	Yes (micro HDMI)
Microphone port	Yes
Headphone port	Yes
Wireless	Built-In
Wireless notes	802.11ac + Bluetooth
Remote control	Yes (via wired remote or smartphone)
Physical
Environmentally sealed	Yes
Battery	Battery Pack
Battery description	Built-in grip holds one or two NP-T125 batteries
Battery Life (CIPA)	800
Weight (inc. batteries)	1320 g (2.91 lb / 46.56 oz)
Dimensions	156 x 144 x 75 mm (6.14 x 5.67 x 2.95″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes
GPS	None

Articles: Digital Photography Review (dpreview.com)

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Fujifilm GFX 100 pre-production sample gallery

25 May

We recently had the opportunity to shoot in Florence, Italy with a pre-production sample of the Fujifilm GFX 100. This powerful medium-format camera improves over the GFX 50S and 50R with a new 100MP sensor, in-body stabilization system and 4K video.

We’ll be adding more real-world photographs and test samples as soon as we get hold of a reviewable GFX 100, but for now, our gallery of JPEGs should give you some idea of its capabilities.

View our gallery of samples from a pre-production Fujifilm GFX 100

All of the JPEGs in this gallery were shot with a pre-production Fujifilm GFX 100 and are used with permission. Image quality may not represent exactly the output from final shipping cameras but is likely to be extremely close. Please note that JPEG images shot in film simulation modes are presented as 50MP files. This behavior appears limited to our pre-production sample.

Articles: Digital Photography Review (dpreview.com)

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