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Archive for October, 2019

Funleader LensCap 18mm F8.0 is an ultra-light, ultra-wide body cap lens

29 Oct

Artboard, a photography gear company located in Hong Kong, has launched a new Kickstarter campaign for the Funleader CapLens 18mm F8.0 lens, a small, slim, and lightweight ultra-wide model with a fixed aperture. The lens can double as a camera body cap, according to Artboard, offering protection while retaining the option of quickly snapping ‘playful’ images.

The Funleader CapLens 18mm F8.0 isn’t intended to offer a high level of quality, Artboard explains; rather, the company launched this model to give photographers ‘a lens for playful usage.’ The lens offers greater color accuracy and detail when compared to a Lomo camera while retaining a similar vignetting effect.

The lens features 6 elements in 4 groups, multi-coated glass, a 0.8m minimum focusing distance, and 100-degree FOV. The model is constructed from brass with a chrome plating finish and it is ultra-light at 80g (2.8oz). Below is a gallery of a few low-resolution sample photos:

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Artboard is offering the Funleader in Sony E-mount and Leica L-mount as a reward for Kickstarter pledges starting at HK$ 833 (approx. $ 107). Assuming the campaign is successfully funded and the lens is produced as anticipated, the company expects shipping to backers will start in December 2019. You can find out more information and secure your pledge by heading to the Kickstarter campaign.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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Ricoh adds new ‘Handheld HDR’ still capture mode to its Theta V, Z1 360-degree cameras

28 Oct

Ricoh has released updated versions of its Ricoh Theta app that adds new ‘Handheld HDR’ functionality for its Theta V and Theta Z1 360-degree cameras.

The Ricoh Theta app update (version 1.26.0 on Android and version 2.8.0 on iOS) adds Ricoh’s new ‘Handheld HDR’ capture setting for still images and addresses a number of unspecified bug fixes. For the new HDR setting to work, the Theta V and Theta Z1 cameras need to be updated to the latest firmware, version 3.10.1 and version 1.20.1, respectively.

App Store screenshots from the iOS version of the Ricoh Theta app.

All of the apps and firmware updates are free to download. You can find instructions on how to update the Theta V and Theta Z1 firmware on Ricoh’s support pages.

Articles: Digital Photography Review (dpreview.com)

 
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4 Ways to Use the Canon 11-24mm Lens

28 Oct

The post 4 Ways to Use the Canon 11-24mm Lens appeared first on Digital Photography School. It was authored by Nisha Ramroop.

4-ways-to-use-the-canon-11-24mm-lens

You finally got your hands on the esteemed Canon EF 11-24mm F/4L USM lens. It’s a heavy, sharp, ultra-wide thing of beauty with an awesome perspective. Now you’re wondering, other than capturing the entire scene in front of you, how does one maximize this lens? Here are a few ways to you can use the Canon 11-24MM lens:

4-ways-to-use-the-canon-11-24mm-lens

1. Compositional Impact

When you first look through the Canon 11-24mm lens, everything looks high impact and with a “wow” factor, as the view is quite unique. However, shooting at an ultra-wide focal length does not automatically translate to better pictures. No matter what lens you use, all the elements that make a great picture still apply.

4 Ways to Use the Canon 11-24mm Lens

Wide-angle lenses are used extensively in landscape photography for the “near-far” style of composition. This translates to the ability to include generous foreground elements, as well as a middle and background (e.g skies). Keep in mind that an ultra-wide amplifies your distances further. This all amounts to creating an image with great depth and compositional impact.

4 Ways to Use the Canon 11-24mm Lens

One of the reasons that an 11-24mm lens needs time to master is because, by default, ultra-wide lenses include everything in a scene. When you are creating a photograph, though, it’s still about composing to include (and exclude) all the elements you want.

2. Lines and space

The minimal distortion on the Canon 11-24mm lens allows you to keep your straight lines straight. When you need a large angle of view in your architectural photography, this feature is quite useful. This is also great if you are inside a space with a lot of detail to capture. Conversely, of course, it works against you when want to exclude the details.

4-ways-to-use-the-canon-11-24mm-lens

In enclosed spaces, it is often hard to capture an entire room unless you use an ultra-wide lens. The angle of view on the Canon 11-24mm lens (mounted on a full-frame) does the job sharp and with minimal distortion. It is not limited to building interiors though, think about that cave or canyon you want to capture.

Using an ultrawide (that is not a fisheye) will go a long way towards capturing such spaces.

4-ways-to-use-the-canon-11-24mm-lens

Image 1: Horizon Centered Image 2: Lens tilted up slightly Image 3: Lens tilted down slightly

All lenses give the effect of converging lines when pointed above or below the horizon. However, it is more noticeable when you use a wide-angle lens, though, as you capture a greater expanse. Furthermore, with wides and ultra-wide lenses, you change the location of your “vanishing point” even with small variations in your composition. So, be mindful of your verticals.

Note: The vanishing point is that point where lines converge or meet and appear to vanish.

3. Perspective exaggeration

As mentioned previously, an ultra-wide lens exaggerates distances. This perspective exaggeration makes nearby objects look even bigger (nearer) and those further away look even smaller (farther). Great high-impact images occur when you master the art of perspective.

4-ways-to-use-the-canon-11-24mm-lens

Head-on Shot

It helps to remember that shorter focal lengths, as well as having the camera nearer to the subject, both lend themselves to a stronger perspective/bigger perspective exaggeration effect. Also of note, angles play a huge role when you are showing perspectives. When you shoot at a 45-degree angle, for example, the image will have more depth than if you shoot at a more head-on (flat/plane aligned) angle.

Image: The same Image as above, shot at an angle

The same Image as above, shot at an angle

So practically speaking, when using a wide-angle lens, there is often an innate need to move closer to the subject, which is what affects the perspective. While perspective exaggeration works well with landscapes, it does not work well for portraiture (no one wants their nose to look bigger, right?)

4. Artistic

Perspective exaggeration (above) is one of the ways you can get creative with your Canon 11-24mm lens. You can use it to emphasize detail in your foreground, while still capturing the background scene. If you shoot flowers, for example, getting closer will make them appear bigger than they really are.

If you want to prevent perspective exaggeration, place your subject in the center of the frame. For a more artistic approach though, you can emphasize the perspective exaggeration by placing your subject closer to the edges.

4-ways-to-use-the-canon-11-24mm-lens

Shooting from lower positions is another great way to get creative with this lens.

Conclusion

The Canon EF 11-24mm F/4L USM lens is a great lens to have in your arsenal.

After investing in such an amazing lens, though, you should maximize it. Experiment with architecture and interiors, getting closer to your subject and let your creative side out to play.

Remember, wider does not automatically mean better, and the rules of composition still apply (and can even be more challenging).

Share your perspectives with us below!

The post 4 Ways to Use the Canon 11-24mm Lens appeared first on Digital Photography School. It was authored by Nisha Ramroop.


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Fujifilm X-Pro3 pre-production sample gallery (DPReview TV)

28 Oct

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This gallery includes sample images from a pre-production Fujifilm X-Pro3, captured in Calgary, Alberta, while shooting our hands-on preview for DPReview TV.

Check out our Fujifilm X-Pro3 sample gallery from DPReview TV

Articles: Digital Photography Review (dpreview.com)

 
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Tips to Achieve Memorable Getting Ready Photos at Any Wedding

27 Oct

The post Tips to Achieve Memorable Getting Ready Photos at Any Wedding appeared first on Digital Photography School. It was authored by Jackie Lamas.

memorable-getting-ready-photos-at-any-wedding

Even though every wedding is unique, each wedding photographer knows that the timeline of photos is pretty much the same, beginning with the getting ready photos.

Learn how to successfully photograph the bride and groom getting ready, what you’ll need to prep for beforehand, and why it’s important to capture this part of the day during a wedding.

wedding-day-getting-ready-photos

What are the getting ready photos exactly?

The getting ready portion of a wedding day is when the bride and groom begin to get dressed for their wedding celebration.

wedding-day-getting-ready-photos

Getting ready photos are to include both the actual getting ready portion and the details of the day like shoes, florals, dress, rings, etc.

It’s usually when the bride is getting her makeup done, getting into her dress, putting on her jewelry, and all of the other final details that go into her complete look. The same goes for the groom; photos of him getting into his tux or suit, putting on his watch, tie, and shoes.

Image: The getting ready portion of the wedding day lets you get photos of the important details of...

The getting ready portion of the wedding day lets you get photos of the important details of the day.

Sometimes, getting ready photos will include more people during the shoot. For example, the bride might want to get ready with all of her bridesmaids and have her maid of honor help with putting on her veil.

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

Other times, you might get the bride and groom getting ready together in the same space. Either way, it’s a crucial moment during the day that leads up to all the festivities. It tells more of the story of how the wedding day unfolded.

Prep for the getting ready

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Inform your clients during a pre-consultation

A pre-consultation is where you meet with your clients and go over the details of the wedding day. It is important to find out if the couple will be getting ready in the same location or different locations.

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

If at all possible, advise your clients to get ready in the same location but in separate rooms. That way, you can bounce between both of your clients and capture the getting ready shots.

However, sometimes it isn’t possible. But don’t worry, sometimes you can re-create some of the getting ready moments before the ceremony and still get those beautiful getting ready photos to go with the narrative of the day.

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

Advise your clients to tell their key people (those helping with the brides or grooms outfit) to be ready, too, since they will also be photographed during the getting ready stage. This goes for the mother of the bride, father of the bride, bridesmaids, and groomsmen.

wedding-day-getting-ready-photos

Make sure the key people are dressed and made up for the getting ready photos so everyone looks great in the final images.

Tell your clients to make sure florals are ready during this time so that you can photograph them before the wedding day begins.

Prep your gear bag

There are a few items you should have handy for the getting ready portion of your day. They aren’t required but do make the getting ready photos more streamlined and easier to photograph.

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

One handy tool is a Command Hook. This will help you stick the hook where you want, hang the dress or suit, and photograph it virtually anywhere at the location of the getting ready photos. It also helps hang other details that are important to the wedding day.

Bring a small poster board or some fabric to style a flat lay of the details. This could include things like the rings, shoes, garter, bouquet, or special details like vow books. It can give you a cohesive look to the detail photos. That way, you’re also not limited to the surfaces in the getting ready room, if there are any available spots.

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

PlayDoh or similar putty can help keep rings styled or from falling over. Roll a tiny ball and place it under the rings, ring boxes, jewelry, and other items to keep them in place. Then simply remove it after you’ve achieved your shot.

wedding-day-getting-ready-photos

Use a video light or flashlight from your phone to light the details if you need a little boost in light. Some getting ready rooms, like bridal rooms, are tiny and don’t offer much light, so having a video light or using your flashlight from your cell phone, can help give you the light you need. It can also help you to get interesting photos of the details like rings or shoes.

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

While these items aren’t a must, they do help with styling the details of the getting ready portion.

What to photograph during the getting ready portion of a wedding day

The getting ready part of a wedding day isn’t just about photographing your clients getting into their dresses or suits – it’s much more than that. It’s about capturing a part of the day that begins all of the events that everyone is excited about!

wedding-day-getting-ready-photos

When photographing the getting ready, mix different style shots like full length and close-up shots of the same scene.

When you photograph a getting ready, make sure to get photos either styled or depending on your photography style, the following:

  • Rings, ring boxes, ring pillows or carrying cases
  • Florals: bouquets, boutonnieres, hairpieces, and corsages for others
  • Shoes
  • Accessories like jewelry, watches, gifts of the bride and groom
  • The something blue, something old, something borrowed if they are part of the wardrobe/attire.
  • Getting ready: Makeup and hairstyling, adjusting their dress/suit, putting on the dress/suit
  • Putting on shoes
  • Detail photos of the dress/suit alone and on the bride/groom
  • Invitation set
  • Portrait of your client alone
  • Portrait of the client with their bridal party or others who are in the room with them
  • Anything else that is considered special or important
  • Key people in the background or with your client

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

How to get the most out of getting ready photos

The getting ready photos are somewhat of a photojournalistic approach to the day. Besides the detail shots that you style, most everything else is photographed as it unfolds during this time.

wedding-day-getting-ready-photos

To get the most out of the getting ready photos, try and get different focal length shots of the events like the makeup and hair. Get a wide shot of the room but also get close-up photos of the makeup as it’s applied. Capture real emotions from the people in the room with your client.

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

When your client is ready to get dressed, ask them to clear out the portion of the room that you’d like to use. For height, consider getting on the bed if your client is using a hotel room.

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

If you can, choose a location with nice lighting and a calm vibe. It will help set the tone of the getting ready portion of the photos.

Remember, during this time, clients are usually feeling a mixture of emotions. They also have to attend to tasks, questions, and anything that might come up that is related to the planning of the wedding.

wedding-day-getting-ready-photos

So a calm setting can really set the tone for the rest of the day while you photograph your client as they get dressed.

Also, don’t worry about moving furniture if you need to, or other items to get the best photo possible. Try different areas of the getting ready room to choose the best photos of the details, dress, and your client.

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

Photograph a portrait of your client after they are dressed alone

As mentioned above, setting the tone for the rest of the day can make all the difference for your client. This is why, after your client has gotten dressed, that you take them to a calm location and photograph a portrait of them alone.

wedding-day-getting-ready-photos

During this time, don’t ask anything of them. Don’t mention the wedding, planning, or anything that is related. Just help them to feel calm by using a soft tone, directing them to get the best angle, and show them a photo or two so that they get excited by how great they look!

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

This will also build a nice rapport with how you handle the stress of the day. It will also help your client to feel less saturated or anxious about their wedding day.

How to photograph getting ready photos after the fact

Sometimes you don’t have time to take getting ready photos of both of your clients due to logistics, being the only photographer, or otherwise. Other times, time slips away and cuts time for getting ready photos altogether. Or, your client might have opted to set the hours of coverage to cover more of the reception than the getting ready portion.

wedding-day-getting-ready-photos

You can take portraits like this later in the day to re-create the getting ready photos.

If this is the case, don’t worry, you can recreate the getting ready photos after the fact! For example, before the ceremony, while your client waits to come out and down the aisle, you can get a few getting ready photos of them in the suite or empty hallway/walkway. Simply ask them to fluff their dress, have their key person adjust their veil, or pretend to tie their dress or suit.

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

You can get action shots like having your clients look into the mirror and pretend to put on their jewelry or suit jacket or shoes. While you might not have been there during the actual getting ready, you can always pretend like you were by styling and directing your clients in between other wedding day events.

wedding-day-getting-ready-photos

Why are getting ready photos important?

Getting ready photos are important to a wedding day because, as the photographer, you’ll have time to get the important details of the day photographed. The rings, vow books, bouquets, and most importantly, the dress or suit that your clients wear.

wedding-day-getting-ready-photos

Each of these items was thought about, and chosen with the utmost care and attention to the details. Anything that your clients poured their hearts into is worthy of photographing. It also makes for a nice retelling of the wedding day in an album or publication after the wedding day has ended.

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

Most importantly, photographing getting ready photos allows you to set the tone for the day and reassure your client that you are there for all of it. That you are there for the best moments of the day and to help them feel confident, beautiful, and excited about the rest of the wedding events. It’s like you’re there as their personal cheerleader on what is usually a stressful day.

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

Having this time with your client also helps you to get to know them a bit more. You can try different angles during the individual portraits, and also get to know who the key people are that need photographing during family formals and bridal party photos.

In conclusion

Tips to Achieve Memorable Getting Ready Photos at Any Wedding

Telling the story of a couple during their wedding day is truly an honor for any photographer. The getting ready portion of the day sets the tone and begins the story of how the day unfolded. These tips will help you successfully capture your clients during the start of their most important day as a couple.

Do you have any additional tips for capturing the getting ready photos of any wedding day? We’d love you to share them with us in the comments!

The post Tips to Achieve Memorable Getting Ready Photos at Any Wedding appeared first on Digital Photography School. It was authored by Jackie Lamas.


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Landscape photography with a drone: disadvantages and limitations part 2

27 Oct

In the previous article I wrote about the basic disadvantages and limitation of the drone: it depends on batteries, has limited range, flight altitude and speed, all of which put it at a disadvantage compared to shooting from a manned aircraft. Granted, the drone is a very different tool to a manned aircraft, but I compare the two to emphasize that the photographer should be aware of the advantages and limitations of each option when planning a shoot.

This time, I would like to discuss another disadvantage of the drone: it’s VERY easy to lose.

To a drone user, crashes are a part of life. Drones keep getting better and safer, they are fit with sensors to avoid collisions, programmed to fly back to the home point when connection has been lost with the remote, but they are still not completely safe from tumbling down from the sky, and they still get lost quite often. Iceland’s Glacier Lagoon and Greenland’s Disko Bay must be a few meters shallower with all the Phantoms and Mavics that have been drowned there over the last decade. A colleague of mine’s clients lost 2-3 Mavics in one photo workshop in Disko Bay! Wow, just wow.

But why is that? How come drones just keep falling from the sky or become lost, never to be found again? If you disregard animal attack and hostile interception (both very rare events), there could only be two main reasons: human error and technical malfunction. Sometimes it can be both factors working together.

Human error

Earlier in this series I referred to drones as being ‘idiot proof.’ That was probably overstating it. Drones are by no means idiot proof, or even not-so-idiot proof. A better term would be ‘idiot resistant,’ as a drone can only correct its user’s mistakes so much – it is, after all, just a machine.

One of my workshop clients once lost a drone when we were shooting next to a lake. The problem was that the lake was a natural wind-tunnel, and a temporary stillness encouraged us to take the drones up. Upon feeling the wind getting stronger I brought my drone down and alerted my client to do the same. He chose to keep on flying, and once the wind grew even fiercer, he quickly lost orientation. A few minutes later the drone crashed down, while still keeping in contact with the remote.

DJI’s remotes have a distance indicator, showing how far the drone is from the home point, and we could see that the drone wasn’t too far away. My client started walking in the direction that kept reducing the distance, but eventually understood that the drone was resting on a mountain on the other side of the lake. It’s probably still there.

There is a lesson to be learned here. First of all, once you feel the winds getting dangerously strong, there’s no shame in bringing a drone back down. Secondly, if you lose orientation, don’t let the drone just drift with the wind. Instead, try your best to fly it back toward the home point. A lower flight altitude usually means gentler winds, so in case the drone isn’t progressing home, try flying lower.

The winds above this beautiful lake in the Argentinean high-altitude desert were blowing so strongly, the drone was being swept farther and farther even though I was flying it at full speed back home. It’s important to keep cool when something like this happens. The best thing you can do is bring it down and fly a few meters above ground – the winds will be much calmer and you’ll be able to get the drone back.
DJI Mavic II Pro, 1/240 sec, f/9, ISO 100. Puna de Argentina

Another very common avoidable mistake is stretching the battery for too long. A drone’s remote will start protesting when battery level is below some (adjustable) figure. The default for DJI drones is 30%, but this depends on the drone’s distance to the home point. When the battery drops further, the drone will usually alert the user that it will automatically go home in a few seconds. This too can be overridden by the user, in case he or she wants to keep controlling the drone and shoot some more.

Lastly, when the drone is at 10% battery or less, it will automatically and autonomically start landing. But even this can be avoided if the user actively uses the joysticks to keep the drone airborne.

An experienced drone user can sense when they need to bring the drone back. In perfect conditions, without wind, when flying low and close to the operator, there is no real reason to bring the drone back home at 30%, 20% or even 15% battery. If you can bring the drone back in a matter of seconds, by all means, keep flying until you reach 10% and then land it. But when conditions get harder, that’s when experience is critical and you have to keep a close eye on the battery status.

Depending on distance, altitude and (mainly) wind conditions, the amount of battery power needed to bring the drone back may increase significantly. Yours truly has almost lost a drone when wind picked up significantly during an afternoon shoot in a pumice-stone field in the high altitude desert of Argentina. I struggled to fly the drone, which was facing harsh head-winds, and by the time I managed to land, I was on 1% battery (!).

It’s easy to be caught up shooting this beautiful Pumice-stone field, but the place is huge and the photographer must account for the drone’s distance and sudden increases in wind forces, or they’re risking the battery emptying before being able to bring the drone back to the launch point.
DJI Mavic II Pro, 1/25 sec, f/5.6, ISO 100. Puna de Argentina

I will conclude the discussion of human error-related crashes with a story from my recent Greenland photo workshop. My group was slowly sailing in an iceberg-packed part of Disko Bay. Since we were going to stay in that area for a while, I took out my drone and started shooting aerials of the icebergs.

When the battery was about to run out, I decided it was time to bring the drone back home. But then I realized that the captain had moved the boat several hundred meters, so the home point indicator was useless.

The remote started screaming when battery level reached 10%, and when it hit 5% I knew I had to do something

Moreover, the fact that the boat was sailing between thousands of iceberg – and it was a white boat – made finding it close to impossible. I had no indication of where the boat was or how to get to it. Using the larger icebergs as reference points was also futile, as the distances are huge and I couldn’t judge their location relative to the boat when looking at the remote’s screen.

I was getting nervous. Minutes passed and battery power was continuing to dwindle. For the life of me, I simply could not find the boat. The remote started screaming when battery level reached 10%, and when it hit 5% I knew I had to do something, or lose the drone.

This iceberg, and many next to it, were constantly collapsing, which filled this part of the bay with icebergs. That was great for foreground, but less beneficial in other ways.
DJI Mavic II Pro, 1/25 sec, f/6.3, ISO 100. Disko Bay, Greenland

I started to drop the drone’s altitude, desperately looking for any possible landing site. At this point I was about 80% sure I would lose the drone. But then, I saw a large, relatively flat iceberg. I decided to land on the iceberg, without knowing if I was going to be able to retrieve the drone from it, even if the landing went well. After landing, the situation was looking grim. I was in a huge bay, with literally thousands of icebergs, one of which had my tiny drone on it. There was no way in hell I would find the drone without help.

What do you know – my drone was peacefully resting on the iceberg

But then our captain’s assistant, who had been though a similar situation, suggested that I use the “find my drone” feature on the DJI app. I had never used this feature, since I always knew how to get to the home point. But in this case, the home point was no longer where the boat was. I used the feature to see the drone’s last GPS location, asked the captain to sail there, and what do you know – my drone was peacefully resting on the iceberg. Luckily, the iceberg was big enough for me to hop onto it from the boat, get the drone and return safely. It was quite a surreal experience.

In retrospect, I could’ve done things differently and avoided the iceberg landing. I subsequently learned that it’s possible to change the home point on the fly in the DJI app, so the return to home feature directs the drone to the current location of the remote. Live and learn! At least I have a good story, and by sheer luck, no harm was done and my drone lived to fly another day.

Technical malfunction

Drones, as mentioned, are machines. And as machines, they can sometimes fail or operate in unexpected ways. The difference between a drone malfunction and a DSLR malfunction, however, is that when the former happens, the drone might not be seen or heard from ever again.

There can be different reasons for a drone malfunctioning. In the past, DJI drones crashes numbered in the thousands due to people flying them when batteries were too cold. This has happened to me too, in Iceland – an event on which I’ll elaborate at a later stage. Due to public outcry, DJI has had to include a better temperature warning system in its newer products.

Greenland’s famous Disko Bay is particularly notorious for drowning drones aplenty. This is mainly due to the large amount of iron in the bedrock, leading the drone’s navigational systems to go haywire. Personally, I’ve never lost a drone in Greenland, but I’ve had my fair share of GPS malfunctions. When GPS fails, the drone starts drifting away with the slightest breeze, which, in extreme cases, can lead to a crash into the water.

It’s hard to resist the allure of flying a drone between the ice giants of Disko Bay. Be be wary of GPS malfunctions – they can cost you your drone.
DJI Mavic II Pro, 1/30 sec, f/8, ISO 100. Disko Bay, Greenland

Again, the important thing is keeping cool, regaining orientation and preventing the drone from being swept too far away. The GPS system usually comes back up in a short while.

Drones are constantly getting better and more fail-proof. They don’t crash nearly as much as the used to, which is a very good thing. If the worst happens and you do crash a drone just remember: you’re not the first and definitely not the last.


Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez’s work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you’d like to experience and shoot some of the world’s most fascinating landscapes with Erez as your guide, take a look at his unique photography workshops in The Lofoten Islands, Greenland, Namibia, the Argentinean Puna, the Faroe Islands and Ethiopia.

Erez offers video tutorials discussing his images and explaining how he achieved them.

More in This Series:

  • Landscape photography with a drone: Gear basics
  • Landscape photography with a drone: the advantages – part 1
  • Landscape photography with a drone: the advantages – part 2
  • Landscape photography with a drone: the advantages – part 3
  • Landscape photography with a drone: disadvantages and limitations – part 1

Selected Articles by Erez Marom:

  • Parallelism in Landscape Photography
  • Winds of Change: Shooting changing landscapes
  • Behind the Shot: Dark Matter
  • On the Importance of Naming Images
  • On Causality in Landscape Photography
  • Shooting K?lauea Volcano, Part 1: How to melt a drone
  • The Art of the Unforeground
  • Whatever it Doesn’t Take
  • Almost human: photographing critically endangered mountain gorillas

Articles: Digital Photography Review (dpreview.com)

 
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10 Awesome Photoshop CC Tricks You Wish You Knew

27 Oct

The post 10 Awesome Photoshop CC Tricks You Wish You Knew appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

photoshop-cc-tricks

All photographers want their photos to look fantastic and part of the path to great images is the post-processing. You can do so much with the right tools if you know how to use them well. Photoshop is such an amazing tool for photographers. The more you use it the more you find that it can do. The more you realize you have to study to be able to make the most of it. In this article, I will share with you ten cool Photoshop CC tricks I love using when I work on my photos in Adobe Photoshop.

1. Photoshop search

10 Awesome Photoshop CC Tricks You Wish You Knew

Photoshop articles like this or video tutorials often suggest tools to use that you may not be familiar with. It’s easy enough to remember the tool but forget its location within photoshop. This is where the Photoshop search comes in helpful.

Up in the top right of the main photoshop window, you will find a search icon. Click on it to search not only to find that tool you want but other things too. You can also search for tutorials, Lightroom and Adobe stock images.

2. Manage keyboard shortcuts

10 Awesome Photoshop CC Tricks You Wish You Knew

When working with any complicated software, it pays to learn at least some of the keyboard shortcuts. Knowing the shortcuts for the tools you use the most will help speed up your workflow.

In photoshop you have the capacity to customize your keyboard shortcuts. It’s easy enough to do. If you’ve been using photoshop for a while you will know which tools you use often and will want to know the shortcuts.

To find them, all you need to do is go to the top menu and select Edit->Keyboard Shortcuts. This opens up a window where you’ll see all the information you need to learn the shortcuts and change them.

Most keys and many combinations have shortcuts assigned. These can be customized to suit your working style.

One key that has no default shortcut assigned is the ‘n’ key. You can assign your favorite tool to it without disrupting any of the other shortcut keys.

3. Temporary tool select

Another helpful trick that aids smooth workflow is being able to temporarily select a tool.

Say you’re working on an image with the Burn tool and you see a small blemish you want to remove with the Clone tool. You can simply press and hold the ‘s’ key to select the Clone tool. Once you’ve removed the blemish, release the ‘s’ key and your cursor will revert back to the Burn tool.

This can be used with most keyboard shortcuts.

4. Open the same image in two windows

Photoshop-CC-tricks

Opening the same image document in two windows gives you some great flexibility. You can have one instance of the file zoomed and be working on the details and the other showing the entire frame. This lets you see the changes you make in the detailed view as they happen in the full-frame window also.

To open two image documents, go to ‘Window’ in the top menu and select Arrange->New Window for [the file name of the opened file]. Click on this file, and a new instance of the file will open. Now you can select Window->Arrange and select the display option you prefer. Here I have selected to show 2-up Vertical.

This trick is very cool if you are working with two or more monitors.

5. Creating selections of Highlights and Shadows

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Selecting only the highlights or dark areas of an image can give you more control when making certain adjustments.

To do this, choose the type of adjustment you want to make. For this example, I have added a Curve Adjustment Layer. This is from the menu at the bottom of the Layers panel. Once I have the new adjustment layer, I then delete the layer mask.

Here’s where the magic happens. Press Ctrl+Alt+2 (Cmd+Opt+2 on Mac) and all the bright pixels will be selected. When you click on the Curves icon in the Layers panel, you will not only be making adjustments to the brightest pixels. In the Properties panel of the mask, you can choose to invert the selection and work on the darker pixels.

6. Pen tool tips

Photoshop-CC-tricks

Learning to use the Pen tool in photoshop is frustrating for many people. At first, it can be difficult to make the line go where you want it to. Here are some tweaks you can make so your learning curve is not so steep.

When you have the Pen tool selected, click the Cog icon on the top menu. Here you can alter the settings for how the line looks and responds. You can determine the weight and color of the line. This can be helpful in allowing you to see where you’re drawing more easily.

Probably the most helpful aspect of the Pen tool settings is the Rubber Band checkbox. With this setting active, you can see where your line is as you draw. This allows you to see where your line will be in real-time. Without the Rubber Band box checked, you will not see where your line will be drawn until you click on a point.

Two more helpful tips with the Pen tool are:

  1. Use the spacebar as you click. Hold the spacebar to allow you to place the point precisely where you want it to be.
  2. Once your line is complete, use Alt+Click to modify the handles on a point so you can alter the curve of the line.

7. Select colors from any application

10 Awesome Photoshop CC Tricks You Wish You Knew

Matching a color you want to use in photoshop with a color in another program or app is easy and can be very useful. Pulling the same color and applying it to text, a brush or fill means you can precisely color match what you are working on.

Shrink your photoshop window and place it over the area you want to select the color from. Simply select the tool for how you want to apply the color. In my example, I want to fill the background of my logo with a specific color from a photo on my website. Click and hold the Alt key as you drag your mouse to hover over the color you want to match.

When you release your mouse, Photoshop will use it as the selected foreground color. Now you can apply it as you wish.

8. Control Color Luminosity

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By creating a new black and white Adjustment Layer and setting the Blend mode to Luminosity, you can darken or brighten each color in your image. Simple drag the slider for each color you want to adjust until you are satisfied with its luminosity.

9. Transparency using ‘Blend If’

10 Awesome Photoshop CC Tricks You Wish You Knew

The ‘Blend If’ mode is a powerful tool when you know how to use it. Selecting and manipulating layers using the Blend If functions allow you to alter the luminosity or color channel of a layer.

In this example, I wanted to eliminate the black background from my logo and replace it with an image. The image is on the layer underneath my logo. Bring up the Layer Style panel by double-clicking on the layer you want to work on. With the Blend If mode set to Gray, use the slider below it to remove the darker or lighter pixels. In this example, I have moved the slider on the left towards the right to take out the black background of the logo.

Making the altered layer a Smart Object will make those hidden pixels transparent for even more flexibility.

10. Non-destructive Spot Healing Brush

10 Awesome Photoshop CC Tricks You Wish You Knew

Adding a new layer above the image you are working on allows you to work non-destructively with the Spot Healing Brush. Often with highly textured images, the Spot Healing Brush provides an unsatisfactory result. Adding an extra blank layer gives you more flexibility.

The key to making this work is to ensure you check the Sample All Layers checkbox in the top menu bar.

Conclusion

I hope there are a few new tips and tricks on this list of Photoshop CC tricks that you can find helpful. As with all things Photoshop, everyone works differently. There are also many ways to reach the same end result.

If you know of some other cool Photoshop CC tips or tricks let us know what they are in the comments below.

The post 10 Awesome Photoshop CC Tricks You Wish You Knew appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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RAW or JPEG: A Game Of Formats! [video]

27 Oct

The post RAW or JPEG: A Game Of Formats! appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this great video by Nicolas Doretti, he explains the differences between using RAW and JPEG formats.

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RAW or JPEG?

If you have struggled to understand the need to shoot in RAW format over JPEG, this video goes into great detail exploring and explaining why you can obtain so much detail from RAW files.

Nicholas explains the differences in BIT depth and how pixels are composed of 3 layers.

He also explains how to arrive at 16 million colors in an image.

This is how the bit depth corresponds to the number of colors it holds.

  • 8-bits: 16 million colors
  • 10-bits: 1 billion colors
  • 12-bits: 68 billion colors
  • 16-bits: 281 billion colors

Photos taken by your camera are around 12/16 bits of information. All of these values – that’s the RAW file. It’s not really an image; it’s the raw data taken by the sensor.

When you record your image in jpeg, your camera takes the raw information from the sensor and compresses it into an 8-bit format. As there are not as many spaces, it also applies a treatment to the image. It adjusts the contrast and saturation of colors.

The processing values depend on the selected image profile on your camera.

If you record in RAW, the camera does no editing to your image at all. It retains the 12/16-bits of information (68-281 billion colors). It is then up to you to process your images and get the most from all of that information.

The RAW image you see on your computer screen is simply an interpretation of the raw data that your camera records. Each change you make in your editing software reinterprets this data.

RAW is not an image format, as such. Each brand has it’s own version of RAW. CR2 for Canon, ARW for Sony, NEF for Nikon, RW2 for Panasonic, DNG, and other extensions exist.

Using RAW allows you to search for information, whereas there is no information in the jpeg.

Nicolas uses an image example in both jpeg and RAW formats to show you the possibilities of editing with both formats. You will notice how much more information can be gained in the shadow and highlight areas of the RAW file.

Nicolas also touches on the argument of professional photographers not needing to shoot RAW because they should be good enough to get a perfect exposure in-camera. He has an interesting take on this. He talks about retouching and uses examples of photos dating back to 1861 that were retouched.

Watch and see what your thoughts are here! Share any comments on this information in the comments below!

 

You may also find the following helpful

  • The Basics of RAW files {and what to do with the darn things}
  • RAW Files: Digital Manifestations of the Emperor’s New Clothes
  • Quick Beginner’s Guide to Processing RAW Files in Photoshop Adobe Camera Raw
  • How to do Powerful RAW Conversions with Luminar 2018
  • ACDSee Photo Studio Ultimate: Efficient RAW Workflow for Professionals
  • Is Shooting RAW+JPEG the Best of Both Worlds?

The post RAW or JPEG: A Game Of Formats! appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Rode’s redesigned NTG5 microphone features ‘circular acoustic ports’ and lightweight design

26 Oct

Australian-based audio company Rode has announced the latest addition to its lineup of professional broadcasting microphone with the release of the NTG5.

The new microphone features a new ‘groundbreaking’ acoustic port design that replaces the linear slots found on other shotgun microphones with circular acoustic ports. This change, according to Rode, is a ‘revolutionary design’ yields ‘unmatched acoustic transparency, and a natural, uncoloured sound that will sound superb in a wide variety of applications.’

Rode says the frequency response of the NTG5 has been ‘tailored’ for low self-noise of 10dbA and features a ‘highly directional’ supercardioid polar pattern. The redesigned microphone features RF-bias technology and conformal coating to keep it protected against adverse weather conditions. It’s also incredible light and compact thanks to its aluminum construction, weighing just 76g and measuring in at 203mm long.

The NTG5 comes with a complete recording kit, including the new WS10 windshield, a redesigned pistol grip and cables for connecting to cameras and recorders. Rode says the NTG5 is ‘shipping now’ for $ 499, but we’re yet to see it available on any major retailers.

Articles: Digital Photography Review (dpreview.com)

 
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