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Archive for September, 2019

3 Tips for Capturing your Holiday with the Nikkor 60mm Micro Lens

10 Sep

The post 3 Tips for Capturing your Holiday with the Nikkor 60mm Micro Lens appeared first on Digital Photography School. It was authored by Lily Sawyer.

Going on holiday is so exciting for me. It’s a chance to unwind and take it easy. The one thing I don’t want to do on holidays is carry heavy equipment for my photography. I do that already as my day job and heavy cameras paired with heavier lenses are a drag. When on holiday, I usually take one camera body and one small prime lens with me. That’s it!

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This article is about capturing your holiday photos with the simplest of gear: a camera and lens. I used my Nikon D750 full-frame camera and a Nikkor 60mm micro prime lens for all the photos featured in this article. The combination is small in size and light in weight. Just a note though, as the D750 has a full-frame sensor, the 60mm viewed through it is a 60mm. If you use a cropped-sensor camera, this 60mm becomes a 90mm when viewed through the smaller sensor. Therefore it’s not something I recommend as a holiday combo. If you only have a cropped-sensor camera, then you are better off going with a 35mm fixed lens.

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Why Nikkor 60mm?

You may ask why 60mm, not 50mm, not 35mm? That’s a valid question. I used to take the 50mm as that focal length is most versatile and I love it’s lightness too. I have previously written an article here on the 50mm and its versatility. But I have swapped this for my 60mm as my go-to holiday lens recently.

1. The 60mm medium focal range is versatile

Landscape

If you have enough space to back off from the subject, you can take a good landscape photo without distortions (like cropping out too many tourists for example) and without it being too unnecessarily wide. Landscape in wide-open areas is easy. You can do more “considered” compositions because of the viewpoint the focal length allows. You can also “crop” in-camera just by moving forward or backward to include or exclude areas within the frame.

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Portraits

A portrait, by strict definition, is usually a view from the shoulders to the head. However, you can loosen it up a bit by going half body or even full-body! It’s not close-up nor too wide. The Nikkor 60mm Micro is the perfect focal length for a portrait. Because it’s an f/2.8 lens, you can still get shallow depth of field and achieve a pleasing background compression for a flattering image. This is especially so when I want to accentuate the subject and blur the background.

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Close-Up

Because the Nikkor 60mm Micro has a micro/macro lens capability, I can capture close-ups (including extreme close-ups) with it too. The photos below are of a wall covering at Peterhof Palace in St. Petersburg, Russia. We were passing through the darkly lit rooms (no flashes allowed) in a tour group so there was no stopping for a long time. It’s quite literally aim, shoot and go! I wanted to capture the intricate embroidery on these fabric wall coverings and a patch of the design. The Nikkor 60mm Micro gives fairly heavy vignetting, especially when shooting close-ups in low light. Close-range photography usually requires more light which wasn’t available here. However, the vignetting created works for me because I wanted to focus on the central areas of the patterns.

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All in all, the Nikkor 60mm Micro is light and nifty and has macro capabilities. With it, you can shoot really close-up details, through to much wider views, as shown in the photo below.

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2. Shoot to tell a story

I have recently written an article, 3 tips in photographing details in a scene, where I talked about shooting to tell a story. This is essentially utilizing the elements of story-telling as you visually capture scenes. So, you can tell the beginning, middle and end of a story effectively just by using photos.

Varied angles

You can make a story more interesting by employing a variety of angles. Think of a film being shot. You often have several cameras with various lenses coming in from different angles: wide, medium, high, low and close-up. These viewpoints offer new and different insights into the scene at hand.

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Emotions

Capturing moments that carry emotions is a surefire way of immortalizing memories in our minds. Action photos often help with these. The photos below of my daughter blowing soapy suds will remind her of her delight upon seeing a fountain overflowing with foamy white stuff! It was a marathon day when we visited Tallinn, Estonia. Crossing roads was tricky with all the runners zooming past too. A nice smile at the camera when we got on a train, and a much-needed rest from miles and miles of walking while sightseeing. All precious memories.

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Series

A series of shots showing a progression or a beginning, middle and end can also be a fun and interesting way of telling a story of a moment. It doesn’t have to be a complicated moment. A snapshot of something that catches your eye will do, like the little scene below. Including a couple of other shots of the same material but from a different perspective will bring new interest.

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3. Don’t forget the details

Details help us remember and set memories firmly in our minds so we can chat about it for years to come. I make annual family albums which my kids love to pore over and talk about regularly. They give us a lot of laughter as we recall the fun events of our holidays and reminisce the special moments. Still life, scenery, close-ups…they all play a part in helping us capture details more effectively to tell stories of our lives.

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I hope you found this little article on how to capture your holiday photos with just one lens, such as the Nikkor 60mm Micro helpful. Do share more tips in the comments below.

 

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The post 3 Tips for Capturing your Holiday with the Nikkor 60mm Micro Lens appeared first on Digital Photography School. It was authored by Lily Sawyer.


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Canon’s DPP Express app for iPad will soon require a monthly subscription plan

10 Sep

According to a new note on Canon Singapore’s website, Canon is making its Digital Photo Professional (DPP) Express iPad app subscription-based in the near future.

DPP Express is an iPad-only app that works hand-in-hand with the Canon Camera Connect app to process JPEG and ‘CR3’ Raw files from Canon cameras. The application is fairly standard in its feature set and functionality, with a rather standard interface designed to easily make adjustments and edits to images on the go.

A screenshot from Canon Singapore’s website showing the note that clarifies a subscription will be required starting with app version 1.2.0.

Currently, Canon DPP Express has a rating of just 1.6 stars out of 5 in the iOS App Store—and that’s before the impending update. Starting with version 1.2.0, which is due out October 2019 according to the note, the app will require a monthly subscription at a cost that’s yet to be disclosed.

It will still be possible to transfer ‘CR3’ files from compatible cameras to mobile devices via the Canon Camera Connect app, but Canon considers DPP Express to be a major component in its ‘mobile Raw workflow,’ so adding a monthly subscription cost to the workflow likely won’t go over well for those who do use the app.

We have contacted Canon for more details on pricing and whether or not there will be an annual subscription option as well and will update this article accordingly when we hear back.

Articles: Digital Photography Review (dpreview.com)

 
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Leaked photos, specs allegedly reveal Leica’s upcoming SL2 mirrorless camera

09 Sep

Nokishita has shared images and specifications for a new Leica camera it claims is the SL2.

According to the report, the new camera (codenamed Vader) will feature a 47-megapixel CMOS sensor and feature 4K video recording with a new ‘Cine Mode.’ The report also notes the camera will have both Wi-Fi and Bluetooth connectivity and be compatible with Leica’s mobile app, FOTOS.

Based on the images, the front of the camera remains largely unchanged from the original Leica SL (Typ 601) with the exception of the viewfinder bump and edges around the grip, both of which have been rounded off compared to the sharper design of the original SL. The rear of the camera stays the same up top, but swaps the unlabeled buttons on both sides of the camera for a row of three buttons on the left-hand side of the rear display: a play, function and menu button.

There’s no additional information on pricing, but Nokishita points at a September release with a note that the camera could be pushed back to later in the year pending other factors.

Articles: Digital Photography Review (dpreview.com)

 
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Review: Vuze+ 3D Stereoscopic 360 Camera

09 Sep

Vuze+ VR camera
$ 995 | vuze.camera

As someone who has been involved in the 360 video community for what is (too) quickly approaching half a decade, the rate at which the medium has evolved in recent years, from both the hardware and software perspective, continues to blow my mind, and the Vuze+ is just another reason why.

The Vuze+ is an upgraded version of HumanEyes Technology’s flagship Vuze stereoscopic 3D 360 camera. For the unfamiliar, the original Vuze was perhaps the most consumer friendly entry-level and affordable stereoscopic (3D) option. The main difference between the original and the Vuze+ are the IP65 instead of IP64 dustproof/water-resistant rating, the addition of spatial 360 audio, upgraded lenses, and the ability to livestream.

While there are a few aspects not to like, and I’ll get into those a bit below, those are almost negated (depending on your intended use for the camera) by the aspects that are very much to like, including the quality, the build, and the ease-of-use, especially at the impressive price point. After all, the original Vuze was good enough for National Geographic to film the first 3D VR footage in space and Discovery VR used the Vuze+ to capture VR footage for Sharkweek (with the optional underwater housing case).

Key features:

  • Eight F2.4 fisheye lenses
  • Stereoscopic (3D) at 4K/30p or monoscopic (2D) at 4K/60p
  • 4-microphone spatial audio
  • Livestreaming at full resolution
  • IP65 (dust tight, water jet proof)

Design

The Vuze+ is very well-designed. I was immediately surprised by how hefty a piece of quality machinery this was, especially for what is essentially a portable stereoscopic rig.

The camera has two buttons, one for power/mode and one to start/stop capture, as well as two LED lights to help indicate camera status such as photo, video, and recording. Hidden behind a thick rubber flap between two of the lenses is the slot for the microSD memory card, the mini-USB 2.0 input/output plug, as well as a battery charge status LED and Wi-Fi on/off and status indicator LED. There is a standard 1/4″ 20 tripod thread on the bottom of the unit.

The Vuze+ ships with a small handle, lens cloth, USB charger and cable, and a quite trustworthy thick padded hard-shell case.

Though the battery is not swappable, it does provide a respectable 90-120 minutes of recording power, and you can attach an external battery pack if needed. The internal battery charged from empty to full in a little under 2 hours. The app displays both battery levels and memory card space remaining.

The included hard-shell case for the Vuze+ is compact and protects the camera very effectively.

One of the main attractions of the Vuze+ is its capability to livestream in full resolution to various platforms that support 360 video including Facebook, YouTube, Periscope and any Real-Time Messaging Protocol (RTMP). It should be noted that in order to livestream, the camera needs to be connected to a computer, which acts as the stitch-box. This also allows you to save the out-of-camera video while you stream. Currently the livestream feature is available for Windows PC only.

Also, brownie points to the manufacturer, HumanEyes, for including mini VR glasses for a mobile phone and an international plug adapter, which as any media professional will be quick to tell you is a much appreciated touch.

In the field

Overall, the Vuze+ is very easy and fun to use. The camera records onto a single microSD card and there is a companion app for both iOS and Android that gives you control over ISO, shutter speed, and exposure. You also have record setting options that include choosing between 80 or 120Mbps bitrate, 50Hz or 60Hz anti-flicker, and 3D 30fps or 2D 60fps recording. The app also has an incredibly convenient digital bubble level to ensure an even horizon for every shot.

The Vuze app has a very convenient digital bubble level – very helpful when setting up a shot.

You also have the option of adjusting exposure settings for each of the four sets of lenses independently, a fantastic feature typically reserved for much higher end rigs like the Insta360 Pro 2. It worked great for automatic exposure adjustments but, unfortunately, more often than not, the app crashed when I tried to manually change the exposure settings on a Samsung Galaxy Note 8. It’s worth noting that others I spoke with did not have this problem.

Exposure can be adjusted independently for each of the four sets of lenses on the Vuze+, a feature typically reserved for higher end VR cameras.

With all that being said, my main, and perhaps only, gripes with this camera lie in two glaring omissions in the app’s functionality.

One, there is no live view on the app while recording. As the nature of 360 video is such that you have to be out of view during capture, not having an option to be able to preview what the camera is recording is borderline mind-boggling.

Two, while you can preview still 360 photos on your mobile device, the mobile app will not stitch 360 video files, so in order to preview video footage, you need to offload and stitch using the computer software.

Overall, the Vuze+ is very easy and fun to use.

While the image quality is pretty good for a stereoscopic camera at this price point, not being able to see or preview video captures in the field are sure to make for an inefficient video production. For this reason, I’d be more than comfortable using this as a B-camera on a professional job, but not as my main camera for principal footage.

Finally, it’s worth mentioning that the Vuze+ only records in h.264/mp4 format, and as of this writing, you do not have access to the raw, uncompressed individual camera files. You can however, output from the provided HumanEyes VR Studio software in ProRes.

Post processing / Desktop app

The Vuze+ workflow is fairly straightforward: once you connect your camera or offload the footage to your hard drive, you launch HumanEyes VR Studio software, which has 3 tabs – Import, Preview & Edit, and Render.

The Vuze desktop app, Vuze Studio, is used to process and stitch your footage, and is organized into three basic functions: Import, Preview & Edit (shown), and Render.

The software is easy to navigate and offers some pretty handy and effective features. Anytime you work in stereoscopic 360 you’re going to run across some stitching issues, and Vuze Studio gives you decent tools to fine tune those stitches. Often times, simply choosing reference frames in parts of the video where stitches are most apparent produces very acceptable results.

Other times, be prepared to spend some time refining stitches using the provided sliders to adjust the four stitch points, especially for moving subjects within a couple meters (6 feet) of the camera.

Vuze Studio software provides some powerful tools to fine tune stitching between cameras.

Vuze Studio does have something called ‘adaptive stitching’ (beta), which works quite well as it seems to analyze the scene and movement and adjust its stitching to accommodate for those variables. However, you’ll need to render the video in order to see the results of this adaptive stitching. In the samples below, watch the woman walking in the center of frame to see a short example of before & after stitch refinements. The second set of videos show how well it did in both standard and adaptive stitching from 3, 5, 7 and 10 feet (1m to 3m) away.

Editor’s note: For the best experience, we recommend viewing the 360 clips below using either a mobile device or a head mounted display like Google Cardboard.

Samples: standard vs. adaptive stitching

The first video above was created with standard stitching, while the second was created using adaptive stitching. Watch the woman walking in the center of the frame to see an example of standard vs. adaptive refinements.

Samples: standard vs. adaptive stitching at different distances

The two videos above show the effect of standard vs. adaptive stitching at 3, 5, 7 and 10 feet (1m to 3m) away. The closer an object in the scene is to the camera, the more challenging the stitching becomes.

Finally, if you so desire, you always have the option to employ a proven near-perfect optical-flow stitch using a third party software like Mistika VR (which has a Vuze+ preset).

One thing to be aware of is that the on-board mics are quite sensitive to wind noise, so if there’s a slight breeze and audio is important to your shot, I’d recommend a spatial recorder like the Zoom H2N with a windscreen to record audio separately.

Horizon stabilization works quite well for static captures. If there is excessive walking or movement without using a gimbal or stabilizer, don’t expect to be able to remove all of the shake and jello-ing as well as, say, the GoPro Fusion or the Rylo Camera, which, to be fair, were designed as action cameras and are just two-lens monoscopic cameras, making this sort of stabilization much less cumbersome. Alternately, as mentioned above, you can use third party software like SGO’s Mistika VR for more advanced software stabilization options.

Samples: walking video without stabilization vs. stabilization with adaptive stitching

The two videos above illustrate the camera’s video stabilization. The first video has no stabilization and standard stitching, while the second has stabilization enabled and uses adaptive stitching.

Since the camera already has an internal accelerometer and gyroscope, I wouldn’t be surprised to see future firmware/software updates remedy these issues.

The ability to easily add a nadir logo on the bottom (as well as on the top if desired) is a huge plus, as anyone that has had to format their own equirectangular logo in a program like PT Gui knows it’s typically an obscenely tedious process. VR Studio also makes it very easy to select your center field of view by simply dragging the video to your preferred focal point before rendering. Furthermore, Vuze Studio has a built-in tool to crop to 180? stereoscopic VR, a format Google is pushing heavily to help further immersive content adoption.

Vuze Studio makes it easy to select the default center for the field of view, ensuring that your viewer will be initially directed to your recommended point of view.

In the advanced Blending tool, you can choose from ‘none,’ ‘low,’ ‘medium,’ and ‘high’ to choose the amount of blending applied between the 4 sets of lenses. I found that ‘medium’ seemed to provide the best all around blend.

Vuze Studio has an advanced blending tool that allows you to apply different levels of blending between lenses. I found that the medium setting generally provided the best all around results. The fluctuations seen between lenses in this view are less noticeable when viewing the content in 360 format.

In the advanced Color Matching tool, you have the choice of ‘none,’ ‘by neighboring lenses,’ or ‘entire sphere.’ All work very well to tone down the image so that there are no extremely noticeable exposure fluctuations, especially in a headset.

Vuze Studio also provides an advanced color matching tool that lets you specify how color matching is performed between lenses. As with blend modes, the fluctuations visible in this view are not as noticeable when viewing the content in 360 format.

You also the get the option to adjust basic settings like exposure, highlights, shadows, temperature and saturation.

Finally, you have several options for output, including presets for YouTube, Facebook, Google Maps (360 stills), Vimeo and HumanEyes Zone, a proprietary platform to share VR sites through a single website link. Additionally, you can manually set output parameters, which gives you a choice of h.264 or ProRes, monoscopic (2D) or stereoscopic (3D), 4K or 2K resolution (or custom), spatial or stereo audio, cube map or equirectangular projection, as well as aspect ratio and video bitrate.

The image quality and dynamic range is pretty good for a rig this size and, especially, at this price. The one thing that was apparent in certain conditions, especially in scenes with high contrast, say through tree branches or rooftop edges, was chromatic aberration – noticeable purple fringing was introduced.

In some scenes with high contrast some purple fringing is noticeable.

Conclusion

While it may not fit the bill as a primary camera for most professional stereoscopic 360 shooters that are already accustomed to higher-end 3D rigs, there is still a place for the Vuze+ in many 360 shooters’ kits. Coming in at around $ 1000, aside from the original Vuze, there is no better deal for a stereoscopic rig. It’s easy to use, does a very decent job, and for those either jumping from monoscopic 360 video/photo to stereoscopic, or those that want to experiment with stereoscopic, it’s a good option considering the next cheapest 3D option would run almost 3x the price. This is a great way to dip your toes in without breaking the bank.

The Vuze+ can also serve as a great B-camera and as an option for shooters in specialty markets such as real estate and journalism where they may forego many of the above issues that might plague a more produced shoot.

While there are a few drawbacks, between the acceptable optics, the software, and the user experience, what this gives you, for the price, is quite impressive. Keeping those things in mind, you can’t really go wrong with the HumanEyes Vuze+.

What we like

  • Good price point for a stereoscopic rig
  • Well designed, heavy and sturdy
  • Live-streaming capabilities
  • Approachable and functional software
  • Built in optimized presets for Google Maps / YouTube / Facebook outputs

What we’d like to see improved

  • No Live Preview while recording video
  • Can’t preview video files in app – need to offload and stitch.
  • No optical-flow stitching
  • Software stabilization
  • Chromatic Aberration in certain high-contrast conditions
  • No uncompressed recording

Articles: Digital Photography Review (dpreview.com)

 
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Great Reasons to put a Carabiner in your Photo Kit

09 Sep

The post Great Reasons to put a Carabiner in your Photo Kit appeared first on Digital Photography School. It was authored by Rick Ohnsman.

The carabiner is a device most closely associated with mountain climbing, but now it finds application in so many other things.  In this article, we’ll explore a few ways you can make good use of a carabiner as a photographer.

Interestingly, the carabiner was not initially invented for climbers.  The history of the device is interesting with an inventor nicknamed “Rambo.” It’s not a story I’ll detail here, but worth a read.  The carabiner is essentially a loop with an easily opened “gate.” It allows quick clipping onto objects and then which closes by means of a spring.  Some carabiners also have a locking mechanism which prevents the gate from inadvertently opening.

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Inexpensive carabiners are great for many of the applications we’ll discuss here. However, note, they are clearly marked “NOT FOR CLIMBING.”

Not for climbing

Carabiners come in a multitude of sizes and designs.  Those specifically made for climbers are carefully designed, tested, rated for strength, and marked with their load-bearing capabilities.  At the other end of the spectrum are the lightweight versions often sold for just a few dollars in hardware stores and the like.  These are often marked “Not for Climbing” as they are not built with the same care or performance capabilities of the climbing-specific types.

Image: The huge almost 8-inch carabiner on the left might have some good photo applications like car...

The huge almost 8-inch carabiner on the left might have some good photo applications like carrying multiple items or hanging an extension cord, but it’s not for climbing. The other three are climbing-rated carabiners. The one at the far right is a locking type.

For the purposes described in this article, we will cover possible uses by photographers. For those applications, the lighter weight, non-climbing versions may work fine.

As a disclaimer, I know very little about climbing. I am not a climber and certainly would not begin to suggest you take anything in this article as instruction on how to use carabiners for climbing. If that’s is your intention, go find an expert – someone you trust with your life.

In the climbing world, that really is the purpose a carabiner may serve.

Security and convenience

Carabiners serve two main purposes for climbers:

Safety – Carabiners are used as quick attachment devices to clip into climbing ropes. Those ropes act as safety devices so should the climber fall, the rope and the carabiner restrain the climber and save them from disaster.

Convenience – On the side of a mountain, it’s just you. Fumble and drop something, and it’s gone. Unable to carry a heavy load, you need a strong, lightweight device that provides security as well as easy access to your equipment (sometimes with just one hand). That’s just the job for which the carabiner is well-suited.

Safety and convenient use of carabiners by photographers is what we’ll address.

Security

When fragile things fall onto hard surfaces, bad things happen.  That is why climbers use ropes and carabiners – as safety devices.  If you’ve ever dropped a camera, lens, or other valuable photo gear, you learned this lesson the hard way.  So, what if we could come up with a few tricks using carabiners to provide some safety for your photo equipment so you aren’t punished by the law of gravity?

Image: A simple DIY camera-to-tripod safety tether as outlined here. The top knot is a clove hitch,...

A simple DIY camera-to-tripod safety tether as outlined here. The top knot is a clove hitch, the bottom one a cats-paw knot.

Camera-to-tripod tether

I do a lot of landscape photography and like to mount my camera to my tripod with a Swiss-Arca compatible L-bracket. The bracket clips into the lever lock mount at the top of my tripod. I prefer the lever clamp to twist knobs. It’s quicker to work, easier to see if it’s locked, and unlike a twist knob, doesn’t require periodic checking. After taking a few shots, when moving to a new location, I put the tripod over my shoulder and walk to the new spot with the camera and lens still mounted to the end of the tripod.

Now, I know I’m not the only one to do this – I remember watching Art Wolfe’s “Travels to the Edge,” where he’d routinely carry his camera like this. I like to be cool like Art – silhouetted against the sun with my tripod and camera over my shoulder. Never did I see his camera fall off the tripod and I’ve never had mine fall off…yet.

I’m afraid that one day I’ll be walking, carrying the camera this way, and suddenly feel the tripod get lighter and hear a crash behind me. I know my blood would run cold. A clamp failure or unplanned release could spell disaster and certainly, make a grown man cry. Rather than have that happen, I came up with this idea.

Get two carabiners and tie each to opposite ends of a short length of rope. Paracord works well for this as it’s light and strong. Don’t over-engineer this. You want to pick carabiners and cord with a load strength of maybe 50-lbs or greater to be on the safe side, but not so large as to be cumbersome. What is important is to tie the cord to the carabiners with the proper knot. If the rope comes loose from the carabiner when the need arises…yup…that would be bad.

Go online and find a good video showing how to tie a rope to a carabiner. I like the catspaw knot for this purpose. The clove hitch is good too.

Great-Reasons-to-put-a-Carabiner-in-your-Photo-Kit

Walking with your camera on the tripod over your shoulder like in the inset image, if the clamp released your camera would be saved like in the large shot IF tethered. Otherwise…     = :-O

The length of the cord shouldn’t be much longer than the distance to reach from your tripod head to the camera. Usually, 6-8″ (15-20cm) will be about right. Get a split ring, the kind often used for keyrings, and mount that to the lug on the side of the camera made for a regular camera strap.

Now, clip one carabiner through the ring and the other one just under the mount on your ball head. (See the photo). Most ball heads will accommodate this. However, if yours doesn’t, you’ll need to find an alternate place on the tripod to clip the lower carabiner. Now head down the trail confident that if the clamp releases your camera, the tether will save it.

Yes, it might occasionally get in the way or prevent your ball head from completely free motion while photographing, but if so, unclip the carabiners while you work. The peace of mind I get as I walk the trail with my camera on my tripod over my shoulder is well worth a slight inconvenience.

Other uses for a safety tether

A similar DIY device, two carabiners connected by a length of cord, may find other applications in your photo work as a safety tether. The size and weight of the device you need to protect will dictate the strength of your carabiners and connecting cord, rope, or cable. People in lighting or theatrical work are likely familiar with such safety tethers. Having a heavy light fall onto the talent below would be bad, very bad.

Even if your photography doesn’t involve talent under lighting or other equipment, having expensive photo gear fall off a mount and crash to the ground is also bad. Consider devising ways you can create safety tethers for some of your other equipment with a little creative DIY engineering.

Image: A sling-style camera strap attached to the bottom tripod hole of a camera with a locking cara...

A sling-style camera strap attached to the bottom tripod hole of a camera with a locking carabiner-style clip.

Camera Straps

I get it, no one likes a strap around their neck, and most camera straps are a bothersome hassle. But like wearing your seat belt in the car, perhaps you need to consider the risk versus the inconvenience. I wish I had a dollar for every time I’ve seen photographers – even pros – holding their camera and taking a shot with the strap dangling down in front of them rather than around their neck. I see them shooting out the tour bus window, over the side of the boat, over a cliff edge or at the zoo with crocodiles below.

Also, I wish I had all the money wasted when cameras and lenses which could have saved with a strap instead were fumbled, dropped, and destroyed. I use an Op/Tech sling strap (Black Rapid is a similar well-known sling-strap designer). It is more comfortable, keeps the camera on my hip rather than my chest, an is still ready for quick action.

My work camera uses a different connection method. It uses a mount into the tripod screw hole and a snap-clip which is much like a carabiner. Before that, I modified my OEM strap and used a similar hardware store snap-clip.

I guess there are people who “free-climb” mountains with no safety devices, people who drive without their seat belts and, yes, people who don’t like camera straps. I’ll leave it up to you to decide.

Me? Camera straps, carabiners, and safety tethers are my friends.

Photographing near the edge

On a trip to Canyonlands National Park in Utah, we had a photo buddy in our group with less acrophobia than I. (We nicknamed him “Spiderman”). While photographing the canyon at Deadhorse State Park, he was uncomfortably close to the edge. I tried not to look and concentrated on my photography. Then I did look around…and he had disappeared! His tripod and camera were still there, but not him.

Panic!

I feared the worst and cautiously peered over the edge…

Looking…looking…

A few minutes later, with a big grin, he stepped out from behind some bushes.

For our next trip, I’m considering rigging him with a safety tether.

Image: That next step is a doozy! My photo buddy “Spiderman” on a trip to Deadhorse Stat...

That next step is a doozy! My photo buddy “Spiderman” on a trip to Deadhorse State Park in Utah.

I tell that story to suggest this, using a carabiner and length of rope to allow you to make those “edgy shots” safely. The shots where you extend your camera and tripod over the edge, out the window, over the side of the boat, cliff, above the crocodile pit (Crikey!). All of those places where if you fumble or your clamp releases you won’t be getting your gear back. At least not in one piece. There’s also the potential danger to those below to consider.

I’m suggesting attaching your camera/tripod to a tether.  A good device if you do a lot of hand-holding of your camera with a wrist strap.  There are various commercial designs, or you can fashion a strap with a velcro fastening to go around your wrist and a carabiner to clip to a ring on your camera.  Fumble the camera and the safety tether to your wrist saves it.

While working near precipitous edges, it may also be a good idea to have a tether on yourself. However, if you decide to do so, you enter the realm of “climbing.” As I said, don’t look to me or this article for guidance on that subject.

If you do tether your equipment, secure the other end of the rope to something secure, perhaps not yourself. You don’t want a falling camera and tripod dragging you over the edge too. Got all that Spiderman?

Image: Often the hook at the bottom of a tripod column just isn’t large enough to accommodate...

Often the hook at the bottom of a tripod column just isn’t large enough to accommodate a camera bag handle. A carabiner makes it work. Use this arrangement when you want extra weight and stability for your tripod or to keep your camera bag off the dirty or wet ground.

Convenience – What, where, and when you need it

Having what you need, where you need it, when you need it, and available for quick access and return to its storage location is essential to a mountain climber hanging on the side of a cliff. It’s also handy for a photographer who has hands busy operating the camera. Or doesn’t have the time to root through a backpack looking for something while the light is fleeting. Carabiner to the rescue! Putting easy access to equipment within reach is a hallmark of this little wonder.

Great-Reasons-to-put-a-Carabiner-in-your-Photo-Kit

Zip-tie and gaff tape a carabiner to a tripod leg and you have a “third-hand” hook. Keep a filter or other accessory bag right at hand while you work.

Creative photographers will come up with many uses for a carabiner, whether in the field or the studio. Others marketing all manner of other goodies and gizmos have also incorporated carabiners into their equipment designs to make them more useful.

Let’s look at some photos that show both some DIY uses as well as product designs that leverage the wonders of a carabiner.

Great-Reasons-to-put-a-Carabiner-in-your-Photo-Kit

Many products incorporate carabiners int their design. Here are just a few of possible interest to photographers. Urban Gear knife, TempaBright light/thermometer, Coghlan’s waterproof capsule container, Coghlan’s large carabiner carry handle, small carabiner keychains, Nite Ize S-biner, Nite Ize DoohicKey, LuxPro focusable flashlight, LifeLine weather-resistant First Aid Kit, and don’t forget the zip-ties.

Team these with a carabiner

You’ve seen some great uses for carabiners for a photographer, and hopefully, I’ve introduced you to something you can use. But I’d be remiss if I didn’t suggest some other devices to throw into your pack to increase the versatility of carabiners even more.

Great-Reasons-to-put-a-Carabiner-in-your-Photo-Kit

My LowePro ProTactic 450AW backpack has MOLLE webbing on the outside giving many places to clip in carabiners and goodies.

Paracord

Originally developed as the suspension lines used on parachutes, this strong and lightweight nylon cord is a great accessory to have in your pack.  It’s available in many thicknesses and strengths, a rainbow of colors, is easily cut when you need a shorter length and you can seal the ends with a match.  It’s great stuff and a perfect partner to a carabiner.

Image: Need to tighten a loose line? Clip on a carabiner, twist the carabiner until the line is tigh...

Need to tighten a loose line? Clip on a carabiner, twist the carabiner until the line is tight, then clip the carabiner back onto the now tightened line.

Binder clips

Yes, the kind used in the office.  They come in a variety of sizes so you can suit the size to the need.  A perfect photographic application is hanging a backdrop.  Put a few binder clips along the top edge of the backdrop, clip carabiners through the loops of each clip and you can hang the backdrop from a paracord line or rod.

Great-Reasons-to-put-a-Carabiner-in-your-Photo-Kit

Hang a backdrop with some carabiners used like curtain hooks on a line or rod. Binder clips work well for this, but these ProGrip TarpSharks were too cute not to buy a couple.

Zip ties –  (aka cable ties)

Zip ties are very lightweight, strong, and able to be pulled very tight and locked there. These are wonder devices.  When you can’t attach your carabiner directly to an object, try attaching a zip tie to it and before tightening, a carabiner as well.  The example above of attaching a water bottle to a carabiner is a good one.  You’ll think of dozens of other uses.  Zip ties can also save the day when straps or other things in your photo kit break and you need an emergency fix.

Gaffer tape

People in the film and theatrical professions know and love this stuff and no photographer ought to be without a small roll in their pack.  Don’t confuse this with duct tape, it will only make a sticky, hard-to-remove mess of your equipment.  Get real gaff tape and then go nuts with the many ways you’ll be able to use it.

Image: In the studio, an easy way to keep two joined extension cords from becoming unplugged.

In the studio, an easy way to keep two joined extension cords from becoming unplugged.

Great-Reasons-to-put-a-Carabiner-in-your-Photo-Kit

Not a lock, but at least a way to use a carabiner on your backpack zippers to discourage a potential thief from a quick grab of your gear.

The DIY photographer

If you haven’t figured it out by now, I’m a real DIY nut! If I can figure out a cheaper, better, innovative way to do something, including my photography work, I’m all over it.

Carabiners certainly fall into the list of useful parts in the “goodies” bag I keep in my photo backpack.  I hope you picked up a useful tip here. If there’s something I missed that you’d like to share with the worldwide photographic community here on DPS, please include it and maybe a photo too in the comments section below.

Now go forth and photograph!

 

Great-Reasons-to-put-a-Carabiner-in-your-Photo-Kit

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An Introduction to Amazing Abstract Automotive Photography

08 Sep

The post An Introduction to Amazing Abstract Automotive Photography appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Some photographs document an event or show a person, place or thing. These are photos of record accurately capturing an image that represents what we see. Other times we want to take a more artistic approach, making a photograph more about a feeling than solely about the subject itself. Sometimes the two mix, for instance in advertising photography, where we might want to accurately show a product but do it in an artistic way that invites the viewer to also feel a certain way about the product.

porsche abstract automotive photography

The beautiful lines of a Porsche and the curves of a twisting road. Put the two together to create a story.

When leaning toward the artistic and sometimes abstract interpretations of photo subjects, I like to remember the words of famous photographer Minor White:

“One should not only photograph things for what they are but for what else they are.”

abstract automotive photography

You don’t need to show the whole car to tell the story. The colors and lines contribute to the image of this American legend.

Applying this to the subject of abstract automotive photography, my intent here is not to teach you everything there is to know about making abstract automotive photos, but to simply get your creative juices flowing. You’ll note that none of the photos here show a complete automobile, but instead depict details, pieces, and parts.

The focus here is the artistic concepts of form, shape, line, tone, color, pattern, light, and shadow.

blurry mustang shot

The shot is blurry by design. I wanted to create a feeling of motion here.

dashboard of mustang

You can also get creative with interior images. The zoom-blur effect was added later in editing.

car steering wheel composite

Ever get the feeling you’re being watched? The patterns and holes in wheels can look like faces – a phenomenon known as Pareidolia.

Automobiles may be a mode of transportation, but they are also art objects – the work of designers who pay much attention to form as well as function. Know that an automotive artist purposely and artistically designed every detail of every car. We, as photographers, can explore that art, find the beauty, note how light plays across the curves and surfaces of an automobile, and use it to craft beautiful photos.

cars all in a row

You can make a shot like this on a car lot. It’s all about repeating shapes, lines, and patterns.

What and where

Finding cars to photograph and places to photograph them will depend on what’s available to you. I work part-time at a Ford dealership, photographing new cars for posting on the internet. These are not art photos. They serve the purpose I spoke of earlier: accurately representing the vehicles to interested buyers. The purpose, time, and volume don’t permit spending much time on each photo. However, when time does permit, the light is especially nice, or a particularly interesting car is available, I will get a little more creative.

mustang front angle

Find an angle that works and you can use it over and over. Can you tell I like this composition when photographing Mustangs?

abstract transmission composite

Why restrict yourself to the exterior components of a car? When I saw this transmission torn apart on the workbench, I asked the mechanic if I could take some shots.

You might not work at a car dealership, but you could probably talk a local dealer into letting you take photos of their cars particularly if you’d share some of your images with them.

Alternatively, perhaps you or a friend have a nice car you could start with. Begin making and showing some good work and, before long, you’ll have people asking if you can photograph their cars.

old cars

Car shows can be a great place for auto art photography. They often have a diversity of makes and models from different eras.

Car shows

Most areas have occasional car shows, where owners polish their vehicles to a mirror-like finish and proudly show them. Often there will be a nice variety of vehicles, sometimes exotics, hotrods, older classics, and antiques. Because the public is typically invited to these events, and they are held in public spaces, photography is generally not a problem.

In fact, the owners practically expect people to ogle and photograph their cars. One thing they will not appreciate (and will likely get you run off in a big hurry) is touching their beauties. Always be respectful and ask if there’s any doubt about whether you can photograph the vehicles.

And, above all, never touch the cars.

red Jaguar with raindrops - abstract automotive photography

Raindrops on red Jags…These are a few of my favorite things. The color, the diagonal lines, the iconic symbols, and the interest added by the raindrops on a freshly-waxed hood all combine to make this image work.

One problem is that there will typically be lots of people around. Because cars are covered with highly reflective surfaces, getting shots without people’s reflections can sometimes be a problem.

I have no real solution for this, other than to make two suggestions:

  1. When making tight shots of particular pieces of a car, the chances of getting a reflection in your shot is much less than if you were photographing the entire car.
  2. Learn to be patient. Frame up your shot, be ready, wait for the person in the shot to move on, and then quickly make your photo.
reflections in old cars

It can be hard to keep bystanders, or even yourself, out of the reflections in glass, chrome, and shiny paint.

red and white car

Fins up! How cool is this beauty, found at a local car show?

black and white old car

Sometimes monochrome is the best way to show the old classics, much like they might have appeared in an old film of the era. Sunstars are courtesy of the noon sun, a highly polished surface, and an f/22 aperture.

Lighting

High-end automotive photography can involve as much care in lighting as any product or model session. There are studios specially designed to drive a car inside to photograph. I know a local guy who has such a studio. It has full hard cyclorama walls, a glossy white floor, and a lighting system that includes the largest softbox I’ve ever seen. The softbox has to be at least 30 feet long, maybe more!

abstract hood ornament compositions

Hood ornaments are art objects unto themselves. Then add a sunstar with a specular highlight and a small aperture. Both images were made in full noon sun.

front of car - abstract automotive photography

The hood emblem of an old Ford F-100 pickup reminded me of the symbol used by the superhero the Flash.

At the opposite end of the spectrum are the shots in this article. They are all made outside with just daylight, no flash, sometimes on a tripod, but many times handheld. Often they were made in the bright noonday sun. Sometimes the bright sun is nice, such as when the specular highlights on chrome, combined with a small aperture, create sunstars.

The point is that you don’t need anything fancy to try this kind of photography. A creative eye, some imagination, and the ability to properly control focus, depth of field, and exposure are all you need.

rusing car - abstract automotive photography

The door handle is the only touch of reality in this otherwise purely abstract image.

Gettin’ funky in the junkyard

Even the nicest cars will wind up here one day – the junkyard.

One might think it a strange place to make photos. However, for some reason (perhaps nostalgia?), many of us are fascinated by old things. In the auto junkyard, you’ll often find old classics quietly rusting in peace. The once-shiny paint fades to all kinds of interesting colors and patinas. And the layers of peeling paint and rust make an incredible canvas for abstract art.

car in junkyard

On the right, an old tour bus used by country star Gene Autry is now parked in Palouse, Washington. On the left, a tight shot of the abstract art to be found if you explore the rust patterns on the old band bus.

junkyard abstract automotive photography

Corruption of Power

A word of caution about junkyard photography: Always ask the owner if you can take pictures on their property.

Yes, oftentimes auto junkyard owners will puzzle over why anyone would want to make photos of a bunch of old beat-up and rusting cars. Ask nicely. Convince the owner you’re only there to make photos and you won’t be taking any spare parts home with you. You’ll often get the go-ahead.

Now, you’ll be working in an environment of sharp rusty metal, broken glass, spilled oil, gas, and other automotive fluids, so caution is important. (It might be a good idea to have your tetanus shot up-to-date and carry a first aid kit just in case.)

Whatever you do, just don’t head onto the property without permission, even if the area seems abandoned. You don’t want to meet the infamous junkyard dog or his angry owner.

junkyard abstract hood

You can likely still tell this is the hood of an old car. Even so, it’s really about the patterns, textures, lines, and colors.

Getting really abstract

It could be argued that the previous photos in this article really aren’t “abstract” images.

So let’s take a deep dive into really abstract automotive photography – the kind not everyone will appreciate. You’re almost guaranteed to have viewers ask, “What’s that??!!”

No matter. Abstract art is an acquired taste. But once the bug bites you, you’ll find an auto junkyard is practically a gallery of images all begging for your attention.

I took a photo workshop by noted photographer Art Wolfe earlier this year called “Photography as Art,” and he really opened my eyes to this kind of imagery. After the workshop, the auto junkyard became a whole new experience. It was suddenly a place where abstract imagery abounded and peeling paint, broken glass, rust, and decay were the stuff of great photos.

junkyard automotive abstract

It’s still an old car, but now we’ve entered the world of pure abstract art. Unlike photographing iconic landmarks, where your photo is pretty much what everyone gets, making these kinds of images guarantees your photo will be one of a kind.

junkyard abstract automotive photography

I have to wonder if this vehicle was painted numerous times over in its life, or if this is just how the paint ages.

abstract car paint peeling

I’ve seen abstract art like this selling for big money and displayed on the walls of corporate offices. I hope to someday figure out just how to tap into that market.

Go do it

I invite you to look at the shots here, look at other abstract automotive photography online, and get inspired. Then just go do it.

Make it a point to not photograph the entire car. Instead look at the shapes, lines, tone, color, and all the other artistic elements of the vehicle. Isolate these to make your shot.

If getting truly abstract images interests you, find some old cars in a junkyard and get in tight. Use the textures, colors, and patterns to make your shot. Be less concerned about what the subject is and more concerned about how the image feels.

Have fun and, if you get some good abstract automotive photography, share them in the comment section below. Best wishes!

 

abstract-automotive-photography

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How To Achieve Better High-Key Photographs

08 Sep

The post How To Achieve Better High-Key Photographs appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Lighting influences the atmosphere of a photograph. High-key photographs are associated with upbeat, positive feelings.

Using one main key light and avoiding contrast can help you produce photographs that convey a happy mood. This technique is popular with wedding and portrait photographers. It’s also often used in classy advertising campaigns.

How To Make Better High Key Photographs Young Clown

© Kevin Landwer-Johan

What is your key light?

Your main light source is your key light. It can be light from any source. The sun on a cloudy day is the best natural key light. Artificial light from a portable flash, studio strobes or a continuous light source can also be used. To infuse the right mood, you are best to diffuse the light.

Diffusing your light source scatters the light rays. This reduces the amount of shadow in your pictures. When you have a strong, softened key light, the shadows it casts will be minimal. You can use additional lights or reflectors to lessen the effect of the shadows even more.

To maximize the good-feeling effect, you need to produce photographs with a narrow tone range. The difference between the darkest and lightest areas in your composition should only be a few stops. You must work with the light sources to balance the light ratio.

How To Make Better High Key Photographs Young Woman in the Park

© Kevin Landwer-Johan

What’s wrong with shadows?

There’s nothing wrong with shadows, but they can imply a heavier mood.

Deep shadows in a photograph are often associated with more somber feelings. Shadows are often used with great effect to convey drama, mystery, and suspense.

Hard edges and high contrast restrict what a viewer can clearly see in a photograph. This lighting technique is often used by photographers and moviemakers to evoke feelings of doubt and mistrust.

Control the light and contrast levels using one diffused key light on your main subject. This produces a nice feeling.

Using one strong, undiffused light produces hard shadows on your subject. This often results in a darker overall feeling.

Man Studio Portrait

© Kevin Landwer-Johan

Use high-key light with the right subject

It’s always best to consider and control the light you use to fit best with your subject.

High Key and Low Key

© Kevin Landwer-Johan

During the portrait session I had with this young woman, we wanted to create two different moods. One light and happy, the other more serious.

For the high key photo, I used a large softbox on my main studio light and a smaller softbox on my secondary light. This produced a soft, bright wrap around light with little shadow. I also lit the background with two strong lights to add to the happy atmosphere. Obviously, her radiant smile completed the tone of this photograph.

During the same session, I changed the lighting. I used only one light and did not diffuse it. I also turned off the background lights and she turned off her smile.

Had I kept the lighting the same as she posed with the two different expressions, the mood would not have been conveyed so well.

How To Make Better High Key Photographs Cleaning Dispute

© Kevin Landwer-Johan

How does the background affect high-key photography?

I think the lighter the background is the more upbeat the feeling of a photo can be. But light-colored backgrounds do not have to be used exclusively.

In a photo session with a ceramic artist who wanted really get in touch with her medium, we produced a series of different photos. Some were high-key with a light background. Others we made with a dark background. Some of them I used high-key lighting. In others, I used one undiffused light.

How To Make Better High Key Photographs Clean Ceramic artist

© Kevin Landwer-Johan

This was one of the first photos in the series before things got dirty. The high-key lighting combined with the light background and another lovely smile produced a light, happy portrait.

Muddy Ceramic artist

© Kevin Landwer-Johan

Dropping in a dark background and keeping the key light the same. After applying some mud, it resulted in a fun, rather unusual portrait. The mood is certainly different from the dark background. The lighting was basically the same.

Muddy Ceramic artist Close Up

© Kevin Landwer-Johan

Wanting to create a different mood, I then used a single, undiffused light with a more gloomy, contemplative pose.

Pay attention to the shadows

Your key light source will determine the amount and strength of the shadows in your photos. You must pay careful attention to the shadows and ensure they are not too dark. Eliminating or lessening the shadow areas will enhance the effectiveness of your high-key photos.

Using a large, soft light source produces the least amount of shadow. This can be a large softbox on a studio strobe, as I have used in the examples above. You can also make use of sunlight for making high-key photographs.

On cloudy days or when your subject is in the shade, the shadows will tone down more. In full, bright sunshine, the shadows can be problematic. They will be darker and have hard edges. This high contrast will not add to the mood you want to create.

Finding an outdoor location where you can backlight your subject with the sunlight can help produce high-key photos. In situations like this, you’ll need a fill light, which will act as your key light. Even though the sun is brighter, the light you add will be the main light you must take your meter reading from.

How To Make Better High Key Photographs Young Asian Woman Outdoors

Young Clown

Setting your exposure by this light, as I have in the photo above, will result in an overexposed background. I was able to achieve this look because of the white-painted structures close by. They were reflecting light back into her face.

Conclusion

As in all styles of photography, working with the light to create the photos you want is an integral part of the process. The better your lighting is, the better your photos will be.

Experiment and try different light sources to achieve a high-key effect. There are no hard-and-fast rules, and you must work with what you have. Whether you’re in a studio or outdoors, you will face challenges.

How To Make Better High Key Photographs Chicken Nerd

© Kevin Landwer-Johan

In a studio, you may not have enough room, lights or diffusers. Be creative, think outside the box a little and innovate when you want to make high-key photos.

Do the same outdoors with natural light. Try introducing diffused flash to help balance the light ratio and reduce the shadows. Make use of reflected light bouncing off a wall or building. Carrying a fold-out reflector is also another practical way to help subdue the shadows.

How To Make Better High Key Photographs Strawberry Cheesecake

© Kevin Landwer-Johan

Give some thought as to how you can create some high-key photos using what you have available to you. You don’t have to photograph people. Food, still life and other subjects can be presented well using high key lighting too.

I’d love to see some in the comments below with a description of how you made them!

better-high-key-photographs

The post How To Achieve Better High-Key Photographs appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Wacom’s new $3,499 tablet features a 15.6″ 4K display, i7 Quad-Core processor

08 Sep

Graphics tablet manufacturer Wacom has announced the MobileStudio Pro 16, its latest pro-level graphics tablet.

The 15.6” tablet is powered by a dedicated 2.7 GHz Intel Core i7-8559U Quad-Core processor and Nvidia Quadra P1000 4GB GDDR5 GPU. It comes with a 512GB SSD and has 16GB of RAM. Together, these power a 3840 x 2160 UHD IPS display with 85% Adobe RGB gamut coverage that can run Windows 10 as a standalone device and works with Windows and macOS computers when attached.

The etched glass surface is designed to provide resistance similar to writing on a paper when used with the included Wacom Pro Pen 2, which is four times more sensitive with 8192 levels of pressure.

The MobileStudio Pro 16 features three Thunderbolt 3 ports but also includes Wi-Fi (802.11ac) and Bluetooth 5.0 connectivity if you want to keep wires to a minimum. Wacom has also included two cameras: a 5-megapixel front-facing camera and an 8-megapixel rear-facing camera, as well as a combo audio jack.

Other features include application-specific ExpressKeys, Radial Menus, a fingerprint sensor, multi-touch support and a stand so the tablet can be angled for more comfortable viewing and drawing. Wacom’s even included a built-in SD card reader for quickly transferring media to your computer through the Thunderbolt 3 port. The 4630 mAh lithium-polymer battery is rated for 5.5 hours of operation.

The MobileStudio Pro 16 is currently available to pre-order from Adorama and B&H for $ 3,499.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Announces D6 in the Making, Plus Rumored D6 Specs

07 Sep

The post Nikon Announces D6 in the Making, Plus Rumored D6 Specs appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Nikon Announces D6 in the Making, Plus Rumored D6 Specs

Well, it’s official:

The Nikon D6 is under development, as announced by Nikon earlier this week.

This shouldn’t come as a surprise, because the Nikon D6 has been whispered about for months, including a lengthy list of rumored specifications.

But it’s nice to know the D6 is on its way.

Unfortunately, Nikon’s announcement includes no details on the D6, except that it will be the company’s “most advanced DSLR to date.” This may be a reference to the D6’s autofocus system, which is rumored to be better than even the Nikon D5’s incredible system.

Note that the Nikon D5 is famed for its autofocus capabilities. The D5 AF system featured 153 focus points, including 99 cross-type points. Better autofocus capabilities would be an exciting upgrade for action photographers, especially if it includes some form of Live View autofocus to rival Canon’s Dual Pixel system.

The announcement also indicated that the D6 will be a DSLR rather than a mirrorless camera. This puts to rest any speculation about Nikon’s flagship system moving to mirrorless, though rumors suggest the D6 will have several mirrorless-style features.

For instance, the D6 will likely include in-body image stabilization, which Nikon included in its full-frame mirrorless bodies, the Nikon Z6 and Nikon Z7. The camera may also have a high-performing silent shooting mode, which will be appreciated by photographers who need to remain discrete at events.

Now, the Nikon D6 is a professional’s camera, competing primarily with the Canon 1DX Mark II (and its likely successor, the Canon 1DX Mark III). The Nikon D6 line is primarily designed with professional sports photographers in mind, hence the incredible autofocus capabilities. It will undoubtedly feature a rugged body and lightning-fast continuous shooting speed, as well.

The Nikon D6 will likely begin shipping in early 2020, which will give professional sports photographers plenty of time to get used to its capabilities before the Summer Olympics in Tokyo.

So if you’re a professional sports photographer, don’t worry:

The D6 is in the works, and it’s guaranteed to impress.

Are you a Nikon user? Will you be getting the Nikon D6 or are you switching over to mirrorless? Let us know in the comments!

The post Nikon Announces D6 in the Making, Plus Rumored D6 Specs appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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How to Make a Cool Double Exposure Effect Using Photoshop [video]

07 Sep

The post How to Make a Cool Double Exposure Effect Using Photoshop appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from tutvid, you’ll learn to make a cool double exposure effect using photoshop.

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Some of the things that you will learn while going through this double exposure effect in Photoshop tutorial include:

  • How to isolate an image from its background using the magic wand tool and the Select and Mask Tool.
  • Fine-tuning your selection in the Select and Mask Window using the paintbrush.
  • How to output your mask selection to a new Photoshop layer – so that you save your original image.
  • Making a new Layer and fill it with a solid color.
  • Using the pen tool to create a path you can then make a selection from.
  • Making your image Monochromatic.
  • Using the Channel Mixer, Curves and Levels to fine-tune your monochrome image.
  • Turning your image Monochrome using the Black and White Adjustment Layer.
  • Working with contrast.
  • Merging multiple Layers.
  • How to choose images that will work together.
  • Adding your second image to your original as a new layer.
  • Using Photoshop Blend Modes.
  • Saving and loading selections.
  • Dragging Layer Masks to new Layers to create your double exposure.
  • Fine-tuning your double exposure by painting out parts of your layer mask.
  • Using the High Pass Filter to add more detail to your image.
  • Using Camera Raw to fine-tune your image.
  • Working with Gradient Maps.

Try this out for yourself, and share your creations with us in the comments section below!

cool-double-exposure-effect-using-photoshop

The post How to Make a Cool Double Exposure Effect Using Photoshop appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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