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Archive for February, 2020

5 Tips For Mastering Contrast In Your Landscape Photos (video)

15 Feb

The post 5 Tips For Mastering Contrast In Your Landscape Photos (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Okay. So you’ve taken your landscape photos and you are back at the computer with your RAW files, ready to start editing in Lightroom. Before you do, you may want to watch this video by Mark Denney, so you can learn 5 handy tips for mastering contrast in your landscape photos.

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You can achieve varying levels of contrast in a number of ways. See which sliders make the most impact and how they work to boost and drop contrast levels to different degrees. In some scenarios, you may want to enhance contrast, when light is flat, for example. At other times, such as when there are already severe contrasting light levels, where you may need to pare it back.

So check out the video, see how you can use the various sliders in Lightroom and try them out on your images. Then, feel free to share your results with us in the comments section.

You may also find the following interesting:

  • The dPS Top Landscape Photography Tips of 2019
  • 11 Surefire Landscape Photography Tips
  • How to Plan the Perfect Landscape Photo
  • How to Embrace MINIMALISM for IMPROVED Landscape Photos (video)
  • 6 Important Compositional Elements to Consider When Shooting Landscapes
  • Which Landscape Photography Camera Should You Buy?(video)
  • 6 Ways to Easily Improve Your Landscape Photography
  • Living Landscapes
  • Loving Landscapes

The post 5 Tips For Mastering Contrast In Your Landscape Photos (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Opinion: New rules proposed by the FAA are a threat to drone pilots – including photographers

15 Feb

The FAA is proposing new rules related to flying drones in the US, and if you fly drones – including for photography – these rules WILL affect you. In this article, I’ll look at the implications of the proposed rule changes and how you can comment on them before the FAA makes them final.

The day after Christmas, the drone industry was finally gifted the long-awaited Notice of Proposed Rulemaking (NPRM) for the Remote Identification of Unmanned Aircraft Systems (drones), and what the Federal Aviation Administration (FAA) presented was a shock to many commercial and recreational remote pilots, alike. The government agency completely ignored recommendations from all 74 industry stakeholders that make up the Aviation Rulemaking Commitee (ARC), which is concerning.

The drone industry needs Remote ID, the concept that every drone should have a digital license plate, to move forward. Having a uniform system in place to identify unmanned aerial vehicles in national airspace is imperative for the safe operation of every aircraft sharing the skies. It will also enable more complex operations including flights at night, over people, and beyond visual line of sight (BVLOS). Remote ID is a step in the right direction but, unfortunately, the FAA has proposed costly, privacy-violating rules that will at first stifle, and then eventually crush, the potential of a burgeoning industry.

The FAA is proposing new rules related to flying drones in the US, and if you fly drones – including for photography – these rules WILL affect you.

I’m not going to summarize every section of the 87-page (the original was 319) document in one article as it goes far beyond the scope of what most DPReview readers want to digest. Instead, I’ll cover some of the main points of concern and, finally, offer suggestions and resources for leaving an effective comment for the FAA if you’re one of the nearly 1.2 million registered drone users in the U.S. If you’re prepared to make your voice heard, comment HERE.

What will potentially change?

The NPRM proposes that both manufacturers and UAS (unmanned aerial system) operators will be responsible for meeting Remote ID requirements. The main purpose is to connect a UAS with its owner. Capabilities are divided into two categories – “Standard Remote ID” and “Limited Remote ID.”

  • Standard Remote ID ‘would be required to broadcast identification and location information directly from the unmanned aircraft and simultaneously transmit that same information to a Remote ID USS (UAS Service Supplier) through an internet connection.’ Most flights would be conducted under these terms.
  • Limited Remote ID ‘would be required to transmit information through the internet only, with no broadcast requirements; however, the unmanned aircraft would be designed to operate no more than 400 feet from the control station.’
New rules under consideration by the FAA would have wide implications for drone operators in the US, including a requirement to broadcast personally identifying information when flying.

Let’s pause for a moment and acknowledge that a drone will need a SIM card to operate under these new guidelines. Leading carriers such as AT&T, Verizon, and T-Mobile charge between $ 10 and $ 20 per month to add a device like a tablet or smartwatch to your data plan, so we can probably expect similar costs for a drone. If you’re operating more than one UAS, like many small businesses and some hobbyists, this adds up quickly. Major carriers also have gaps in the data coverage they provide. Many rural areas don’t get any signal, which will effectively limit where drones can be operated.

Key data, including the control station’s latitude, longitude, and altitude can be accessed by anyone from takeoff to landing, not just law enforcement. This is concerning because the general public will know exactly where a remote pilot is operating. If someone gets angry or doesn’t understand the nature of drone operations, they could easily harass or even attack the pilot. What’s more, the FAA estimates the remote pilot will be paying an additional fee of $ 2.50 per month to be connected with a USS.

The general public will know exactly where a remote pilot is operating. If someone gets angry or doesn’t understand the nature of drone operations, they could easily harass or even attack the pilot.

Drones need to be equipped with Remote ID in order to comply with the above draconian restrictions. The FAA is confident that most commercial aircraft can easily be outfitted to meet new requirements. Where things get especially cost-prohibitive involves equipping hobbyist or ‘amateur-built’ unmanned aircraft with Remote ID capabilities. The FAA doesn’t provide a solution for an affordable Remote ID kit. This means any UAS that is at least 50% constructed by a person will either need an independent solution constructed by that builder (a process that could potentially cost upwards of tens of thousands of dollars) or it will be restricted to an ‘FAA-approved identification area’ or FRIA.

Remote pilots have 12 months to suggest areas where drones can operate without Remote ID. The issue is many of these designated areas could be located tens to hundreds of miles away from your front door. There will likely be a charge similar to the Academy of Model Aeronautic’s (AMA) $ 75 current annual membership fee. Speaking of, the FAA also wants to overhaul the current registration process by requiring hobbyists individually register each drone instead of as a pilot. Some hobbyists own dozens of model aircraft. At $ 5 a piece, registration fees could potentially add up to hundreds of dollars.

What can you do?

The FAA is gathering comments from the public until March 2nd. The good news is, officials are required to read each and every one submitted by the deadline. However, if you take the AMA’s terrible advice, cut and paste one of their boilerplate comments into the form, and pass it off as your own, it will be disregarded. Unfortunately, I’ve already seen too many of the 12,000+, and counting, comments start off with ‘I am writing in response to the FAAs notice of proposed rulemaking on remote identification of unmanned aircraft systems (UAS). I am deeply concerned…’ Please, do not do this. Take the time to craft an original response.

Image shared with permission from Ryan J. Latourette

As I mentioned earlier, I am basically summarizing some of the more pertinent concerns this NPRM brings up. If you’re looking to leave an impactful comment, I highly recommend checking out this in-depth resource from Pilot Institute. Skyward, a drone operations management platform, has a group of policy experts answering common questions in a webinar scheduled for Tuesday, February 18th. Joining drone-related Facebook Groups and forums and asking for guidance is another avenue to pursue, especially if reading and interpreting a lengthy legal document feels like a cure for insomnia.

It’s important to remember that this is a proposal. Nothing has been finalized. This is why every person that flies commercially, or for fun, must comment. It will still take the FAA several years to implement any changes. The more we, the public, can convince them that drones are beneficial, and provide viable alternatives to what has been suggested for Remote ID, the better chance we have of devising solutions that will work out for everyone.

Articles: Digital Photography Review (dpreview.com)

 
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Olympus 12-45mm F4 Pro sample gallery (DPReview TV)

15 Feb

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The DPReview TV team recently traveled to Costa Rica where they had an opportunity to shoot with the new Olympus 12-45mm F4 Pro lens. Check out their sample images in this gallery and see how it performed.

View sample gallery

Watch DPReview TV test the Olympus E-M1 Mark III in Costa Rica

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Olympus 12-45mm F4 Pro review

15 Feb

The new Olympus 12-45mm F4 Pro lens promises to be a high quality, compact zoom for Micro Four Thirds cameras. Does it live up to the hype?

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Size and weight
  • Livin' la Bokeh LoCa
  • Sunstars
  • Sharpness
  • Compared to the Panasonic GX 12-35mm F2.8 II
  • Minimum focus distance
  • Conclusion

Sample gallery from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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Loupedeck+ review

15 Feb

What is it?

Like its Loupedeck predecessor, the Loupedeck+ is a $ 250 editing console for various post-production programs. Originally designed with Adobe Lightroom Classic in mind, the Loupedeck+ has improved and expanded upon the original version to offer an improved tactile experience that lets you edit photos, videos and even sound using dedicated dials, knobs and wheels.

In addition to providing dedicated dials for color correcting and fine-tuning images and video, the Loupedeck+ editing console also serves as a great culling tool, with dedicated buttons for rating, flagging and sorting images before you ever start editing. In short, the Loupedeck+ tries to bring a more tactile approach to editing your content and eschews the on-screen sliders for an array of what seems like infinitely customizable controls.

What’s new

As its name suggests, the Loupedeck+ is a second-generation device, a successor to the original Loupedeck. While its external dimensions and overall shape have remained essentially unchanged, it does offer several improvements.

The first and most noticeable improvement is the build quality. The frame, as well as the various dials, knobs and keys, have been upgraded to create a more sturdy feel. The ‘clicks’ of the dials and knobs feel much less wobbly than the original Loupedeck and the overall tactile feedback is much more pleasing.

The ‘clicks’ of the dials and knobs
feel much less wobbly

The buttons have also received an update, although they’re still a bit too ‘mushy’ for my liking. I would love to see a version with mechanical switches compared to the membrane switches currently used, but that would likely increase the cost and size of the device, so it’s not a dealbreaker.

Aside from physical details, Loupedeck has also updated its accompanying software for the Loupedeck+. It not only offers more customization options than before, it also supports many more programs, including Premiere Pro, Aurora HDR, Adobe Audition, and others.

Design

At first glance, the design of the Loupedeck+ is a little overwhelming. It almost feels as though you’ve been thrown into the captain’s seat of a commercial airliner with all of the buttons, dials and knobs available to you.

Thankfully, so long as you’re familiar with the program you’re using the Loupedeck+ with, it doesn’t take too long to get the hang of. For the majority of my time with the Loupedeck+, I used it alongside Lightroom. It took a few days of looking down at the editing console, then back up at my screen to ensure I was making the right adjustment, but within a week of using the console, I was able to make adjustments on the fly without looking.

In Use

Although the Loupedeck+ is compatible with several programs (listed below), I mainly tested it out with Adobe Lightroom Classic. As such, my thoughts only address the user experience with Lightroom Classic.

The Loupedeck+ proved to be an incredibly valuable tool once I managed to set up the customizable controls to my liking (a process I also divulge below). Much like the original Loupedeck, it made culling, sorting and editing photos much easier than having to go through each slider in the Develop dialog and tweak it with my mouse.

Furthermore, using the Loupedeck+ made it possible to process photos in full-screen mode, making it easier to edit photos on smaller displays more precisely. Changes are slightly delayed when using full screen mode, compared to editing directly within the Develop module, but it wasn’t delayed enough to make the process any more difficult.

One detail I would’ve liked to see added is the ability to assign specific macros to the customizable buttons. Yes, there are plenty of built-in options (almost too many), but I would love to be able to add keyword groups to images with the tap of a button or two.

Software

While the Loupedeck+ hardware is a pleasure to use, the secret sauce of the editing console lies in the software. As previously noted, Loupedeck has not only dramatically improved support for existing programs in the form of more customizability but also added support for several new programs. As of writing this review, the Loupedeck+ can be customized to work with the following programs:

  • Adobe Lightroom Classic
  • Adobe Photoshop CC with Camera Raw
  • Adobe Premiere Pro CC
  • Capture One
  • Adobe After Effects CC
  • Final Cut Pro X
  • Adobe Audition
  • Skylum: Aurora HDR

The Loupedeck plug-in itself is a bit convoluted on first glance. Between the sheer number of buttons, dials and knobs available on the board and the ability to further customize each one with the included Function (Fn) button, the options are seemingly infinite.

So infinite, it seems, that there’s a good chance any amount of time the Loupedeck+ might save me in editing down the road was very likely taken up during my customization setup. From dedicated crop ratios and user presets to fine-tuning the integrated HSL sliders, there’s hardly anything you won’t be able to tweak and customize within the Loupedeck plug-in with Lightroom. Other programs are more limited, as integration isn’t nearly as tightly-knit, but even outside of Lightroom, the Loupedeck+ console goes much further than your average macro combo.

I think the initial onboarding process could be a little easier for the plug-in, but this tool is meant for the power-user, and anyone familiar with more advanced features shouldn’t have too much trouble getting up to speed.

Bottom Line

The Loupedeck+ editing console is a substantial update over its predecessor. The build quality is better (particularly in regards to the dials/knobs/keys), it’s a bit more compact, and the additional buttons provide even more functionality than before.

It’s not necessarily cheap at $ 250, but considering how much time it saved me in just a few months of using it, it’s clear it will more than pay for itself in the long run, based on time alone (not to mention frustration).

I would’ve liked to see, at the very least, a detachable USB-C cable or, better yet, a completely wireless version with Bluetooth and a built-in battery. But aside from that, I don’t have many complaints. It gets consistent updates, has a solid partnering app and brings a fantastic tactile editing experience to the digital creative workflow.

What I like:

  • Great array of buttons, dials and knobs
  • Dedicated HSL scroll wheels
  • Looks fantastic on the desk
  • Great software that makes the hardware shine
  • Consistent software updates

What I don’t like:

  • No USB-C
  • Cable isn’t detachable (or wireless if I’m allowed an additional complaint)
  • Matte finish shows wear and scratches easily

Articles: Digital Photography Review (dpreview.com)

 
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AxisGo is a ‘pro-grade’ water housing for the Apple iPhone

15 Feb

Water housing and accessory makers Aquatech has released its new AxisGo water housing for Apple’s iPhones. The company describes the new housing as ‘professional grade’ and says it can be used in ‘any water conditions, from rough surf to fishing and wakeboarding to a family swim session in the pool.’

The housing is designed for the phone to drop in and then seal tight. It’s rated for a depth of 10 meters (33 feet) and made from polycarbonate, aluminum and marine-grade stainless steel. Glass elements are optically corrected and the whole thing weighs a reassuring 510 grams (18oz).

The AxisGo is available as a basic package but more advanced users can also choose from a variety of grips and mounts, lens ports, accessories and bundle kits that support specific use cases, for example an Action Kit for surfing, wakeboarding or snowboarding,, or an Over-Under Kit, which comes with lenses that help you capture ‘split shots’ above and below the water line.

The AxisGo water housing is available now from $ 199 for a range of iPhone models including the latest iPhone 11 series. More information is available on the Aquatech website.

Articles: Digital Photography Review (dpreview.com)

 
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Samsung details the 108MP camera sensor tech packed in the Galaxy S20 Ultra smartphone

15 Feb

Samsung has published technical details on the 108MP ISOCELL Bright HM1 ‘Nonacell’ image sensor found in its newly launched Galaxy S20 Ultra smartphone. The image sensor features 108-million 0.8?m pixels and a 1/1.33in size, as well as Smart-ISO and Nonacell technologies to produce what Samsung claims are ‘crystal-clear’ and ‘vivid’ 8K videos and high-resolution images.

Nonacell builds upon the Tetracell technology Samsung unveiled in 2017; rather than featuring a 2×2 array like the older tech, the Nonacell features a 3×3 arrays of the same color filter. This allows chunks of nine 0.8?m pixels to be merged into what is essentially a single 2.4?m pixel. This results in more than double the light absorption offered by the Tetracell tech, according to the company.

The downside is that there is a larger gap between pixels recording different colors, meaning that the ‘re-mosaic’ algorithm, that tries to reconstruct what a conventional 1×1 Bayer sensor would have captured, faces a more difficult challenge. So you won’t ever get the lever of color resolution that a conventional 108MP sensor would give.

Other ‘advanced pixel technologies’ like Smart-ISO help produce what Samsung calls ‘ultimate results under any lighting condition,’ including particularly challenging mixed-light environments. The camera’s HDR tech involves assigning exposure lengths to each and every pixel for multiple simultaneous exposures, enabling real-time HDR previews.

Rather than using a mobile processor, Samsung says its sensor directly converts pixels via ‘an embedded hardware IP.’ Other features include electronic image stabilization that uses gyroscope hardware, Super-PD phase-detection tech and up to 3x lossless 12MP zoom that doesn’t require upscaling.

The use of ISOCELL Plus tech, meanwhile, deals with the color interference that would otherwise arise from the Nonacell system, according to Samsung:

As the number of adjoined cells increase, so does color interference, making pixel-binning technologies more challenging, While such difficulties had limited Nonacell to a theory, the HM1 was able to realize the method by adopting Samsung’s ISOCELL Plus technology, which dramatically reduces crosstalk and minimizes optical loss as well as light reflection.

In addition to the 108MP sensor, the Galaxy S20 Ultra model features a 12MP wide-angle camera and a 48MP telephoto camera, 10x Hybrid Optic Zoom and ‘Super Resolution Zoom’ that uses AI for up to 100x zoom. The model’s ‘selfie’ camera, meanwhile, features a 40MP sensor with the ability to ‘shift’ to 10MP with larger pixels for higher quality images captured in low-light settings.

The S20 and S20+ models feature lesser specs with 12MP wide-angle and telephoto cameras, as well as a 64MP telephoto camera. A full breakdown of the camera hardware found in these three smartphone models is available on Samsung’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Topaz Labs will end free upgrades for several products starting in August 2020

15 Feb

Topaz Labs, the software company known for offering free software upgrades, has announced a major change to its business model: customers will have to pay to upgrade several of the company’s products starting in August 2020. The announcement was made by company CEO Eric Yang in a statement on Thursday. Gigapixel AI, DeNoise AI, Sharpen AI and Mask AI are all affected by the change.

Yang explains that offering free major upgrades for its products was a way ‘of acting differently than faceless corporations,’ but that it ultimately had an unwanted effect. By hinging its revenue on new products rather than product upgrades, Yang says, ‘we found that we weren’t focusing as much as we wanted on improving existing products.’

Yang goes on to state:

We ended up with several different products that did similar things, which caused confusion about which tool to use. Although it started out with good intentions, our free upgrade policy ultimately prevented us from delivering the best possible products to you. Make no mistake about it: this situation was 100% our fault. We were not thoughtful enough about aligning our pricing structure with continuous improvement of our products.

Topaz Labs says more than $ 8 million worth of free upgrades were claimed for major new products last year. In 2020, the company will transition to paid upgrades, which will involve paying $ 49.99 for a year of upgrades following an initial first year of free major and minor upgrades. For customers who own multiple Topaz Labs products, the upgrades can be collectively purchased for $ 99.99.

The company says that Mask, Sharpen, DeNoise and Gigapixel will require upgrade licenses this year. Topaz Labs stresses that customers retain access to the products they purchased even if they choose not to purchase software upgrades. ‘Wait until [the upgrade] actually includes something you want to pay for,’ Yang says. ‘This also incentivizes us to make sure that the improvements we do implement are useful enough for you to upgrade.’

Some customers are understandably upset about Topaz’s decision to start charging for upgrades. Yang acknowledges this in his post, stating that it was a hard decision to make. ‘I’m asking you to lock arms with us and walk through this phase of our development by accepting this change,’ he states. Users will soon be able to view how much time remains on their upgrade licenses within their customer accounts.

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – Pink

15 Feb

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

This week’s photography challenge topic is the color PINK!

Image: Photo by dPS writer, Megan Kennedy © Megan Kennedy

Photo by dPS writer, Megan Kennedy © Megan Kennedy

This is a fun challenge. You can capture the color pink in so many ways. You can use minimalist photography, macro, flowers, landscapes (think pink sunsets, or wildflowers), cityscapes, abstracts or people wearing pink clothing. The pink can be a major part of the composition or be more subtle, like in the portrait below by dPS writer, Matt Murray. There are so many options!

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

Image: Photo by dPS writer, Megan Kennedy © Megan Kennedy

Photo by dPS writer, Megan Kennedy © Megan Kennedy

perfect-macro-photo

Photo by dPS writer, Jaymes Dempsey © Jaymes Dempsey

urban-landscapes-for-portrait-shoots

Photo by dPS writer, Matt Murray © Matt Murray

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

Tips for Shooting the color PINK

Mastering Color Series – The Psychology and Evolution of the Color PINK and its use in Photography

How to Use Color in Your Photography to Give Your Photos the Wow Factor

How to Use Vibrant Colors in Photography with Great Success

How to use Monochromatic Color to Convey more Emotion in your Photography

Understanding the Basics of Color

Tips for Doing More Spectacular Sunset 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 #DPSpink 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 – Pink appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Canada Goose’s new Photojournalist Jacket is pricey and full of pockets

14 Feb

Clothing company Canada Goose has launched an incredibly pricey jacket designed specifically for photojournalists. Simply called ‘Photojournalist Jacket,’ this product costs $ 850 and was designed in collaboration with an unnamed photojournalist. The jacket is designed to be water-resistant, capable of withstanding ‘harsh winds’ and suitable for cold climates.

The Photojournalist Jacket is made from Tri-Durance SS three-layer fabric with double-stripe reflective elements to increase the wearer’s visibility at night. Canada Goose reinforced the jacket’s pockets and shoulders with Cordura fabric, the cuffs have hook-and-loop closures and the waist features a drawstring.

The jacket was designed with mid-thigh length for what the company says is ‘added coverage and protection.’ Wearers get a total of eight exterior pockets, including some with double entry and zippers; there are also two interior pockets. The product also features a ‘stowable’ fabric hood that can be adjusted by the wearer.

The Photojournalist Jacket has a Thermal Experience Index (TEI) rating of 1, which means that it falls in the ‘lightweight’ category. The product is intended for use in temperatures ranging from 5C to -5C (41F to 23F). Despite its water resistance and waterproof design, Canada Goose claims this product is still breathable with four-way stretch.

The Photojournalist Jacket is available from Canada Goose now in Black, Navy and Red colors in sizes ranging from small to extra-large for $ 850 regardless of size, a price tag that doesn’t quite reflect the average photojournalist’s salary.

Articles: Digital Photography Review (dpreview.com)

 
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