You do something long enough, you'll eventually learn the little things you can do to help interesting stuff happen. One thing I have learned is this phrase:
"I'm a photographer. What can I do to help you?"
Just something as simple as that opens up all kinds of doors and possibilities. This week, it's how I ended up shooting Mexican sodas on a table-top studio in my basement.
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The Canon RF 24-240mm F4-6.3 IS is a do-everything lens for the RF system, designed to cover pretty much any situation from sweeping landscapes to capturing distant details. Is this new zoom an ideal travel lens for the EOS R and RF? Check out our sample gallery to judge for yourself.
Please note that we’re converting these images in ACR 11.4 using a pre-release version of Adobe’s profile for the Canon RF 24-240mm F4-6.3 IS.
View our gallery of samples from the Canon RF 24-240mm F4-6.3 IS
Articles: Digital Photography Review (dpreview.com)
The post How to Simulate Long Exposure using Stacked Image Averaging appeared first on Digital Photography School. It was authored by Rick Ohnsman.
Silky water effects, streaked clouds, motion-smoothed with an ethereal look; long exposure photography seems to be in vogue as photographers discover the looks that can be created. There are multiple ways to achieve this. The most basic is to buy a standard neutral-density photography filter which cuts the light, allowing you to use long shutter speeds without overexposing your shot. You can achieve exposures minutes long, especially when using 10-stop ND filters like the Lee Big Stopper or even the 15-stop Super Stopper.
I recently did an article on an alternative way to make long exposure photos, “Try this DIY Neutral Density Filter for Long Exposure Photos.” I encourage you to read the piece and learn how a piece of welding glass can be a budget substitute for more expensive photographic ND filters.
This is the same location I used for some of the other shots in this article but taken when the river was much higher and faster. The biggest difference is that I used DIY welding glass ND filter to achieve this shot. See my other article for this technique.
This article teaches you a third method of making long-exposure images with no filter at all. Unlike the welding glass trick which pretty much requires your final image to be monochrome so as not to have to fight the heavy color cast, this works great in full color, with no filter at all, and no color cast present. It’s a great method to simulate long exposure.
The technique uses a stack of multiple images of the same scene then processed with a Photoshop process called Image Averaging. It’s really quite simple and has some advantages over traditional methods with ND filters.
When doing traditional long exposure photography with an ND filter you will be making long exposures. (Duh!) There are a few challenges with this:
In fairly bright sunlight, even with the ISO at 50 and aperture at f/22, 1/5th of a second was as slow a shutter speed attainable while maintaining proper exposure. This was with no filter.
The advantages of using the image stacking method are essentially the opposite of those things just stated above:
Make people disappear! Notice on the inset the people walking in the river, but on the completed shot, 15 images, each 1/5th of a second = 4 seconds simulated. They are gone.
Setting up and shooting the images you need for your image-averaged creation is much the same as any photography. Here are the factors and steps to keep in mind:
Because you introduce a long exposure blurred effect does not mean that you will have automatically created a good photo. Still consider how to carefully compose your image. Take into consideration that moving objects in the shot will blur and look simplified with less detail. Good long exposure shots often emphasize the contrast between static, non-moving objects (buildings, rocks, trees, etc.), and moving objects like clouds and water. Include both in your shot.
I mentioned you could do this handheld and, well…maybe you could. However, even with this technique, you will still want to shoot at the slowest shutter speed possible. That way, you won’t have to make too many shots for combining. Once you get much slower than 1/30th of a second (and faster than that if if you’ve just had coffee), handholding your camera is probably going to ruin your shots.
All Images ISO 50, f/22 . Top left – No filter – 20 images each 1/5 second = simulated total = 4 seconds. Top right – No filter – 35 images each 1/5 second = simulated total = 7 seconds. Bottom – 6-Stop ND filter – 15 images each 20 seconds = simulated total = 5 minutes.
This technique simulates long exposure by combining multiple shots. The simple formula is:
Let’s plug some numbers into that and see the result. Set your camera for the lowest ISO possible. I can get my Canon 6D down to ISO 50. Some cameras will have ISO 100 as the lowest. Use whatever you can. Set your aperture to the smallest aperture possible. Meter with those settings and see how long you can make each individual shot and have it properly exposed. Say we were able to do this in the shade: 1/4 second, f/22, ISO 50. To get a simulated shutter speed of one minute (60 seconds), we’d need to make 240 shots.
240 shots x 1/4 second (.25) = 60 seconds
That’s a little unwieldy, and stacking 240 shots in Photoshop may cause your computer to choke. So what to do? Perhaps you don’t have an ND filter in your bag, but you do have a circular polarizer. It will help reduce the light. You mount it and now find you’ve lost 2-stops. So your exposure can be 1 second, f/22, ISO 50. Plug that into the formula, and you get:
60 shots x 1 second = 60 seconds
If you’re shooting in lower light conditions, you may be able to get a slower shutter speed to start with. That will mean you can take fewer shots.
To make your job easier (and the computers as well), always try to get the slowest shutter speed you can for your shots. That will mean you can create the simulated long exposure with fewer shots.
Say you did have a 6-stop ND filter in your kit. You mount that, and now your settings are 16 seconds, f/22, ISO 50. Now, to get that simulated 1-minute exposure, you’d just need about four shots. Why not make 10 while you’re at it and you can simulate a 2.6 minute (160 seconds) exposure?
Had you done this traditionally, and had a 10-stop ND filter, you could take the unfiltered exposure down from 1/4 second, f/22, ISO 50 to 256 seconds (4.2 minutes), f/22, ISO 50. So, to get the same effect with a 6-stop ND filter as you could with a 10-stop by using image averaging, take 16 shots.
16 shots x 16 seconds each = 256 seconds (4.2 minutes)
35 images each 1/6 second combine to simulate a 6-second exposure. Shooting into the sun, it would probably be impossible to make a 6-second exposure without a filter.
If all that math made your head hurt (it did mine), here’s the simple way to get what you need so Photoshop can do its magic:
This recipe assumes you will be using Adobe Lightroom and Photoshop in combination. You don’t have to use Lightroom. You can get your individual images into a stack in Photoshop another way if you need to (though using LR is much easier). Using Photoshop, however, is mandatory. Also, to use the Smart Objects function described, you will need a version of Photoshop that is Version 14.2 or higher. Older versions of Photoshop won’t have this.
There are ways to do this with older versions in a more manual process. If you have an older version, you will need to do a little online research to learn that technique. I used the latest version of Photoshop at this writing (Photoshop CC 20.0.4).
Let’s look at this step-by-step process visually…
1. From Lightroom, select the sequence of images you will use. Edit the first one in the sequence to your liking. Then select all of them and use the Sync function so all have the same settings as the first.
2. With all selected, send the images from Lightroom to Photoshop by going to Photo->Edit In->Open as Layers in Photoshop. (Photoshop will open, and the images will appear as layers in a stack). If you have a lot of images to be opened and stacked, this can take a while. Let it work.
3. With all the layers selected, in the menu select Layer->Smart Object->Convert to Smart Object. This can take a while to do its work. Be patient.
4. With the Smart Object layer selected, from the menu select Layer->Smart Objects->Stack Mode->Mean. This can also take a bit to work.
Wait for it…wait for it…and…
Presto! You will have a simulated long-exposure image made from your stack of shorter exposures. 20 images each at 3.2 seconds, f/22, ISO 50. No filter used. Simulated long exposure of 64 seconds.
The water in this section of the river was pretty calm anyway, but look at the before and after areas pointed out by the arrow where the original shots were 3.2 seconds vs the combined 20 shots x 3.2 seconds = a simulated 64 seconds.
5. To finish up, go to Layer->Flatten Image. Then File->Save As and save the finished image where you like. If you want to give the completed image some additional tweaking, you can do that with Photoshop or Lightroom as you would with any other image.
That’s the magic! Here are a few things to remember for best results:
5 images, each 6 seconds = a simulated exposure of 30 seconds. No filter used.
10 images, each 1/4 second combine to give a 2.5-second simulated exposure. This can be a great technique to use for getting silky water effects when you don’t have an ND filter and only need a longer exposure of a few seconds.
Is this a better method than using an actual ND filter? Like so many photographic things, the answer is probably…it depends. Maybe you don’t have a filter or have one with you. Perhaps you don’t need a really long exposure, but just one a little longer than you can get with a low ISO/small aperture combination such as when seeking blur on a waterfall. Maybe you need to vanish people and don’t want to make a single multi-minute shot for various reasons. Alternatively, perhaps you have an ND filter but need an even longer exposure than it can give you.
There are lots of reasons to add this How to Simulate Long Exposure using Stacked Image Averaging Technique to your bag of tricks. Give it a try, and I’m sure you’ll have fun. Share your images with us in the comments!
The post How to Simulate Long Exposure using Stacked Image Averaging appeared first on Digital Photography School. It was authored by Rick Ohnsman.
The post What You Can Learn From Entirely Different Photography Genres appeared first on Digital Photography School. It was authored by Mat Coker.
If you spend any length of time within one photography genre, you come to the point when you wonder, what would take me to the next level?
Deepening your creativity often means making connections between unlikely things.
If you want to deepen your photography, one option is to take what you learn from one genre and apply it to another. Could you find something used in portrait photography and apply it to landscapes? How about taking an approach from birth photography and applying it to real estate photography?
Let’s explore the idea of combining approaches from different photography genres.
I had been out taking some landscape photos when I saw these canoes. A photo of the canoes on their own wasn’t working out for me. But when I saw this child come walking by it gave me an idea. I thought of all the street photos I had seen of people walking past interesting objects or backgrounds. For the fun of it, I adopted that concept here. I love the way the boots echo the yellow canoe.
I’m a portrait photographer. What I love about portraiture is exploring the way people express their hidden selves through their body. You can see expression and gesture in feet, hands, and faces.
If you love to photograph nature and landscapes, you can take this concept of gesture (something we normally look for in people or animals) and apply it to your nature photography.
The more I focus on gesture in people, the more I see it in nature as well. Consider what Jay Maisel has to say in his book, Light, Gesture, and Color:
“Gesture is the expression that is at the very heart of everything we shoot. It’s not just the determined look on a face; it’s not just the grace of a dancer or athlete. It is not only the brutalized visage of the bloodied boxer. Neither is it only limited to age, or youth, or people, or animals. It exists in a leaf, a tree, and a forest. It reveals the complicated veins of the leaf, the delta-like branches of the tree, and when seen from the air, the beautiful texture of the forest.”
I believe something like gesture is what we’re after when playing with lines in a photo or even slow shutter speeds. Look at nature through the lens of gesture, and you’ll be more creative in your nature photography.
When I looked up at this tree, it was the gesture of the branches that drew me in. It takes decades for those branches to get there. Though they’re holding perfectly still, there is the feeling of gesture because of their shape.
I love to play with light. While photographing these flowers, a little lens flare struck my view. It’s very subtle, but on the right side of the photo, you can see a faint burst of warm light. It’s as if the flowers are reaching for the light.
I’m not a food photographer, but if I photograph a wedding or event, I try to include a photograph of the dinner. Couples pay a lot for their meal, so why not add a photo? The problem is a stark white dinner plate full of food looks lifeless and uninspiring among all the other wedding moments. There was a disconnect between my candid event photography and my attempt at food photography.
Weddings are about writing a new story; joining families and sharing life. But I discovered that there is just as much of a story in the food as there is in the rest of the wedding. When I was able to chat with a chef as she prepared food for the guests, I came to learn how much she loves her craft. There is as much heart in the preparation as there is in the sharing of the meal.
So I began to photograph the meal just like I did the rest of the wedding. I took the heart of what I had been pursuing in all those candid wedding photos and applied it to photographing the food.
I can’t imagine two genres more opposed than birth photography and real estate photography.
If I tell a friend that I photographed a house for a real estate agent, they don’t care. They assume it’s just something boring I do for money. But when my wife tells people she photographs births, their jaws hit the floor and a passionate discussion ensues.
For most people, maybe photographers too, real estate photography is a boring necessity while birth photography is an exciting adventure. After all, one of those life experiences is about drama, emotion, and new beginnings, while the other is a series of appointments and paperwork until the ordeal is over.
Yes, but which experience is which?
Have you ever bought or sold a house? Then you know there is plenty of drama and emotion involved. Have you ever had a baby? Then you know there are plenty of appointments and paperwork. Both experiences – home-buying and having babies – are filled with the potential for adventure and emotion.
Try taking the obvious emotional excitement of birth photography and applying it to real estate photography. When you force yourself to flip everything on its head, you might see something quite different.
Many families have a negative birth experience. They’re treated like a commodity by their doctors and the hospital staff. A birth photographer knows that even if a laboring woman is given a bad experience by hospital staff, the photos still have to portray the unique beauty of the experience.
Even though real estate photography may often feel like a commodity, it can be a beautiful part of the story. First-time homebuyers are on an amazing life journey. Perhaps there can be more spontaneity and emotion in real estate photography than we first think – even if it’s hard to represent in typical real estate photos.
My wife, Naomi, made these birth photos. I love to see the range of emotion and depth of personality in her photos. But they certainly make my real estate photos look dull.
I know that my real estate photos are part of a larger story and every once in a while I have the chance to photograph that story. Sometimes that comes by being able to photograph the move-in day.
If you’re tired of posing newborn photos, street photographers can be your guide. They are masters of spontaneity – taking whatever moments the situation gives to them. Street photographers are explorers of society. As a newborn photographer, you can be an explorer of human nature in newborns.
Wait and see what that baby will do. Take what the newborn gives you rather than forcing your vision and poses on them. There is nothing wrong with posing, but it can be exciting to explore other moments that happen naturally.
Do you know all those adorable photos of newborns wrapped in beautiful fabrics and placed in baskets? Well, this is the reality; a screaming newborn and bewildered older brother. Take the moments that come to you.
When you want to deepen your creativity as a photographer, begin with the principles of the genre of photography you’re working within. When you’re ready to go even deeper, go beyond the principles of your genre and consider what different photography genres might teach you.
The post What You Can Learn From Entirely Different Photography Genres appeared first on Digital Photography School. It was authored by Mat Coker.
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| Daniel John posted this tip in the Chicago Drone Pilots Facebook Group early Friday morning. |
Early Friday morning, retail behemoth Walmart offered up deals that were so unbelievable, they seemed too good to be true.
Eagle-eyed shoppers took advantage of the lowest prices they’ve ever seen assigned to the DJI Spark Fly More bundle, priced at $ 17.99, a DJI Mavic Pro Bundle for $ 24.99, a DJI Inspire 2 Premium Combo with Zenmuse x5 for $ 42.99, plus Sony and Leica cameras, which typically start between $ 1,000 – $ 5,000, for $ 24.99 – $ 42.99. Those who purchased these items from retailer Ecom Electronics, in the narrow window of time they were available through Walmart.com, will have ultimately scored an unbeatable deal if Walmart chooses to honor these prices.
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| Savvy shoppers like Wayne Douglas discovered deals beyond the DJI Spark Fly More bundle. |
I first stumbled across this error in pricing on the Chicago Drone Pilots Facebook Group. Curious to see if it was legitimate, I purchased on DJI Spark Fly More Bundle for $ 17.99 through my PayPal account. As of this writing, Walmart has processed my payment and has not issued a refund. Ecom Electronics has confirmed my order will arrive between Wednesday, August 21st and Tuesday, August 27th.
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| Talk about a hustle. Some people maxed out their orders with a quantity of 12 units. |
Other people got creative, typed ‘eCom Electronics’ into Walmart.com’s search bar, and came up with a Leica SL (Typ 601) Mirrorless Digital Camera for $ 22.99, a Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera Body for $ 22.99, and a Sony Alpha a7R Mirrorless Digital Camera for $ 42.99. Savvy shoppers pushed purchasing limits to the max and ordered up to 12 units of a deeply-discounted item. All of these low-priced offerings sold out quickly, returned to full price, and then were subsequently pulled from Walmart’s site altogether.
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| As soon as the word got out, items sold out in a matter of minutes and returned to full price before disappearing from Walmart.com completely. |
For those concerned about a possible scam, Walmart has a favorable reputation for honoring their mistakes, if sentiments in the numerous posts I’ve seen across online forums are accurate. Ecom Electronics, on the other hand, has a Better Business Bureau Rating of ‘C.’ No matter how painful the mistake, the Walton family, owners of Walmart, likely won’t flinch as they are currently the wealthiest family in America with an amassed fortune surpassing $ 160 billion dollars.
Articles: Digital Photography Review (dpreview.com)
The post Sony 35mm 1.8 FE Lens Review appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this video, Chris Turner reviews the Sony 35mm 1.8 FE lens.
This is what Chris thinks of the lens:
Overall, the 35mm 1.8 is an impressive lens.
Chris says while the 35mm is a great lens, it won’t replace his favorite lens, the 24mm G-master.
The post Sony 35mm 1.8 FE Lens Review appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
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Articles: Digital Photography Review (dpreview.com)
The post 6 Important Considerations Before You Change Camera Brands appeared first on Digital Photography School. It was authored by Carl Spring.
I have finally started to change camera brands. I’ve been shooting Canon since my first ever SLR I got back when I was 16. I wanted to stay with Canon, but their current bodies do nothing for me. Also, the lens prices of the new R-mount system are insane. After spending a lot of time researching, as well as some hands-on time with the cameras I was considering (Sony, Panasonic & Fuji), I ended up moving towards Fuji.
I’ve purchased a Fuji XT3 with the kit lens and a 35mm f2. It has been a decision that I made on several factors, and so far I am really enjoying the images I am getting out of the Fuji. I haven’t sold off my Canon gear yet (nor will I likely do so in the immediate future) but I can definitely see me moving a lot of my kit in Fuji’s direction.
However, the move has thrown up a few surprises, which I wanted to share with you in this article. So without further ado, here are six things to consider before you change camera brands.
The question you must ask yourself is, what are you trying to achieve by moving camera brand? Changing brands is a long, sometimes painful experience that can be as frustrating as it is fun. It is also certainly going to be expensive. However, if you are considering a full-blown brand swap, there has never been a better time. The big two (Nikon & Canon) have changed mounts. This means, even staying with your current brand, you will eventually be changing your whole kit. So for many people, if you are going to move, the time is now.
Why did I move towards Fuji? Three reasons; the weight, the size, and the video functions.
I shoot weddings, and the appeal of lighter gear hanging off me all day is huge. Secondly, as I shoot in a documentary style, the size of the Fuji means the camera is not as intimidating as my 5DMkIV when in close situations. I have noticed in my son already that he is much more himself with the small Fuji camera, as opposed to my DSLR. This is what I see on paid shoots too. When shooting with the Fuji up close on a recent engagement shoot, the couple seemed to relax more. It is hard to put into words, but there is definitely something about the smaller form factor.
Lastly; video. Canon is purposefully, it seems, not putting the video features into its DSLR’s that Sony, Fuji & Panasonic are. I want to shoot more video and am starting to offer it to clients. Fuji beats Canon hands down here and was the deciding factor.
That’s not to say that other things such as Eye AF, a flip-out screen and 100% coverage with AF points are not things I want, they are, but they alone were not enough for me to make the switch.
You will find yourself shooting more to test your new gear out. Here I am testing the bokeh of the 35mm f2, whilst teaching my son to play chess. The smaller size means he acts more natural than when I point my DSLR at him.
Unless you are willing to sell off all of your gear to fund your new purchase, you will no doubt (like me) dip your toe in the water first. As a professional, I simply cannot just go all-in on a new system. So it will be a switch over time. The lack of kit is in some ways quite refreshing. It is also making me think about what kit I will need as I begin to build up my new system. However, sometimes I do find myself reaching for my Canon as it has the lens option I want.
A change of system will be expensive and, in the interim at least, you will probably have less gear than you previously had. Remember, it is more than cameras and lenses – you will need to change things like flashes and flash triggers as well.
Little side note here. Pixapro (rebadged UK version of Godox) triggers for Fuji & Canon look identical. The method I’ve used to differentiate them is to color the little quality control sticker red on the Fuji trigger. A quick, simple way to overcome an annoying little problem.
Changing brands and starting again can definitely have a positive impact. As you begin to build a new system, you will think more about what gear you don’t use as well as what you find yourself missing. This means you can save some money in the switching process and lighten the load of your gear bag at the same time.
This was my new kit for 3 weeks. No high-end primes, no myriad of lens options. Just a kit lens. Frustrating, but it did make me think about photography in a way I hadn’t in some time.
There is nothing worse than the downright dread of coming to grips with a new menu system. Trying to remember which button is the one you mapped for changing autofocus is somewhat frustrating. The remapping of your brain to work with your new camera system is one of those things that is initially fun and exciting.
However, that initial joy soon gives way to frustration. It is surprising how difficult it can be to move systems and retrain your brain to work with the new menu system. It gets easier quite quickly, but you will initially miss shots you would have got, simply because you forgot which button you needed to press.
This has been my workhorse for years. I can operate it in the dark without thinking. I will get there with the Fuji, but it will take time.
It is easy to get carried away in thinking that if you sell off your gear, you will be able to switch systems without a huge outlay. Unfortunately, that isn’t usually the case. Moving camera system will come with a financial cost, and it will probably be more than you think. To move system and a new body and a set of lenses (24-70mm f2.8, 70-200mm f2.8, and a fast prime) you will be looking in the ballpark of £1000-£4000. You can reduce the costs of this by buying secondhand glass. However, with the new mirrorless systems by both Nikon & Canon, the price of secondhand glass is still incredibly high and hard to find.
To give an example, I own the Canon 70-200mm f2.8 IS I lens. I could look to get around £700 for this secondhand at current value. To move to the new Sony G Master of the same focal length, I would need an extra £1700. To pick up a secondhand copy, I would still need £1000, and that is simply for one lens.
When you look at the numbers like that you have to ask yourself, will a change of system for this function be worth £3000? Is eye autofocus, in-body stabilization, and 100% AF points coverage really worth that much? For you, it may be, but do not think there will not be a cost involved in getting the features you need.
Many of you (like me) will be considering a move to a mirrorless-based system. Even changing to the same brand is now going to come with considerable costs as both Canon & Nikon have new lens mounts. I know that you can adapt existing glass for both these systems, but it will not work as well as the new glass designed specifically for the new mounts.
In both cases, the lenses for these systems are commanding top prices. Over time, these will drop, and there will be a larger secondhand market. But at the moment, switching to a Canon or Nikon mirrorless system, complete with native lenses for the system, is no cheaper than a complete change of brand.
I think the mirrorless camera revolution will see many people taking the plunge with different brands. Switching from a 5D Mk IV to an EOS-R is, in reality, the same kind of investment you will make moving to Sony or Nikon.
Again, most brands now have good quality adapters to use glass from other systems, so it does help you take those baby steps. However, the native glass will always give the best performance. Unless you have a great relationship with your bank manager (and/or partner), you may need to transition slowly to cushion the financial impact.
This was meant to be shot on my Fuji. However, the battery died and I had no spares. Luckily, my trusty Canon (and 4 spare batteries) to the rescue.
There is the honeymoon phase in any relationship. I am currently in it with my Fuji. No matter what the sensible part of your brain says, having new gear makes you get out and use it. The more photos you take, the more your photography improves. So, therefore, changing camera gear will make things better right? Well, maybe. If you changed for a specific reason and your new gear addresses it, then, yes, it may be better.
What is more likely, though, is that after the honeymoon phase, your camera will get used no more than your current kit. Your photography will not improve simply because of your choice to change systems. You will again find things that you don’t like about your new system and things you miss about your old one. This is simply because there is no perfect camera.
The biggest reason to pause and think about changing systems is whether you could make a different investment that will improve your photography more than a change of brand. It is well documented that lenses are a wiser investment than a new camera body. I have seen countless photographers move towards a full-frame camera, rather than invest in lenses, which is definitely a mistake. Lenses hold their value, will instantly give you better results and will last you way longer than a new camera body.
If you look at a minimum of £1000 to change camera brands, then think of what else you could invest that money in to improve your photography. Portrait photographers, that could buy you a great off-camera flash system with modifiers that will take your portraits to a new level. You could invest in new lenses for your current camera that helps you shoot better in low light, or give you more reach as a wildlife photographer.
However, look beyond gear. What could £1000 worth of education do for your photography? How about spending £1000 on a trip to locations that you have always wanted to photograph? In many cases, changing your camera system is possibly the least likely thing to advance your photography.
For most of us, we simply got caught in the hype and Facebook chatter about a new camera. We think it will be a magic bullet that makes us take more photos or better photos. But in reality, it won’t. You will have a shiny new toy that you love, until the Mark 2 comes out and you will convince yourself again that you need to upgrade.
There are lots of legitimate reasons to change systems. There is also absolutely nothing wrong with switching to a new camera system simply because you want to. Just beware of the hype that it will make your photos better because it won’t.
The Fuji will make me money. Will I make more money than if I had kept my Canon? No. My back, however, will thank me for the lighter weight.
I’m not trying to convince you either way (you probably wouldn’t listen if I did). I am just giving you some things to think about if you are looking to move from your current camera system. Happy shopping.
Have you made the switch to a new camera system or considering it? Share with us in the comments section below!
The post 6 Important Considerations Before You Change Camera Brands appeared first on Digital Photography School. It was authored by Carl Spring.
We’ve already seen purported images and rumored specs of DJI’s impending compact drone. Now, a video posted to YouTube shows off what appears to be the same device detailed in the previously-reported photographs.
Originally posted to TikTok by a user of a closed Facebook group dedicated to DJI drone equipment and subsequently uploaded to YouTube, the 23-second video shows a drone that appears to be the rumored ‘DJI Mavic Mini.’ On the front of the light grey drone is a white DJI logo. The arms of the drone are collapsed in their stored position and appear to have the protective tape still wrapped around them. The front and bottom obstacle avoidance sensors can also be seen in the video as the drone is rotated around.
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Interestingly, the area of the drone where the camera/gimbal would normally be installed appears to be missing. As noted by DroneDJ, it’s unknown whether it’s ‘been removed or has not yet been installed on this particular drone.’ The battery door appears identical to the one shown off in the previous images we’ve seen and show the same placement for the USB connector and Micro USB port.
Between our last post and this one, a leaked spec sheet has also been revealed that appears to contradict the initial report that the impending drone will weigh more than 250g. According to the purported spec sheet, the drone will come in at 245g, putting it under the FAA’s weight limit for registration requirements. DroneDJ has shared a follow-up article detailing why this is even more likely be the case considering DJI’s statements at its May 2019 event titled ‘Elevating Safety: Protecting the Skies in the Drone Era.’
Whatever the case is, there’s a lot of smoke hovering around the DJI rumor mill. Now the question is how much longer before the flames are found?
Articles: Digital Photography Review (dpreview.com)
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Our full review of the Panasonic S1R is live, and in it, we go in-depth to cover the camera’s image quality, handling, autofocus and more. In this article, we’re going to take a straightforward look at how well-suited it is for some popular photographic use cases. And with a camera as capable as the S1R, there’s a lot to dig into:
Follow along as we take a closer look at what works well on the S1R for each of these types of photography, and what doesn’t.
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It should come as no surprise that the S1R is among our top picks for hardcore landscape shooters. After all, its sensor offers up a whopping 47MP of resolution, which should be enough on its own to satisfy most users. But, if for some reason you just want more, the S1R’s high-res mode gets you to a staggering 187MP. The S1R does this by using its moving its sensor to capture eight total frames, resulting in an image that has four times the standard resolution. Panasonic’s latest motion correction techniques are icing on the cake – they’re effective, and you can see a detailed look at them here.
Dynamic range is also an important consideration for landscape work, especially for those users photographing sunrises or sunsets. While the S1R’s sensor can’t quite match the absolute best full-framers in this area (which include Sony’s a7R series as well as Nikon’s D850), it’s a solid performer and will offer more than enough flexibility for most users.
The camera outputs very good JPEGs, and combined with in-camera Raw processing, you don’t need an editing rig to get good results
With those core considerations out of the way, let’s also take time to mention that the S1R is built extremely well, and both the camera body and the (very sharp) S-series lenses should stand up to the elements with ease. Battery life isn’t the best, but you can top up via the camera’s USB-C connection if you’re off the grid. The tilting screen makes for easy tripod work, and backlit buttons will help you out in the dark. Lastly, the camera outputs very good JPEGs, and combined with in-camera Raw processing, you don’t necessarily need an editing rig with you to get good results.
The biggest potential drawback to going on a wilderness hike with the S1R? Well, it’s pretty heavy, especially compared with its mirrorless peers. Whether that’s an issue is really up to you.
Landscape photo by Dale Baskin
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As we stated in the previous section, the Lumix S1R is a bit of a bulky beast in the mirrorless world. So if you’re a world traveler that likes to travel light, well, you can probably stop reading now. However, if you’re the type of person for whom photography is the reason for your travels, or you’ve got a back-breaking history of carting a full-frame DSLR kit in your carry-on, well, the S1R has a lot to offer.
The S1R should handle whatever’s thrown at it – rain, dust, the occasional door frame, and so on
First of all, travel can be unpredictable, and the rugged nature of the S1R means it should handle whatever’s thrown at it – rain, dust, the occasional door frame, and so on. It outputs some seriously nice JPEG images, with great color, detail and noise reduction, so you can easily send those to your phone for instant sharing with your mates back home. You can also leave the wall charger with those mates back home, thanks to USB-C charging, and though the dual card slots are mis-matched, you can use one as a backup and thus forego a laptop and external hard drive if redundancy is a concern.
But what good is a camera without lenses? Thankfully, Panasonic’s 24-105mm F4 ‘kit’ zoom is a fantastic lens optically, and provides some great flexibility for all types of shooting. But – like the camera, it’s a bit bulky. You can always throw the newly announced Sigma 45mm F2.8 into your bag as well, if you want a lighter, more casual walk-around option.
Travel photo by Carey Rose
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Ah, lifestyle photography – the avid, influencing Instagrammer’s bread and butter. For taking polished photographs of people doing things, like reading what looks to be an empty diary next to a porcelain ocelot, the Lumix S1R is a worthy and full-featured option.
Of paramount importance here is connectivity, and the S1R’s wireless options work well. Plus, good JPEGs and in-camera Raw conversion mean you can easily get the results you want onto the internet in short order. Adding to the artsy appeal, the S1R’s full-frame sensor will allow for very shallow depth-of-field with the right lenses, if that’s your thing.
The S1R’s full-frame sensor allows for shallow depth-of-field with the right lenses,
if that’s your thing
But what good is all that if your images are out of focus? Well, not only does the S1R have lightning-quick single autofocus, but its Body/Face/Eye detection works well in continuous AF, and seems to minimize the distracting ‘wobble’ we see in the viewfinder when shooting in other autofocus area modes. Unfortunately, if you start to have too many detectable subjects in a scene, it can be awkward and frustrating to cycle between them.
Lastly, it bears mentioning that between Panasonic, Sigma and Leica, there’s a robust lens lineup for the S1R for all types of looks – though most of those lenses cost a pretty penny.
Lifestyle and people photo by Dan Bracaglia
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So, you’re looking for a camera to capture fleeting moments of family and friends, and are considering the Lumix S1R for the purpose. The good news is that there’s a lot going for the S1R here – the bad news is that there a few things working against it as well.
I remember sitting down for breakfast with a friend at the bar of Jake’s Cafe in Ritzville, WA, and plonking the S1R down on the counter. The waitress looked at it, said ‘whoa,’ and looked at me like I was crazy. The camera also took up about the same amount of counter space as my subsequent plate of buttery calories, so it mostly lived under the counter, carefully tucked between my feet.
Do you really need 47MP images of your friends chowing down on their eggs? Probably not.
Again, the main issue with the S1R comes down to its relatively large size and weight. Sure, it’s not a Nikon D5, but to most people, it may as well be. Capturing fleeting moments means having a camera with you, at the ready, all the time. And frankly, there will simply be days, moments and events where you just don’t want to lug it with you. Sad but true. Plus, do you need 47MP images of your friends chowing down on their eggs? Probably not.
But let’s say you have bigger biceps than I, and a bigger tolerance for the attention the S1R brings. You’ll be rewarded with a solid ‘Auto’ mode for handing the camera off to novice users or family members, solid face detection for one or two subjects, excellent low-light performance for indoor or evening shooting, and the best video quality of all the high-resolution mirrorless bodies currently out there. Plus, the S1R is incredibly responsive in general operation, so you won’t miss a moment because you’re waiting for the camera. So if you do want to carry an S1R with you, it’ll have no trouble helping you capture memories and moments with ease.
Family and moments photo by Carey Rose
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Fun (and obvious) fact, the above image isn’t of an actual event, but it is of an actual event venue. Anyway. For those hardened wedding shooters who are used to having two full-size DSLRs and F2.8 zooms, the Lumix S1R’s size and weight won’t be huge concerns (though someday, your spine will go into open revolt against you for all that you’ve done to it). But truthfully, the S1R has a lot to offer wedding and event shooters.
The weather-sealing is great for when someone inevitably dumps a beer onto you as the dance party heats up
First let’s touch on the handling (pun!). The camera’s large, deep grip is comfortable, and makes it easier to handle large, fast lenses. The incredible array of external controls means almost any setting is at your fingertips, without having to jump into menus – the layout of the autofocus switches and buttons is a particular strong point. Also, the weather-sealing and robust build are great for when someone inevitably dumps a beer onto you as the dance party heats up.
Image quality is, as we’ve covered, superb, so no issues there. The dual card slots are mis-matched, but allow for redundancy. The camera’s interface allows for easy switching between stills and video, and the faster-than-average 1/320th flash sync speed is welcome.
But for a lot of wedding and event shooters, 47MP of resolution simply won’t be necessary, and will devour hard drive space. First-party flash options are a bit limited, and the on-camera flash AF assist lamp is a bright LED which will distract (or simply blind) your subjects. Lastly, the burst rate of 6fps with autofocus might be too slow for some shooters and some moments, and occasionally, you’ll find a mis-focused shot mid-burst. But overall, if you want or need the resolution, the S1R is a solid option for this type of photography.
Photo of plants by Carey Rose
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Formal portraits, whether studio-based or in a more natural setting, are no problem for the Lumix S1R. First off, the image quality: The S1R gives you expansive resolution, options for very shallow depth-of-field, and excellent color (including skin tones) right out of camera. The fast 1/320th flash sync speed is a nice touch, and single AF is very fast and accurate. Face and eye detection are effective for single subjects as well.
Eye detection will occasionally choose to focus on eyelashes, and not the pupil
On the other hand, before you get too excited about the 187MP high-res mode for portraits, be aware that you cannot use traditional strobes with it – you’ll need to use constant lighting thanks to the camera’s electronic shutter. Also, eye detection will occasionally choose to focus on eyelashes, and not a subject’s pupil. This might seem nit-picky, but remember, 47MP of resolution. You will see the difference. Lastly, Panasonic’s own-brand flash system isn’t terribly fleshed-out, but third-party options are plentiful.
If you’re a portraitist looking for your next high-quality body, the S1R could be just right for you.
Photo of Dan ‘I don’t like having my picture taken’ Bracaglia taken by Carey Rose
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There are two key requirements for a camera to be good for street photography. The first is responsiveness – you need the camera to react at a moment’s notice, when the light’s just right, before your subject exits your composition. The second is subtlety, as you don’t necessarily want to call too much attention to yourself. Now, you only get one guess as to which of these the S1R falls short at.
Bingo – the S1R is big, with a lens lineup that is also almost universally big. When you carry the S1R around, people will look at you and think, “that person must be a photographer,” or “that person’s camera must take really great pictures,” or “that person is a creep.” It is a camera that will get you noticed, whether you want the attention or not.
The S1R will reward you with responsive operation
But if you’re in a big crowd, or a big city, you may yet be able to blend in despite the S1R’s imposing presence. In this case, the S1R will reward you with responsive operation, settings you can check on the top LCD, a touchscreen that tilts so you can shoot from the hip, and an option for a fully-silent electronic shutter. The connectivity will help you send a file off to a subject should you wish, and the weather-sealing means you don’t have to cut your photo walk short if the weather takes a turn.
Candid and street photo by Carey Rose
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The Lumix S1R isn’t our first choice for shooting sports and action, but that doesn’t mean the camera can’t do it. First of all, the 47MP of resolution may simply be overkill for most action shooters – but on the other hand, that gives you cropping flexibility in post. The grip makes it easy to handle big telephoto lenses (and Panasonic’s own 70-200mm F2.8 S Pro lens is coming soon), and the external controls make it easy to react to changing scenarios. If you choose to use the XQD card slot as your primary storage option, the buffer is deep, and for those on tight deadlines, the excellent out-of-camera JPEGs are sure to please.
Count on some images mid-burst to be slightly front-or-back-focused
But 6fps burst shooting with autofocus just looks awfully slow in this day and age, especially for capturing peak-action moments. The experience of using the S1R’s big, beautiful viewfinder is marred by a distracting ‘wobble’ and resolution drop when using continuous autofocus – which you’ll be using a lot when shooting sports. Also, count on some of those images mid-burst to be just slightly front-or-back-focused. It probably won’t matter for a thousand-pixel-wide web display, but if you’re the official team photographer shooting images for archival or print purposes, this may be a concern.
In all, you absolutely can shoot sports and action with the S1R (after all, you can shoot sports with an ancient Speed Graphic if you’re David Burnett). But if this is your main photographic calling, there are simply better options out there, and for a lot less money.
Sports and action photo by Carey Rose
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There are no bones about it, the S1R is the least video-capable of Panasonic’s new S-series full-frame cameras. But happily, our testing shows it to be the most video capable of the current crop of high-resolution mirrorless cameras. There’s something to be said for that.
Feature-wise, the S1R can shoot up to 4K/60p video, as well as 180fps high speed Full HD footage. There are a ton of customization options for separating settings between stills and video, and the in-body image stabilizer will smooth out your handheld clips. Body / face detection is the most effective way to track focus on people in video, the audio pre-amp is of good quality, and the camera shoots far longer than you’d expect on a single battery charge.
No other high-resolution camera body on the market can touch the S1R’s video quality and feature set
But being based around a high-res sensor, there are some compromises that had to be made in the Lumix S1R. 4K capture comes with a minimum 1.09x crop, which admittedly isn’t too bad. Cropping in further to Super35 will give you the absolute best 4K quality, but that’s quite a crop depending on your lenses. Generic autofocus ‘tracking’ is unreliable at best, and unlike the cheaper S1, there are no options for HLG or 10-bit capture.
But let’s say that high-resolution stills are your top priority, and you may occasionally need to do some video on the side. In this situation, the S1R is easily recommendable – no other high-resolution camera body on the market can touch its video quality and feature set.
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And that’s a wrap! If it isn’t obvious, the Lumix S1R is a camera we really enjoyed reviewing and using – even if it’s a bit of a bear to lug around. Our only real reservations concern its autofocus system and burst speeds – in this day and age of 10fps high-resolution competitors with hybrid AF systems, the S1R isn’t a great fit for those that need to shoot lots of sports and peak action. But for other professional photographers that want a serious, versatile, high-resolution tool, the S1R is easy to recommend.
To get all the nitty-gritty details on the S1R and its features and capabilities, check out our full review. Lastly, do you own an S1R? What do you like to photograph with it? What do you think of the camera overall? Let us know in the comments!
Read our full review of the Panasonic Lumix DC-S1R
Articles: Digital Photography Review (dpreview.com)
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