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Weekly Photography Challenge – Protests

18 Jan

The post Weekly Photography Challenge – Protests appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is PROTESTS!

Climate-Change-Rally-Wollongong-January-2020-by-Caz-Nowaczyk

Climate Change Rally, Wollongong NSW Australia, January 2020 by Caz Nowaczyk

In many countries around the world, people protest all sorts of issues – climate change, equality, human rights, government policies etc.

In my home town, there was a recent protest on climate change – brought about by the recent bushfire crisis in Australia.

So, this week’s challenge is to go out and shoot any pictures that include protests (if there are none in your town, perhaps you protest about something and would like to depict that somehow in picture form).

Set out to capture the energy, emotion, wide crowd shots, close-ups of signs and people.

So, check out these pics, have fun, and I look forward to seeing what you come up with!

Climate-Change-Rally-Wollongong-January-2020-by-Caz-Nowaczyk-02

Climate Change Rally, Wollongong NSW Australia, January 2020 by Caz Nowaczyk

Climate-Change-Rally-Wollongong-January-2020-by-Caz-Nowaczyk-03

Climate Change Rally, Wollongong NSW Australia, January 2020 by Caz Nowaczyk

Climate-Change-Rally-Wollongong-January-2020-by-Caz-Nowaczyk-04

Climate Change Rally, Wollongong NSW Australia, January 2020 by Caz Nowaczyk

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting PROTESTS

The Ultimate Guide to Street Photography

The Ultimate Guide to Zone Focusing for Candid Street Photography

Photographing Festivals and Events – Tips for Travel Photographers

How to Organize and Photograph Events Like a Pro

5 Tips for Safely Photographing a Dangerous Event

7 Tips for Capturing the Decisive Moment in Street Photography

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSprotests to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Protests appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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Sony releases minor firmware updates for a9 II and 24mm F1.4 GM, 135mm F1.8 GM lenses

17 Jan

Sony has released minor firmware updates for its a9 II camera system, as well as its 24mm F1.4 GM and 135 F1.8 GM lenses.

For the a9 II, firmware version 1.01 improves the FTP transfer functionality to speed up how soon after shooting photos the images can be transferred. Additionally, the firmware update corrects a condition where the camera can sometimes turn off at random times when looking back through Raw images and improves JPEG image quality when shooting under certain, unspecified conditions.

Both the 24mm F1.4 GM and 135mm F1.8 GM receive, via firmware ’02,’ improved aperture response when the lenses are attached to Sony’s a9, a9 II and a7R IV camera systems, as well as the ability to select ‘Focus Priority’ from the ‘Aperture Drive in AF” menu when attached to Sony’s a9 camera system.

You can download firmware version 1.01 for Sony a9 II camera systems, as well as firmware version ’02’ for Sony’s 24mm F1.4 GM and 135mm F1.8 GM lenses for mac OS and Windows computers on Sony’s website. Details and instructions on how to install the firmware can be found on the respective download pages.

Articles: Digital Photography Review (dpreview.com)

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Leica’s M10 Monochrom is a discreet black and white rangefinder

17 Jan

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Leica has introduced its latest dedicated black and white rangefinder camera, the M10 Monochrom. It uses a new 40MP sensor that Leica says was ‘designed from the ground up’ to handle black and white photography. The new sensor has lowered the base ISO from 320 to 160, and Leica also claims an improvement in dynamic range.

To go along with its black and white pictures, Leica has removed any hint of color on the camera body. The neutral gray body has no red Leica badge or any scripting on top, giving it a stealthy appearance. The body is just as thin as the other M10 models and has the ISO dial they introduced. It also has the same silent shutter and touchscreen display as the M10-P. Photos can be transmitted via Wi-Fi and Leica’s Fotos app.

The M10 Monochrom is now available for $ 8295.

Official sample photos

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Press Release

Leica Camera Advances its Dedication to the Art of Black & White Photography with the Leica M10 Monochrom

The highly anticipated camera enters a new dimension of innovation in the world of monochrome photography

January 17, 2020 – Leica Camera continues to be a trailblazer in the world of black-and-white photography with the announcement of the new Leica M10 Monochrom. Photographers are now able explore their subjects in vivid tones of monochrome due to the omission of a color filter, resulting in an unparalleled black-and-white photography experience. The newly developed 40-megapixel true black-and-white sensor, new Wi-Fi capabilities and expanded ISO range make room for added creativity with light and contrast, bringing photographers back to the basics with the most up-to-date technology.

Black-and-white photography lends itself to establishing emotional connections between the photographer and subject matter being conveyed. With the absence of color, a photograph conveys intense, vulnerable and timeless messages that speak to the foundation of a scene without the distractions of color.

The ultra-high resolution black-and-white sensor of the M10 Monochrom delivers images with impeccable sharpness and unrivalled resolution of details in all lighting conditions. While reaching these new feats of resolving prowess, the new M10 Monochrom is even more versatile than its black-and-white forebears, with a broadened sensitivity range at both extremes, now achieving ISO 160 to ISO 100,000 – ensuring that its unmatched imaging strengths can be used in new avenues, from the brightest of days to uncovering light in the darkest of nights. Images captured at all ISO settings offer fine-grained rendition of details with a more analog look and feel than a typical color camera set to black-and-white mode. As is the case with all Leica M-Cameras, the new black-and-white sensor pairs perfectly with the full breadth of Leica M-Lenses, showcasing their contrast, resolution and rendition of the finest details. With this combination, photographers can rest assured that the exceptional quality of the monochrome images they capture holds true to the luminance of their subject.

Based on the Leica M10-P, the M10 Monochrom now benefits from a bevy of newfound abilities for the Monochrom line, including a slimmer body, dedicated ISO dial, touchscreen controls, the quietest mechanical shutter of all Leica M rangefinders – analog or digital – and built-in Wi-Fi for wireless connectivity to the Leica FOTOS app on iOS, iPadOS and Android. For the first time in the history of Leica M Monochrom cameras, users can utilize a mobile workflow that gives them direct access to authentic black-and-white images straight from the camera to their favored social media platform – no digital filters required. The FOTOS 2.0 app helps bring Leica users from the decisive moment of taking the picture to the creative moment of processing and sharing the finished photo as seamlessly as possible. This new freedom ensures no boundaries when it comes to capturing and sharing photographs with a Leica camera.

The design of the M10 Monochrom camera body is as loyal to the strict adherence to the black-and-white aesthetic as the image sensor that lives within it. The camera has no Leica red dot logo on the front and all of the usual bold red engravings found on most M cameras have been desaturated to a neutral gray, creating a sleek monochromatic contrast against its bright white engraved numbers. A subtle black-on-black logotype of “Leica M10 Monochrom” on the top plate gives the camera the most minimal branding to avoid distractions. The black-and-white design details combined with the newly blacked-out shutter button and lens release make the M10 Monochrom the stealthiest serial production camera yet from Leica, emphasizing its focus on blending into the heart of the action and capturing the decisive moment.

The M10 Monochrom is built to the highest quality standards expected of a Leica M camera, made almost entirely by hand through the passionate labor of experienced specialists in Wetzlar, Germany with the finest materials, ensuring it can bear even the toughest conditions of use in its stride. The new Leica M10 Monochrom promises to be a long-term companion that delivers an unparalleled experience and impeccable image quality, as timeless as the classical black-and-white photos it creates.

The Leica M10 Monochrom is available beginning today for $ 8,295 at Leica Stores, Boutiques and Dealers.

Articles: Digital Photography Review (dpreview.com)

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Why Leica’s M10 Monochrom is more than just a gimmick

17 Jan

The M10 Monochrom is Leica’s third mono-only digital rangefinder, but the lower base ISO of the latest camera extends its flexibility.

The Leica M10 Monochrom is the company’s third mono-only rangefinder. It uses an entirely new 40MP sensor, rather than borrowing the 24MP chip from the other M10 models.

We think the Bayer filter array is an amazing creation, producing results that massively outweigh its drawbacks, but there are a few reasons why going without color filters is more than just a gimmick.

Higher detail capture

The obvious benefit of a monochrome sensor is that you don’t need to demosaic: each pixel you capture becomes one pixel in your final image. You don’t need to interpolate missing color values for each pixel, so you don’t need to call on neighboring pixels, so don’t experience the slight blurring effect that this has.

The final image will be inherently sharper than most color cameras can achieve (Foveon sensors being the key exception to this).

Higher base ISO

The color filters used on most sensors absorb around 1EV of the light, since each filter has to absorb the two colors it’s not allowing to pass through to the sensor (the green filter absorbs the red and blue light, for instance).

The M10 Monochrom’s base ISO of 160 is lower than previous mono cameras but higher than a camera with a color filter array would be.

This means that the silicon of a monochrome sensor receives around one stop more light at any given exposure. The consequence is that it becomes saturated and clips highlights around one stop earlier, at its lowest amplification setting. The result is that its base ISO tends to be rated one stop higher than a chip with a CFA would be. On the M10 Monochrom, the base ISO is given as 160 (rather than 320 on previous models).

This can be challenging, since it means having to use exposures that are 1EV lower than you’d expect on a color camera. In bright light, this is likely to mean stopping down when you hit the M10’s 1/4000th sec maximum shutter speed. But it’s worth noting that there isn’t any image quality cost to this.

Better tonal quality, ISO for ISO

Usually, reducing exposure by 1EV results in photon shot noise being one stop more visible (this reduction in light capture is the main cause of high ISO images looking noisier).

But, although the M10 Monochrom’s base ISO of 160 means using an exposure that’s half as bright as the ISO 80 exposure you’d expect to need on a color version, the Monochrom’s sensor still experiences the same amount of light: there’s no filter stealing half of it.

The tonal quality of this ISO 12500 shot is likely to be more comparable to that of an ISO 6400 shots on a color camera, since the sensor will be seeing the same amount of light, despite a darker exposure. The dynamic range is likely to be similar, too, since less amplification will have been applied.

In other words, you’ll get the same tonal quality as a color camera shot at 1EV lower ISO. And, while the higher base ISO presents an exposure challenge in bright light, it means you get tonal quality that’s a stop better in low-light situations.

And that’s before you consider the fact that all noise will present as luminance noise, rather than the chroma noise that most people find more objectionable. So you get a one stop improvement in noise in low light and the noise that is present is less visually distracting, which means less need to apply detail-degrading noise reduction.

New sensor

The big unknown with the M10 Monochrom is the specific sensor performance. We’ve not seen a 40MP full-frame sensor before, so can’t yet be sure what its performance will be like. The 24MP sensor used in the existing M10 models is pretty good, but slightly underperforms the standard set by the 24MP sensor in cameras such as the Nikon D750, meaning it’s even further behind the newer chip used by the likes of Nikon, Panasonic, Sigma and Sony.

We can’t yet be sure how Leica has managed to reduce the base ISO, compared to the previous model. An ISO of 160 is very low for a Mono camera, since it would equate to around ISO 80 if a color filter array was applied. So it’ll be interesting to assess the dynamic range, when the camera becomes available.

We won’t know how well the M10 Monochrom’s sensor performs until we get a chance to go out and shoot with it. Probably out in one of the classic sports cars Leica seems to expect us to have.

All Leica has said is that the chip in the M10 Monochrom has been ‘designed from the ground up with Mono in mind,’ which we’re a little skeptical about. It’s true that we’ve not seen this 40MP chip elsewhere, but it’s hard to imagine that (even at Leica prices), the M10 Monochrom will ever generate enough money to cover the cost of the development of a dedicated chip.

What is true, though, is that the smaller pixels of a 40MP sensor will make it less prone to aliasing than a 24MP sensor would be, since higher resolution sensors can accurately portray higher frequency detail, before getting overwhelmed and rendering an alias, rather than a correct representation. That said, simply being a monochrome sensor massively reduces the risk of aliasing (Bayer sensors sample red and blue at 1/4 their full pixel count, so can produce color aliasing with relatively low frequency detail).

Beyond the technical

It feels a bit strange writing about the technical advantages of a Leica rangefinder, since that’s not historically been an area in which they’ve excelled, and probably isn’t high on the list of why anyone buys one.

Of course, we’re DPReview, so we’re always going to consider the technical aspects of camera performance. But we recognize that a monochrome camera is about more than this. If you go out knowing that every photo has to be black and white, you look at the world in a different way: you start to concentrate on compositions of light and shade, not just compelling color or the warmth of the light. It’s a different way of thinking.

Which is to say: we’re really looking forward to getting a chance to go shooting with the M10 Monochrom.

Articles: Digital Photography Review (dpreview.com)

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How to Photograph Travel Icons With Success

17 Jan

The post How to Photograph Travel Icons With Success appeared first on Digital Photography School. It was authored by Jeremy Flint.

With far-reaching places more accessible than ever, many more people are traveling around the world. Seeing the many pictures people post of popular landmarks on social media, it seems everyone has traveled to the same places. Amongst some great shots of the famous travel icons that are frequently shared, there are many below average shots. So how should you photograph travel icons successfully? Here are some useful travel photography tips to help you return with better shots.

Taj Mahal, India

Research

To photograph travel icons well, start by doing a bit of research to identify some of the world’s famous sights.

Some of the most popular places include the Taj Mahal, the Eiffel Tower, Machu Picchu, Angkor Wat, the Houses of Parliament and the Grand Canyon.

During your research, think about when and where you want to go and the best times of day to visit. Some of the top travel sights in the world are only open during certain hours, so do your research and time your visit accordingly.

Explore on foot

One way to get around on your travels is to explore on foot. What are the benefits of doing so?

A benefit of walking around is that it is more enjoyable than being confined to a vehicle. You may also come across things to photograph that you wouldn’t see from a car.

Exploring on foot is a great way to photograph travel icons as you have the ability to move around freely and can change your perspective with ease. By exploring on foot, you can find other interesting points of view to shoot. For example, you can shoot at ground level or find a higher elevation to shoot from.

Blue Mosque, Turkey

Use a tripod

If there are too many people at your chosen sight, there are other ways to photograph travel icons, such as using a tripod and doing long exposures to blur people out of the shots entirely. You may need to use a neutral density (ND) filter to slow your exposure down in bright conditions.

Other benefits of using a tripod besides blurring people out are that it will help to minimize the risk of movement in your shots and allow extra light to enter the frame making your pictures brighter than if you were taking pictures by hand. It also helps to take the weight off your shoulders if you carry a heavy camera bag and allows you to return to a place and replicate shots at different times of the day.

If you do use a tripod to photograph travel icons, be aware that certain travel locations, such as the Taj Mahal, won’t allow you to bring in a tripod, so consider this when planning your trip.

Capture the moment

Iguazu Falls, South America

Capturing the moment is about choosing when to shoot and anticipating the right moment to press the shutter button to get a great image.

The best time to capture the moment and make an image stand out is at a decisive moment. This could either be the instant something interesting happens or a sequence of events that occur quickly – that disappears in the blink of an eye.

A fleeting occasion could be some dramatic light hitting the side of a well-known building, a rainbow suddenly appearing and adding drama to the background of a travel icon or when the northern lights (Aurora Borealis) appear and dance in the night sky before the moment fades.

Whatever moment you want to capture, think about how you could present your travel icon at the decisive moment.

Look for new angles

Research the travel icon on social media and see how most photos represent it. Then look for new angles to photograph travel icons successfully and capture the sight uniquely. Consider what makes the icon so special and change your composition to capture the most exciting parts.

Taj Mahal, India

Storytelling

To photograph travel icons well, try telling the story of the icon through wide shots, details shots, and both interior and exterior images. This can add interest to your pictures and show a famous landmark in a new light.

Conclusion

In summary, to photograph travel icons well, do your research and plan ahead. Think about where and when you want to go. Bringing a tripod can be useful for shooting longer exposures and to create more blur in your shots. Try capturing a new angle and shoot a variety of pictures to tell a story of a familiar landmark including a wide-angle and close-up shots.

With these tips, get out and capture a travel icon near you or during your next holiday. Share your pictures with us below and any tips you have for photographing travel icons well?

The post How to Photograph Travel Icons With Success appeared first on Digital Photography School. It was authored by Jeremy Flint.

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Techart releases TZC-01, an EF-to-Z adapter that offers full autofocus, image stabilization support

17 Jan

In June 2019, camera accessory manufacturer Techart released its TZE-01 adapter, which allowed Nikon Z mirrorless camera users to mount Sony E-mount lenses to their systems without losing the ability to use autofocus. Now, Techart is back at it again with the announcement of the TZC-01, an adapter that makes it possible to mount and use autofocus Canon EF lenses on Nikon Z mirrorless cameras.

Techart says the TZC-01 will work with EF-mount lenses from Canon, Sigma, Tamron, Tokina and Zeiss. In addition to ‘native’ autofocus performance, the lenses will also maintain aperture control, stabilization features and EXIF data. In total, Techart lists 62 lenses it says are proven compatible with the adapter:

Below is a demonstration of the adapter from Richard Wong:

Techart has also included a dedicated function button that lets you save a focusing distance to recall with the press of the button and an accompanying lens dock that will let you upgrade the firmware of the adapter.

The TZC-01 is available on Techart’s website for $ 250.

Articles: Digital Photography Review (dpreview.com)

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What is Ambient Light in Photography? An Explanation for Beginner Photographers

17 Jan

The post What is Ambient Light in Photography? An Explanation for Beginner Photographers appeared first on Digital Photography School. It was authored by Lily Sawyer.

Have you ever wondered what ambient light in photography means? You may have heard phrases such as “capture the ambiance,” “allow ambient light,” and have wondered how to do that. This article explains exactly that!

So let’s get started.

dps-ambient-light-in-photography-beginners-guide-tutorial

f/5.6, ISO 3200, 1/60th

Simply stated, ambient light means the light already available in the space before you add any other lighting. Yes, any light already available and that could be many types!

Types of ambient light in photography

1. Natural light from outdoors

The first type of ambient light in photography is natural light from outdoors. This is the daylight that comes through side windows, ceiling windows, and open doorways.

f/5.6, ISO 6400, 1/60th (This was shot on a very dark and overcast winter day in a north-east facing kitchen)

Compare the two images above and below. The image above was taken using purely natural light from outdoors whilst the image below incorporated neons, lamps and spotlights.

f/5.6, ISO 4000, 1/60th

2. Natural light from indoors

Candle lights and the glow of light coming from fireplaces are natural lights that can already be indoor sources rather than the natural sunlight coming from outdoors.

f/5.6, ISO 1600, 1/60th

f/5.6, ISO 1000, 1/60th

3. Artificial lights in the home

This is a range of lights commonly seen in homes and spaces. It includes ceiling down-lighters, spotlights, ceiling pendants, chandeliers, table lamps, floor lamps, neon lights, lights from mirrors, fluorescent lights, and wall sconces.

f/5.6, ISO 6400, 1/30th

Which light/lights do you require?

In photography, the question is, what light is needed to achieve the image the photographer wants to capture? I dare say there are no hard and fast rules as the success of an image depends on getting the correct lighting combination required, regardless of the type of lighting.

Let’s explore some lighting scenarios in various spaces.

Portraits

Just like any type of lighting, whether it be natural or artificial, ambient light is just one option for photographers.

Left: f/2.8, ISO 1000, 1/100th Lens 24-70mm Right: f/4, ISO 400, 1/125th with off-camera flash

In portraits, ambient light could be purely the sunlight coming through a side window. To shoot this, a photographer would only need a camera. And, if it helps to achieve the image, a few accessories such as a reflector, a diffuser, and a backdrop – or use an existing wall.

Left: f/2.8, ISO 1000, 1/100th Lens 24-70mm Right: f/4, ISO 400, 1/125th with off-camera flash

Conversely, the photographer may choose not to use ambient light at all and solely utilize electronic flashes or vice versa in the same space above.

Sunlight from windows is not usually strong (depending on the size of windows and the position of the sun). It’s definitely not as strong as electronic flashes can be, so sometimes there is no need to block it out fully. Electronic light can cancel out any natural light from the windows or can add a touch of light to any ambient light where needed. The outcome depends on the settings used by the photographer.

The images on the left above have been shot using natural light filtering through the diffused window and a reflector to increase the shadows. The images on the right have been shot using electronic flash in a softbox. Here is an article on how to achieve both set-ups. My typical settings for portrait shots are around f/2.8 – f/4, ISO 200 – ISO 400, SS 1/100 – SS160.

Events

Ambient light is your best friend when it comes to events. Weddings and parties are often busy and buzzing with people. Here in the UK, space for large equipment at such events is not always available and often the photographer has to rely on just a camera and a speedlight to capture these events.

f/2.8, ISO 3200, 1/100th Flash power 1/32 Lens 24-70mm

Letting the ambient light in is key to capturing the ambiance of the room and the atmosphere of the party. This means allowing background lights such as fairy lights, festoon lights, wall sconces etc to seep into the image.

The resulting look has depth rather than a flat dark backdrop. My typical settings for events range between f/4 – 5.6, ISO is rather high especially indoors in dark areas around 3200 – 6400, SS rather low around 1/60 – 100.

f/5.6, ISO 3200, 1/100th Lens 70 – 200mm

The last thing a photographer wants to do is to kill any ambiance by using a strong flash to mitigate low light – especially in events where dry ice is used to create smoke effects and various colored lighting for a party atmosphere.

You don’t want to completely obliterate these just to light your subjects’ faces.

f/8, ISO 2000, 1/30th, Lens 24-70mm, off-camera flash

Balancing speedlight flash power and shutter speeds is key to achieving images like these as well as incorporating existing ambient light.

f/5.6, ISO 3200, 1/125th, Lens 24-70mm with off-camera flash

You can read more about dragging the shutter here, a technique used often to produce these images.

f/5.6, ISO 2500, 1/60th, Lens 70 – 200mm with off-camera flash and on-camera flash

You can use ambient light in the background to create silhouettes.

In the photo below, there was no light whatsoever on the balcony. I used the light inside the building to create a silhouette of one of the guests. This was an unposed shot so it was a rather hasty one.

f/11, ISO 2000, 1/200th, Lens 24-70mm

Interiors

Most photographers and magazines require natural light only in the interiors images they use.

Most often this would need a tripod and the use of slow shutter speeds to mitigate dark areas in the space that need capturing. But if the space is characterized by light features such as neon and lamps that make the atmosphere of the room, then I’m for capturing these with the lights on too.

f/5.6, ISO 2000, 1/100th, Lens 24-70mm

In my opinion, it is necessary to be selective with the amount of artificial ambient light to allow in a photographic composition to ensure a harmonious and natural-looking image.

More importantly, it is a must to edit out the lights that are unnecessary in the space for the image you want to achieve. Below are three different lighting set-ups in one space. All three dramatically change the look and feel of the same room.

My typical settings for interior shots depend on the time of day and how much natural light the room gets but range between f/5.6 – f/8, ISO is quite high around 2000 – 4000, SS usually really low around 1/30 – 60 or 100 depending on light availability.

On the photos below, the top photo utilized only natural light. The photo in the middle had all sorts of lights going on like festoon, lamps, fairy lights, candlelight, and neon but without the main ceiling chandelier, which is very bright. The third photo had the chandelier switched on on top of everything else, but because it got too bright, it killed the ambiance in the room.

f/5.6, ISO 3200, 1/80th, Lens 24-70mm

f/5.6, ISO 4000, 1/80th, Lens 24-70mm

f/5.6, ISO 3200, 1/60th, Lens 24-70mm Highlights taken down in editing.

I lean towards a selective mixture of lighting in my interiors.

Some areas are so hard to capture. For example, really dark areas where there is no ambient light at all and using a long shutter speed will overexpose the areas with light and correctly expose the unlit area.

f/5.6, ISO 2500, 1/60th, Lens 24-70mm

Of course, this can be rectified by bracketing and compositing in Photoshop. But I don’t always want to be doing that! Besides, I think adding some form of ambient light brings some charm in. Take these photos above and below, for example, illustrating this point.

f/5.6, ISO 6400, 1/30th, Lens 24-70mm

Color temperature

One of the most common problematic issues when using mixed lighting, especially when including electronic flash into the mix, is color temperature disparity. Natural light from sunlight is usually around 5600K range, while tungsten lights indoors are usually around 3200K.

This means that when shooting outdoors, you need to set your white balance to around 5000 – 5750 Kelvin. That way, the resulting image looks similar to what you see with the naked eye. If you were to set the white balance to 3000K, for example, everything will look very blue (nothing worse than a white wedding dress looking blue!).

The same is true when shooting indoors with tungsten or incandescent lights on. The temperature required to shoot this image is around 3200K, but if you shoot it with the white balance set at 5650K, you will end up with an image looking very orange.

f/5.6, ISO 3200, 1/80th, Lens 24-70mm

The most important thing to remember is to shoot with the correct white balance setting.

However, when using mixed lighting, you will still get color disparity. Here are three ways to solve this, depending on what you require for your images.

You can adjust the white balance in post-production (shoot with a gray card or specified color temperature in your white balance)
Use gels for your artificial lights to match the ambient temperature
Change the bulbs in your indoor lamps to match the sunlight temperature and then adjust everything evenly in post-production if required.

As for me, I try to match what I see in real life to the outcome of the images. Then they are warmed up in post-production for a natural color with the added touch of a film look to best capture what my eye sees.

I hope this little article has helped you in your understanding of ambient light in photography as well as balancing color temperatures when dealing with mixed lighting.

If you have any tips to add about ambient light in photography, do share in the comments below.

The post What is Ambient Light in Photography? An Explanation for Beginner Photographers appeared first on Digital Photography School. It was authored by Lily Sawyer.

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Tokina launches 85mm F1.8 FE prime for full-frame Sony cameras

17 Jan

Tokina has announced the release of its new atx-m 85mm F1.8 FE lens for full-frame Sony E-mount mirrorless camera systems. This lens marks the debut of Tokina’s new ‘atx-m’ mirrorless lens series, which will offer various lens designs for different mounts and sensor formats.

The 85mm F1.8 FE lens is constructed of ten elements in seven groups and features one low-dispersion (SD) element. Tokina has also used its Super Low Reflection Multi-coating throughout the lens, which Tokina claims ‘provides natural color and excellent contrast along with superior water, oil and dust repellant properties.’

Autofocus is driven by Tokina’s ST-M motor technology and the lens was designed in accordance with Sony’s licensed specifications, meaning it’ll work with in-body image stabilization, as well as all of Sony’s AF modes.

Below is a gallery of sample images, provided by Tokina:

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The Tokina atx-m 85mm F1.8 FE lens will hit shelves around the world on February 7, 2020 for an estimated street price of $ 500.

Kenko Tokina announces release of the NEW atx-m 85mm f/1.8 FE

New Series, New optics, New look – The atx-m 85mm f/1.8 FE lens for full-frame Sony E-mount mirrorless cameras.

Huntington Beach, CA, January 17, 2020: Kenko Tokina, Japan’s leading manufacturer of premium camera accessories, is releasing the Tokina atx-m 85mm f/1.8 FE lens for full-frame Sony E-mount mirrorless cameras. It is the debut lens for Tokina’s atx-m series of mirrorless lenses that will include lenses for multiple mounts and sensor formats.

The atx-m 85mm f1.8 FE lens features a clean design with high quality optics housed in a beautifully anodized, semi-satin black metal lens barrel. The fast f/1.8 aperture is perfect for portraits, low light shooting and produces beautiful bokeh.

The optical design has 10 glass elements in 7 groups including 1 SD (Low Dispersion) lens that offers excellent resolution, sharp edge-to-edge results, and well controlled chromatic aberrations. Tokina’s exclusive Super Low Reflection Multi-coating provides natural color and excellent contrast along with superior water, oil, and dust repellant properties.

The new ST-M auto-focus motor is quiet, fast, and accurate in still and video modes and thanks to an all-metal focus unit and high-quality lubricants; manual focus is tactile, smooth and precise.

The atx-m 85mm FE is developed and manufactured in accordance with Sony-licensed specifications and communicates all required data to the camera to take full advantage of the latest Sony features including 5-axis image stabilization, Face/Eye Priority AF, Real-time Eye AF, MF assist, and electronic distance scale.

“This is a very exciting new lens series for Tokina” says Yuji Matsumoto, President at Kenko Tokina USA. “The mirrorless camera market continues to expand and the atx-m series will address the needs of photographers using different camera mounts and sensor sizes.”

Worldwide sales of the Tokina atx-m 85mm f/1.8 FE lens will begin on February 7, 2020 with authorized Tokina USA retailers taking pre-orders January 17, 2020. Estimated USA Street Price of $ 499.00

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Researchers develop lithium-sulphur battery that can power a phone for five days

17 Jan

Image courtesy of Monash University

Researchers led by Monash University in Australia have developed what they say is the ‘most efficient’ version of a lithium-sulfur battery; one capable of powering a smartphone for five full days of continuous use. The team has filed a patent for the manufacturing process they developed and they report interest from ‘some of the world’s largest manufacturers.’

Prototype lithium-sulfur power cells were manufactured in Germany, according to an announcement from the university published last week. The technology holds promise for revolutionizing everything from consumer gadgets like cameras and phones to larger systems involving vehicles and solar power. The newly developed lithium-sulfur battery offers more than four times the performance of the market’s current most efficient batteries.

With this level of battery performance, photographers and filmmakers could spend weeks in remote locations with only power banks as their power source, eliminating the need to tote around and use solar chargers, which are dependent on direct sunlight and often take several hours or more to recharge a battery.

In addition to improved performance, the Li-S battery technology is also said to have less of an environmental impact than the lithium-ion battery products currently in use. The new battery prototype utilizes the same materials used to manufacture ordinary lithium-ion batteries; as well, the process is said to have lower manufacturing costs.

According to the university, additional testing of the technology with solar grids and cars will take place in Australia early this year. Major lithium battery manufacturers in Europe and China are interested in upscaling the production of these lithium-sulphur batteries.

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Kessler Mag Max 3A adapter uses ordinary power tool batteries to charge cameras

17 Jan

Kessler, a company that specializes in accessories for filmmakers, has launched a new product called the Mag Max 3A, an adapter that works with select DeWalt power tool batteries for charging cameras, smartphones and certain other equipment. The adapter can be used with the DeWalt 20v Max and 60/20V Flex Volt models.

The adapter is quite unusual, but it’s easy to see how some users may benefit from this arrangement. Power tool batteries are available at most hardware stores, are fairly affordable, compact and something many people already own.

Kessler explains the reason it launched this product, saying, ‘The Mag Max 3A was developed to fill a void in the market for an inexpensive battery solution with a readily available common battery that can be found in almost every country in the world and at most hardware stores.’

The company selected DeWalt batteries for its adapter due to the brand’s popularity in a variety of industries, according to Kessler, including filmmakers and audio recordists.

The Mag Max 3A adapter is capable of powering DSLR and mirrorless cameras, Kessler’s motion control systems, LED accessory lights, monitors and other common gear that draw up to 3 amps of power. The device is made from high-grade aluminum, includes multiple 3/8-16 and 1/4-20 mounts, embedded neodymium magnets, as well as optional accessories that include a gold mount stud kit, V-lock kit and belt clip.

The Mag Max 3A adapter is available from Kessler now for $ 250, though it is currently discounted to $ 200. The DeWalt Flex Volt battery costs around $ 129 from most retailers, meanwhile, and the DeWalt 20V Max battery costs around $ 189.

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