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Archive for September, 2019

Technical readouts reveal faster shutter speeds, improved ISO and more in iPhone 11 Pro

20 Sep

Like he did last year for the iPhone XS, Sebastiaan de With, co-founder of the iOS camera app Halide, has again made use his app’s technical readout feature to obtain additional camera specifications above and beyond what can be found in the official spec sheet. He’s broken down the data and compared the new iPhone 11 Pro to last year’s XS model. Let’s have a closer look at his findings:

The 11 Pro main camera comes with a 6-element lens that offers a 26mm equivalent focal length and F1.8 aperture. The chart below details the changes between the XS and the new model. As you can see the base ISO on all of the camera modules has increased by half a stop, the maximum shutter speed has been increased from 1/22,000 sec to a whopping 1/125,000 sec and the maximum ISO has been expanded to ISO 3072 vs the previous ISO 2304 limit, coinciding with the increased base ISO level.

It’s not quite clear at this point what the blisteringly fast shutter speeds could be used for. The increased maximum ISO doesn’t necessarily mean that the new iPhone will produce lower levels of image noise at a given ISO setting but it should be able to achieve better exposures in very dark settings.

Apple iPhone XS versus 11 Pro main camera comparison, source: Halide

As before, the telephoto cameras features a 52mm equivalent focal length but now comes with a faster F2.0 aperture. This should improve low light tele photos and should also produce a more visible ‘natural’ bokeh than on the iPhone XS.

Apple iPhone XS versus 11 Pro tele camera comparison, source: Halide

The iPhone XS did not come with an ultra-wide camera, so we can’t compare but the new camera offers a 13mm equivalent field-of-view, an F2.4 aperture lens and phase detection AF.

Apple iPhone 11 Pro ultra-wide camera specifications, source: Halide

The front camera has been updated, too. It now features faster shutter speeds, a higher maximum ISO, larger image output size and a wider field-of-view.

Apple iPhone XS versus 11 Pro front camera comparison, source: Halide

Overall the hardware changes don’t look too impressive on paper, but they are of course only a (small) part of the whole story as Sebastiaan points out in the blog post:

‘It’s kind of unbelievable that even with the glowing reviews out today, Apple has said that there’s more software processing yet to come. We’re told Deep Fusion is a very big leap in post-processing quality, but with the changes to Smart HDR, Semantic Mapping in the imaging pipeline and discrete situational processing like Night Mode, these specs are the furthest from the whole story on the new iPhone cameras yet.’

The Halide app is available from the iOS App Store for iPhone and Apple Watch and will set you back $ 6.


Image credits: Charts used with permission from Sebastiaan de With, developer of Halide.

Updated (September 19, 2019): Edited to clarify the increased ISO ratings and base ISO levels.

Articles: Digital Photography Review (dpreview.com)

 
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Profoto Launches Two Amazing Lights for Smartphone Photographers

20 Sep

The post Profoto Launches Two Amazing Lights for Smartphone Photographers appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Profoto Launches Two Amazing Lights for Smartphone Photographers

If you’re a smartphone photographer, then you’ve probably struggled to deal with indoor lighting. After all, smartphones don’t come with a high-quality flash; it’s easy to get noisy images when shooting indoors.

Until now.

Because Profoto has just released two lights made specifically for the smartphone: The Profoto C1 and the Profoto C1 Plus.

What are the C1 and C1 Plus?

The two items are billed as Profoto’s “very first studio lights for smartphones.” They’re small, orb-shaped lights, and they’re compact enough that you can take them anywhere without much hassle.

According to Profoto:

The light the C1 product range delivers is natural looking and beautiful with a soft, gentle fall-off…[F]rom now on you will always have natural-looking, beautiful light with you.

Note that the C1 Plus is both more expensive and more advanced than the C1. The C1 Plus includes a greater power output (4300 lumens versus 1600 lumens). The C1 Plus also includes a thread mount, so you can screw the light onto a stand and shoot with both hands. And the C1 Plus features better battery life than the C1.

Both the C1 and the C1 Plus offer rechargeable batteries. They also include multiple modes for increased flexibility: a continuous shooting mode and a flash mode. To use the Profoto lights, you can pair them with your smartphone via the special Profoto Camera app. Then you can take photos that are synced with the Profoto flash.

The Profoto C1 costs $ 299, while the Profoto C1 Plus costs $ 499.

But just who are these lights for?

If you like to use your smartphone on the fly, without any preparation, then I’d recommend against the Profoto C1. Despite its small size, you probably don’t want to carry the flash with you constantly. But if you’re the type of shooter who often shoots in low-light situations or prefers to capture more carefully considered shots, then the Profoto C1 could be exactly what you need.

If the Profoto C1 captures your attention, then you should also check out another product: The Godox R1, which was announced a few hours after the C1/C1 Plus announcement. The Godox light is similar to the C1 and C1 Plus, though it offers slightly different lighting options. For those hoping to purchase the Godox R1, keep an eye out for a release date!

Would you use either of these lights? what are your thoughts? Share with us in the comments!

The post Profoto Launches Two Amazing Lights for Smartphone Photographers appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Huawei’s Mate 30 Pro offers quad-camera array, 4K60 video, cinematic bokeh and more

20 Sep

Today, Huawei unveiled the Mate 30 Pro at a launch event in Munich, Germany. The device is Huawei’s latest flagship and much like Apple’s presentation last week, there was a strong emphasis on the imaging capabilities of the device.

Mate 30 Pro

At the heart of the Mate 30 Pro smartphones is the Kirin 990 processor, a chipset that will come in 4G and 5G versions for various markets. This marks the first time we’ve seen the Kirin 990 in a device and carries on the trend of Huawei putting its latest, most advanced chipset in its Mate series smartphones.

The screen on the Mate 30 Pro is a 6.53-inch curved OLED ‘Horizon’ display with a resolution of 2,400 x 1,176 pixels. The ‘Horizon’ nickname refers to the wrap-around screen, which covers the edges of the device and serves as a means of changing settings via virtual buttons on the sides of the device.

On the imaging front, the Mate 30 Pro feature a Leica-branded camera unit on the rear of the devices that features four cameras: a 40-megapixel super-wide-angle camera with an F1.8 aperture and a 1/1.7-inch sensor (17mm 35mm equivalent), a wide-angle image-stabilized 40-megapixel wide-angle camera with an F1.6 aperture and 1/1.7-inch sensor (27mm 35mm equivalent), an image-stabilized 8-megapixel 3x telephoto camera with an F2.4 aperture (80mm 35mm equivalent) as well as a time-of-flight (ToF) camera for improved depth-sensing.

Considering the image processing capabilities of the Kirin 990 chipset, it shouldn’t come as a surprise the Mate 30 Pro will feature impressive photo and video capabilities. In addition to 4K video at 60 frames per second, the phones can also capture slo-mo 1080p video at up to 960 fps and 720p video at up to 7,680 fps. Huawei also showed off a 4K HDR+ time-lapse function with up to 12-hours of recording as well as a real-time ‘cinematic bokeh’ mode for video.

The front-facing selfie camera is a whopping 32-megapixels and will work with a number of AR photo and video features within the operating system (OS) and third-party applications, including new gesture-control functionality.

Speaking of the operating system, the Mate 30 and Mate 30 Pro both run on EMUI 10, a Huawei-created OS that takes a great deal of inspiration from Google’s latest mobile operating system Android 10. After being blacklisted by the United States government over security concerns, Huawei announced it was investing $ 1 billion into its operating system and app ecosystem. The Mate 30 Pro (and the Mate 30, which we’ve addressed below) are the first devices to use this new system.

Tucked inside the device is a 4500mAh battery that supports Huawei SuperCharge up to 40W and wireless charging up to 27W.

The Mate 30 Pro will come in six colors: silver, green, purple, black and two vegan leather options— green and orange. The device is IP68 water- and dust-resistant.

Mate 30

Alongside the flagship Mate 30 Pro, Huawei also announced the more budget-friendly Mate 30. The Mate 30 features a slightly larger display but a decreased resolution of 2,340 x 1,080 pixels. It also swaps out the 40-megapixel ultra-wide-angle camera for a 16-megapixel sensor and a slower F2.2 aperture, removes the ToF sensor the Mate 30 Pro offers and shrinks the battery to 4,200mAh.

Video from the camera modules is also limited in the Mate 30; 4K video can still be shot at 60 fps, but slo-mo is limited to 960 fps in 720p. Interestingly enough, Huawei has included a 3.5mm headphone jack in the Mate 30 while ditching it for the Mate 30 Pro, so if you want wired audio, you’re better off with the Mate 30.

Pricing and availability

The Huawei Mate 30 will be available with 8GB of RAM and 128GB of storage starting at €799. The Mate 30 Pro will feature 8GB of storage as well, but boost internal storage to 256GB starting at €1099 for the 4G model and €1199 for the 5G model. Regional availability was not disclosed as of publishing this article.

Articles: Digital Photography Review (dpreview.com)

 
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ON1 Photo RAW 2020 public beta arrives with AI-powered tools and improved speeds

20 Sep

ON1 has taken the wraps off its upcoming ON1 Photo RAW 2020. The software arrived as a public beta today, introducing the first offering in ON1’s recently announced new line of creative products. Photo RAW 2020 is a layered editor, raw processor, and image organizer that ON1 claims offers ‘everything you need in one photography application.’

Photo RAW 2020 brings new AI-powered tools including AI Match, a feature that processes raw images to appear the way they looked ‘on the back of the camera,’ as well as AI Auto Tone, which brings a new algorithm that was trained using thousands of photos.

In addition to the new AI tools, Photo RAW 2020 brings numerous performance updates that enable the software to open raw files up to two times faster than before. The performance updates also resulted in smoother brushing, something that persists even on devices that feature integrated graphics cards.

Users can also expect improved noise reduction, new map view and timeline albums, several new filters (weather, color balance, channel mixer, and sun flare), plus a new print module, focus mask overlay, more than 100 new presets, SmugMug integration, and custom camera profiles made possible by a partnership with X-Rite.

ON1 says it will release a list of newly added camera and lens support soon. Photo RAW 2020 supports raw image files from more than 800 camera models, as well as expected formats like DNG, JPEG, TIF, PNG, PSD, and PSB.

Below is a sneak peek On1 shared earlier today:

The public beta is available to download now from ON1’s website. Photo RAW 2020 can be preordered at $ 79.99 USD for existing ON1 product owners and $ 99.99 USD for everyone else. The company is bundling a 100 pack of presets for a limited time as a preorder bonus. The product is scheduled to release for everyone by the end of October 2019.

Articles: Digital Photography Review (dpreview.com)

 
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Godox’s new R1 and RF1 lights are compact LED discs that look a little familiar

20 Sep

Godox has unveiled the R1 and RF1, a pair of LED-powered lights designed to be compact and portable for photographers and videographers on the go.

Before we dive into the good stuff though, let’s go ahead and address the elephant in the room—yes, theses lights and their accompanying dome accessory bear a striking resemblance to Profoto’s new C1 and C1 Plus lights.

The functionality is slightly different and Godox doesn’t consider its R1 and RF1 units ’studio’ quality, but it’s difficult to overlook the uncanny similarities between the four units.

With that out of the way, let’s get down to the details. Both the R1 and RF1 are compact lights that feature integrated magnets for Godox’s AK-R1 round head accessories (sold separately) and securing to surfaces for easy mounting. The units are charged via the onboard USB-C port and settings are controlled via the Godox app over Bluetooth.

The R1 is the entry-level version that features RGB LED lights with variable color temperature (2500K-8500K) and a Television Lighting Consistency Index (TLCI) of >95. The R1 is designed for continuous use with variable power output and a features battery life rating of one hour when used at full power.

Godox says the R1 features 14 different RGB lighting modes—including ‘music,’ ‘lightning,’ ‘screen,’ ‘candlelight’ and more—as well as 8 other modes that change the color temperature.

The RF1 is identical to the R1 with the expiation that unlike the R1, which is limited to continuous mode, the RF1 features Godox’s 2.4Ghz Wireless X System, which turns it into a flash when used with computable Canon, Nikon, Sony, Fuji, Panasonic, Olympus and Pentax camera systems.

Godox doesn’t offer any information on output power, recycling time or even pricing and availability information. We have contacted Godox regarding these details and will update the article accordingly when we hear back. Until then, we’ll just have to wait and see. That said, it’s probably a safe bet that both of these units will come in much cheaper than the $ 299 and $ 499 price tag Profoto is asking for its C1 and C1 Plus units, respectively.

Articles: Digital Photography Review (dpreview.com)

 
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Equipment Versus Photographer – Which Matters More?

19 Sep

The post Equipment Versus Photographer – Which Matters More? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Equipment-versus-photographer-feature

Flatlay image: Jeff Hopper. Photographer image: Alexander Andrews

Equipment versus photographer, which matters more?

It’s a common question without an easy answer. It’s one that pretty much every photographer has asked themselves at one time or another.

In this article, I’m going to start by identifying the ways in which the equipment matters. And then I’m going to cover the ways in which the photographer matters.

Finally, I’ll address the main question:

Which is more important?

So let’s dive right in.

equipment-versus-photographer

How does equipment change your photography?

Here’s the thing:

As much as photographers hate to admit it, equipment does matter.

If it didn’t, why would professional photographers spend $ 5000+ on a camera setup?

It’s not a question of whether equipment matters, it’s a question of how much it affects your photography.

So here’s a list of the key reasons equipment matters:

Why your equipment matters

Continuous shooting speeds

Cameras with high continuous shooting rates make it possible to capture amazing action photos without leaving much to chance. A camera that can shoot 12 frames-per-second is going to maximize your chances of getting a gorgeous image in the thick of the action.

Autofocus capabilities

Cameras with more autofocus points, greater autofocus coverage, better tracking, and better autofocus points (e.g., cross-type points) will make it easier to quickly lock focus on your subject and track them as they move. This is useful for any genre of photography that is fast-paced.

Equipment Versus Photographer – Which Matters More?

Ruggedness

Metal cameras with weather-sealing can handle much more difficult conditions than cameras made of non-weather sealed plastic. You can shoot for longer in the rain, snow, and freezing temperatures without your camera failing, which increases your chance of capturing a once-in-a-lifetime shot.

High-ISO capabilities

Cameras with the most advanced sensors are able to capture noise-free images when shooting at high ISOs. This makes shooting at night without a tripod a much more feasible option.

Resolution

The greater your camera’s megapixel count, the more you can crop your photos. This gives you additional flexibility in post-processing and helps you compensate for a shorter lens.

Equipment Versus Photographer – Which Matters More?

High dynamic range

Cameras with a high dynamic range maximize the amount of detail you capture in a scene. This gives you more latitude when selecting an exposure. It also allows you to photography high dynamic range scenes without resorting to HDR techniques.

Accurate previews

Mirrorless cameras with high-quality electronic viewfinders (EVFs) give you fairly accurate previews of your images before you press the shutter button. This allows you to get your exposure and depth of field correct, right from the beginning.

Size and weight

Smaller and lighter cameras are easier to carry on long treks and on travel expeditions. And the easier your camera is to carry, the more likely you are to have it with you when a once-in-a-lifetime scene happens right before your eyes.

Image stabilization

Cameras and lenses with some form of image stabilization make it possible to handhold at low shutter speeds. This increases your shooting opportunities in low light and allows you to increase your depth of field during the day.

Optical quality

Higher-quality lenses are sharper and have fewer problems (such as color fringing and distortion). This makes it possible to get tack-sharp shots that look great straight out of the camera.

Equipment Versus Photographer – Which Matters More?

Focal length

Lenses with different focal lengths allow you to capture different types of shots. If you want to capture sweeping landscape images, you’ll want an ultra-wide lens on hand. If you want to capture a detail shot of a perching eagle, you’ll want a 500mm or 600mm lens. Therefore, different lenses give you different photo opportunities.

How do you, the photographer, change your photography?

Now that we’ve covered the ways in which equipment affects your photography, it’s time to talk about you, the photographer.

What impact do you have in the photo-making process? How do you make a difference in your photography?

equipment-versus-photographer

Why you matter

Focusing skills

Even if you have the best autofocus system in the world, it won’t matter if you don’t have the capabilities to use it. It takes serious skill to track fast-moving subjects, and it’s something that takes lots of practice to master. If you want to capture gorgeous action shots, you can’t just press the shutter and hope for the best. The autofocus system is part of the equation, but so are you.

Handholding skills

Your ability to handhold is often the difference between a sharp photo and a blurry photo. You’ve often got to keep your hands steady while in the thick of the action, never an easy task. Image stabilization helps, but if your technique isn’t sound, you’ll end up with blurry photos anyway.

Exposure skills

Cameras are pretty good at identifying the right exposure for the scene. But there are plenty of times when the camera’s choice just doesn’t look good. That’s when you have to step in, as the photographer, and take control of your camera’s exposure.

equipment-versus-photographer

Working with light

As great as modern cameras are, they still can’t tell you how to find good light, and they definitely can’t tell you how to use the light for great shots. That’s all up to you, and it’s something that photographers spend their whole lives studying. Expertly used light can be the sole difference between an amazing photo and a mediocre photo.

Compositional skills

I’m putting this under a single header, but it’s a big one. Composition isn’t something that’s innate, and it’s definitely not something that your camera can control. It’s something that you learn through practice and hard work. And if you don’t bring composition skills to your photography, it’s going to look plain bad. There’s no way around it.

Working with aperture

Choosing a composition is a skill. It’s also a skill to be able to pull off that composition – to be able to use camera settings to your advantage. That’s where you have to leverage your knowledge to choose the aperture and shutter speed you need to capture the perfect shot.

Post-processing skills

This is another huge factor as post-processing skills allow you to take a shot and really turn it into something incredible. Post-processing is how you put the finishing touches on your photos, and it’s how you give your photos that professional flair.

Equipment Versus Photographer – Which Matters More?

Equipment versus photographer. And the winner is…?

Now that you’ve read this far, you and I can surely agree that both the equipment and the photographer matters.

However, if you look over the two lists, you’ll notice that there are certain aspects of photography that the gear can barely contribute to such as working with light, choosing a composition, putting the final touches on a photo in post-processing, and more.

These are huge aspects of being a photographer. If you can’t do these things, your images will be consistently poor. There’s no other way to say it.

equipment-versus-photographer

But if you can do these things well, you’ll get amazing photos. Yes, high-quality gear will help. It will increase your chances of getting beautiful shots – if you’re already very skilled. However, while the equipment is important, gear will never get you an amazing photo. At best, gear will get you ultra-sharp, well-exposed, in-focus snapshots – and that’s all. At worst, gear will get you blurry, poorly-exposed images.

In other words, you don’t need incredible gear to get incredible photos. But you do need to be an incredible photographer to get incredible photos.

Equipment Versus Photographer – Which Matters More?

So…

Which is more important, the equipment or the photographer?

The photographer.

No doubt about it.

What are your thoughts on equipment versus photographer? Do you agree that the photographer matters more than the equipment? Share your thoughts in the comments!

 

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The post Equipment Versus Photographer – Which Matters More? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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5 Great Ways to Create Abstract Wave Photography

19 Sep

The post 5 Great Ways to Create Abstract Wave Photography appeared first on Digital Photography School. It was authored by Erin Fitzgibbon.

In this article, you’ll learn how to use motion and long exposure photography to create abstract wave photography.

There’s something about water. It is mesmerizing. People flock to beaches and waterfalls to photograph water. We seem drawn to its fluid beauty.

5 Great Ways to Create Abstract Wave Photography

If you Google “waterfalls,” you’ll find millions of images. Beaches, sunsets and softly crashing waves also pepper Google searches. Given these two facts, why then do most of the images of water, waves, and waterfalls always look so similar? The same seems to be true of wave photography – all the photos seem to follow a particular recipe.

You find images either capture the violence and strength of water as the wave crashes or you see images of curling barrels of water, usually taken at sunset. Water has much versatility. Its fluidity makes it an intriguing subject matter.

Capturing the motion of water seems to be one of humanity’s favorite past times, but there’s more you can consider. How can playing with motion expand your efforts to capture waves and water? Perhaps by experimenting, you can find new angles and new ways to capture waves.

1. Using longer shutter speed to change the look and shape of waves

When photographing a waterfall there’s only one way that the water can flow, and that’s downward. Sure, the water may travel a little to the left or right over some rocks, but the reality is it’s headed in the direction gravity pulls it. So when we use a slow shutter speed, the look of the water is predictable. We know and love that white candy floss type of look.

When using a slow shutter speed with waves; however, the results are less predictable. The water may crash and spray against rocks and bubble. It may splash and break in endless patterns. Using a slow shutter speed to capture the breaking of a wave can yield some interesting effects and looks.

Let’s take a look at some of the following experiments.

Long Exposure

Shot using 1/8s, f32, ISO 100.

In the above example, I used a longer shutter speed to capture these unusual looking wave shapes. The first wave was rolling back into the oncoming wave, and the collision created these upward sprays. With a longer shutter speed, you can capture the wave and some light trails. If you look closely, you’ll also notice that the longer shutter speed seems to create a ghost-like transparent look to parts of the splashing wave. You can see through some of the water.

Perhaps this look doesn’t appeal to you, but it does break the traditional view of a wave.

2. Study the way the waves break and look for patterns you can photograph

You can also play with motion and study the way the wave breaks. Despite their fluidity, waves do tend to break in the same places along a beach. Of course, they vary in intensity and size depending on the day, but you can watch a storm and know that waves will hit a rock and create a lot of splashing or spray. Watching the waves and then using these patterns along with a long shutter speed, can also create some different looking images. Let’s take a look at the following example.

abstract-wave-photography

1/8s, F32, ISO 100

While I used the exact same shutter speed in this image as the first image, the look of the image has changed. This is due to it being shot at a different location along the beach. In this spot, the waves were smaller, and they rolled in slowly with less turmoil. The light trails have stretched out more, and you can discern the rolling nature of the wave as it meets the beach. The sand below the surface is also visible. Also, the incoming waves behind are more abstracted in this photograph.

Some people have told me they look like they’ve been painted rather than photographed.

abstract-wave-photography

1/13s, F32, ISO 100

For this image, I used a slightly different shutter speed. I searched for patterns and used a longer focal length revealing a different look to the waves. In this image, the light trails are much more important to the composition of the photograph. Less defined by the white water, the shape of the wave is revealed by the smooth lines of the wave.

3. Move the camera horizontally as you capture the waves

Of course, waves are in motion, but we can change the look, feel, and our perceptions of waves by including the motion of the camera while capturing the movement of the wave. In the image below, I used intentional camera movement (ICM) – the waves were moving right to left, while I dragged the camera across the wave from left to right.

abstract-wave-photography

1/13s, F32, ISO 100

The light trails are still a part of the capture, but the wider angle and the motion of the camera turn the waves into something different. Here the shape is more abstracted and becomes a white oval against the water and the sand which now streaks of different shades of beige. The waves are no longer defined. Instead, the motion of the camera abstracts the water a little bit.

4. Move the camera in a bouncing motion

abstract-wave-photography

1/10s, F32, ISO 100

Pushing the experiment further, I moved the camera in a sort of bouncing motion. The look of the rocks on the beach becomes important in this photograph. Also, the light trails also take on a different shape. The effect of the motion on the water seems to have less of an effect too.

Once again, experiment to see what you can create and how you can take a typical subject matter and make it different. I rather like the bouncy, playful feel to the rocks on the beach.

5: Get very close

In the following images, I used a much faster shutter speed, and I moved closer and closer to the subject matter to take the images.

It was about capturing something as I moved to see what the camera grabbed. It’s a fairly impulsive way to use your camera. The autofocus is unpredictable in this scenario, but the results are surprising. It’s also fun to see what you can get. This is less about planning but more about enjoying the moment and options available to you as you move your camera.

shallow depth motion

1/800s, F2.4, ISO 400

Image: 1/800s, F2.4, ISO 400

1/800s, F2.4, ISO 400

In both of these photographs, I used a very shallow depth of field with a very low perspective. I chose to lie down on my belly and inch my way towards the waves while holding down the shutter speed. To me, the resulting images feel as if you are falling into the water. There’s very little to focus on, and the water seems to be all around. Some may find the view unsettling, but love it or hate it; this is another way of looking at and capturing waves.

In Conclusion

Playing with motion to create some new perspectives in wave photography can be a fun experiment. Some images will work very well, while others may be hard to look at. Either way, it’s about finding ways to get creative with your camera. It’s about studying a subject and showing the world how much variation there is in the world. Using motion to capture water is a fun experiment that’s easy to complete with almost any type of camera.

What’s my next experiment? Who knows? Maybe it’s using motion and underwater photography with waves. We’ll have to see.

If you’ve tried some interesting angles or techniques for photographing waves, share them with us. Let’s see what types of abstract wave photography you create!

 

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The post 5 Great Ways to Create Abstract Wave Photography appeared first on Digital Photography School. It was authored by Erin Fitzgibbon.


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DPReview TV: The return of Canon’s eye-controlled focus?

19 Sep

Back in the film days Canon had ‘eye-controlled’ focus that let you set an AF point just by looking at it, and a recent patent suggests Canon is still interested in this technology. Chris and Jordan consider what a modern eye-controlled AF system might mean to photographers.

Want to read more about Canon’s eye-controlled focus system? Check out our Throwback Thursday article that looks back at this unique feature.

Also, subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • The Canon EOS 3
  • Eye-controlled AF
  • Eye-controlled AF challenges
  • How a new eye-controlled AF system could work
  • Selecting faces and eyes
  • Do we need updated eye-controlled AF?

Articles: Digital Photography Review (dpreview.com)

 
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Confirmed: Leica, Nikon and Olympus won’t be attending Photokina 2020

19 Sep

In a press release on its website, Photokina has confirmed that Nikon, Leica and Olympus have all opted out of attention the 2020 trade show.

The press release, titled ‘Photokina 2020: An Industry in Transformation, a Decisive Chance for the Future,‘ buries the lede by first elaborating on the current state of the camera market and following it up with the significance of a trade show such as Photokina. The press release starts out saying:

The imaging industry is currently undergoing massive changes, which also have an impact on Photokina as the industry’s leading trade fair – and this in a dimension never seen before. While on the one hand the classic camera market reports strongly declining sales and turnover figures, the enjoyment of photography continues to grow – with a positive effect on the demand for pictures.

Gerald Böse, President and Chief Executive Officer of Koelnmesse GmbH, goes on to say that Photokina ‘represents a unique opportunity’ and notes that ‘[Photokina is] relying on the major players of the industry to make the greatest possible use of this opportunity.’

It’s not until two paragraphs later the press release confirms three ‘major players’ won’t be attending the trade show after first expressing gratitude to multiple other manufacturers for attending:

”We look forward to strong demand and applications from both the new and the classic segments of companies like Canon, CEWE, GoPro, Sony, Panasonic, Kodak Alaris, Sigma, Tamron, Carl Zeiss, Hasselblad, Hahnemühle, Arri, Rode Mikrophones, DJI and Insta360,” says Christoph Werner, Vice President of Koelnmesse. These are contrasted by cancellations, including from Leica, Nikon and Olympus.

The press release goes on to say these cancellations change nothing for Photokina 2020 and ensures that the show will go on, but losing three major manufacturers in a single year is never a good sign. We saw this happen with PMA years ago and once a few left the expo, the rest quickly followed.

Articles: Digital Photography Review (dpreview.com)

 
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Apple paid $400 in an attempt to trademark the word ‘Slofies’

19 Sep

Last week Apple showed off the slow-mo video capabilities of the front-facing camera on its new iPhone 11 models through the use of ‘Slofies,’ a portmanteau for the words slow-mo and selfies.

At the time, the concept was presented as a humorous take on selfies — which itself is a shortened version of of the phrase self-portrait — but not much more. Turns out, that might not be the case, as Apple has applied for a U.S. trademark for ‘Slofie,’ which would give them the ability to limit how the word is used.

The ‘drawing’ used in the trademark filing to show the phrase attempting to be trademarked.

All of Apple’s iPhone 11 models feature a front-facing camera that can record up to 120 frames per second (fps). As detailed in its demonstration video, the result, when slowed down, is a humorous slow-motion clip that puts a — sometimes literal — spin on selfies.

According to the filing, Apple hopes to trademark selfies as the word pertains to ‘downloadable computer software for use in capturing and recording video.’ Apple says the intent of the filing is to ensure it ‘has a bona fide intention, and is entitled, to use the mark in commerce on or in connection with the identified goods/services.’

As pointed out by The Verge, this likely ‘means this trademark seems to be more about preventing other companies from making slofie-branded camera apps than it is about limiting popular usage of this totally made-up word.’

According to the filing, Apple paid $ 400 for filing the trademark application.

Articles: Digital Photography Review (dpreview.com)

 
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