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Film Fridays: How to setup a darkroom and get printing for cheap

10 Apr

Photo: 35mmc.com

We’ve recently shared with you our complete guide to developing film at home, but what happens after your negatives dry? Sure you could scan/digitize them, but why not instead try your hands at the lost art of darkroom printing? Setting up a fully-functional B&W darkroom is way easier and cheaper than you may think – and it’s a ton of fun.

Our pals over at 35mmc.com have put together a complete and practical guide to get you setup in the darkroom and printing, all for around $ 100.

Read: How to setup a darkroom for cheap

About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at 35mmc.

Articles: Digital Photography Review (dpreview.com)

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Creative Abstract Photography with Food Coloring and Milk

10 Apr

The post Creative Abstract Photography with Food Coloring and Milk appeared first on Digital Photography School. It was authored by Megan Kennedy.

Creative Abstract Photography with Food Coloring and Milk featured image

Like any art form, photography thrives on experimentation. Creative abstract photography with food coloring and milk is a simple process, but it produces vibrant and immediate results. Using ingredients sourced from the pantry and the fridge, this is a fun project with plenty of room for creativity.

A bit of history…

Ever since they were discovered, humans have been enamored by the creative possibilities of dyes. Dyed flax fibers found in the Republic of Georgia in a prehistoric cave have been dated to 36,000 years BP.

The earliest dyes were obtained from animal, mineral and vegetable sources. Rare resources that produce brilliant and permanent colors like Tyrian purple and crimson were highly sought-after in the ancient and medieval world. As technology progressed, so did artistic mediums, creating more accessible and safe dyes and pigments.

Creative Abstract Photography with Food Coloring and Milk — f/2.0 1/50 ISO 500

The practice of adding colorants to food itself is thought to have started in Ancient Egypt around 1500 BC. Candy makers would add wine and colored extracts to their wares to make them more visually appealing to customers.

Nowadays, a variety of safely consumable dyes are readily available in grocery stores, cooking shops, etc. The vibrancy and behavior of these colorants has fascinated many, with food dyes being adopted for artistic purposes too.

How to make abstract photography with food coloring and milk

You will need:

a camera with a macro lens or extension tubes etc
a tripod (optional)
1/4 of a cup or so of plant-based or dairy milk
food dye in a range of colors
dish soap (optional)
a white dish or bowl
a mixing utensil or two
paper towel or a sponge or cloth to clean up any spills

Setting up

The first step to creating abstract photography with food coloring and milk is to prepare your canvas – the milk!

Sit your dish or bowl on a level surface exposed to a decent amount of natural light (or you could use flash).

Pour your plant-based or dairy milk into the dish so that the dish is covered by a few millimeters of liquid. Make sure you have a sponge or cloth at the ready to wipe up any spills.

food coloring and milk photography — f/5.6 1/200 ISO100

Next, set your camera up. You want it primed and ready for action as you drop the food dye into the milk.

For this project you can use a tripod to keep the camera steady, freeing up a hand to adjust the dye. You can also hand-hold your camera, whichever feels more comfortable. You can angle the camera any way you like, just as long as it is focused on the milk-filled dish.

Now for the dye!

Once your camera is ready, add a few drops of dye into the milk. Start taking photographs, gradually introducing more dye as needed.

As the dye spreads, try adding different colors to create a more layered effect. You can also stir the dye with a mixing utensil, cultivating intriguing shapes and forms.

To create a sense of movement in your abstract creations, try blowing on the milk/dye through a straw, or fanning the concoction with a fan.

You can even add a little water, dish soap or vegetable oil to create separation within the dye and milk mixture.

Once you are finished with a batch of food dye and milk, you can start again with a fresh bowl! Just remember to add the dye gradually so as not to over-saturate the mixture too quickly.

Conclusion

Photography with food coloring and milk renders visually fascinating results. With a few simple ingredients, photo-worthy abstract images are created in a whirl of unrepeatable patterns and layers.

I’d love you to try creating abstract photography with food coloring and milk and share your results in the comments below!

The post Creative Abstract Photography with Food Coloring and Milk appeared first on Digital Photography School. It was authored by Megan Kennedy.

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Sony releases 2.00 firmware update for its a9 II mirrorless camera

10 Apr

Sony has released its latest firmware update for the a9II, bringing with it a collection of new and improved features.

Starting with what’s new, firmware version 2.00 for the Sony a9 II adds a new ‘Hi Frequency Flicker’ function that helps to ‘reduce the impact of flickering of artificial light sources (e.g. digital signage, electronic signboards, LED lights, etc.), by more finely adjusting the shutter speed.’ Also added is a new function that will close the shutter when you turn off the camera to minimize the chance of dirt or dust getting on the image sensor.

Sony has also added the ability to assign the Face/Eye Priority autofocus setting to a custom key that will activate and deactivate the setting when pressed. Those who already have Face/Eye Priority set to a custom key will be able to deactivate it with that same button after the 2.00 update is complete.

Other improvements include updates to the Remote Camera Tool function, improved FTP transfers, the option to display the camera’s MAC address as a QR code and other improvements that should improve the overall stability of the camera.

Sony also notes that the Image Edge Remote, Imaging Edge Mobile and Remote Camera Tool will no longer be supported after tomorrow, April 9, but doesn’t elaborate on what exactly that means going forward. We have contacted Sony and will clarify these details when we receive a response.

You can download firmware version 2.00 for macOS and Windows on Sony’s a9 II support page.

Changelog:

Benefits and Improvements from the [2.00] update

Adds the Hi Frequency flicker function, which allows you to reduce the impact of flickering of artificial light sources (e.g. digital signage, electronic signboards, LED lights, etc.), by more finely adjusting the shutter speed
NOTE: The Imaging Edge Remote, Imaging Edge Mobile, and Remote Camera Tool software will not be supported after April 9th, 2020
Improves the Face/Eye Priority in the AF function:
- When set to a custom key, the Face/Eye Priority in the AF function can be activated or deactivated each time the custom key is pressed
- If Face/Eye Priorityis already set to custom key, this improvement will be available after the camera is updated
Improves the Remote Camera Tool function by adding support for displaying Focus Frame for almost all scenes
NOTE: Version 2.00 (or later) of the Remote Camera Tool is required. Please update to the latest version.
Improves the FTP transfer function
Allows the camera’s MAC address to be displayed as a QR code
Adds a function to close the shutter when you turn off the camera to prevent dust or debris from adhering to the image sensor when you change lenses
Allows you to save or load the customized camera settings to My MENU
Improves the overall stability of the camera

For updated function usage and additional information, please refer to the ILCE-9M2 Help Guide. Additionally, a revision has been made to the instruction manual according to this update. The latest version of the instruction manual can be downloaded from referenced website.

Articles: Digital Photography Review (dpreview.com)

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LensCoat diverts its US production facilities to make masks for local hospital

10 Apr

More used to making protective gear for camera lenses, New Jersey-based LensCoat has turned its attention to making protective masks for health workers during the Coronavirus outbreak in the United States. The company has given over 50% of its production capacity to making the masks for its local hospital in Freehold, NJ.

LensCoat owner and nature photographer Scott Elowitz told DP Review that he responded to an appeal by the New York governor for companies to make Personal Protection Equipment but was told the governor was really looking for those who already had federal certification.

Scott says he was driven by a personal story in which one of his Freehold neighbor’s family had been ravaged by CV19 which lead to seven members being hospitalized and four dying.

‘I was a little dejected that we couldn’t make certified equipment but continued to look for ways to help’ he tells DPReview. ‘Then one of my staff alerted me that the Freehold Township Residents Community group was putting together a group of at-home sewers to make masks for our CentraState hospital and local first responders.’ Scott contacted the group to offer the company’s sewing skills and capacity and soon began making the masks.

Lenscoat’s usual product line is camo covers for lenses, cameras and photographers

LensCoat has a large stock of camouflaged material that it uses for its usual products and used this to make some very cool-looking masks. ‘We are a Realtree licensee (Realtree is the world’s leading camouflage designer). They heard about what we were doing and contacted us to also donate fabric to our local cause.’

Scott explains that the masks are not FDA surgical grade, so they are used over N95 and surgical masks as well as given to others in the hospital so that the hospital can use their limited resources more efficiently. ‘And I feel good about finding a way to help out our local community. We are all in this together. We have to do what we can to help even if it’s just staying home and not becoming a victim or part of the problem. The sooner we get this under control the sooner we will be able to get back to a sense of normalcy.’

For more information on the company see the LensCoat website.

Articles: Digital Photography Review (dpreview.com)

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Slideshow: PDNedu Student Photo Contest 2020 winners and finalists

10 Apr

PDNedu Student Photo Contest 2020 winners and finalists

The annual PDNedu Student Photo contest gives professional exposure to students currently enrolled in university/college, high school, or a certificate program. This year’s winners and honorable mentions will be published in the Spring 2020 issue of PDNedu – a publication that reaches over 50,000 educators and students. Images and multimedia will also be featured on PDN’s social accounts that boast over 500,000 followers.

Nikon is the main sponsor for the contest that awards the best student images across 7 categories: Fashion & Portraiture, Documentary, Still Life, Travel & Landscape, Fine Art & Personal Work, Multimedia & Video, and High School (Any Subject). Academy of Art student, and third-generation photographer Pratik Parulekar, won both the Grand Prize and Honorable Mention in the Still Life Category.

Grand Prize winners will receive the latest Nikon gear and lenses. Multimedia Grand Prize winner, Zuzanna Rabikowska, will also receive $ 1,500 cash. Other contests, plus conferences, can be viewed here.

Grand Prize, Documentary & Photojournalism: ‘Faith, Custom, Home’ by Arne Piepke

Artist Statement: Every year, from May to September, marksmen’s festivals are held in the Sauerland in Germany. The three-day festivals consist of Marches through villages, church processions, as well as dances and honors. The highlight of each festival is a shooting competition to determine the new annual King.

The origin of these marksmen’s clubs goes back to the civil defense in the Middle Ages and their motto, ‘for faith, custom and home,’ is still written on their flags today. With few exceptions, most of these clubs and brotherhoods have strict rules, do not allow women as members and represent conservative Christian values. The citizens of small villages in Germany have a strong sense of community and a deep attachment to their home, which is shaped mainly by cultivating this tradition and their regional customs.

Growing up in one of these small villages and visiting the local marksmen’s festivals from childhood on has led me to reflect on my personal experiences with this tradition. From 2015 on, I visited 31 festivals in order to use photography to question the contemporary exercise of the tradition and to examine the theatre like procedure of the fest.

Grand Prize, Fashion & Portraiture: ‘Untitled’ by Angel Chai Arviv

Artist Statement: I was born in 1989, in Pardes Hana in the north of Israel. Today I am based in Tel Aviv. I love it here; this place keeps me grounded. I’m into photography since early years and it’s been a long journey which started with taking simple sketches of everyday life and continued with fashion projects.

I’ve tried many genres – from documentary photography to product or travel photography. Finally I found myself in fashion photography where my passions for photographing ‘real people,’ and for storytelling and aesthetics, became the most inspiring combination. Today I am in the last year of my degree at Bezalel Academy of Art and Design in Jerusalem, and I aspire to be a professional photographer.

In my work I remember all the time that everyone is important, and everyone wants their fifteen minutes of fame. It doesn’t matter if the subject is a model or not, everyone wants to be remembered. When the subjects are looking at you in my photographs, I think you can see yourself in them.

Many times I find myself questioning photographic norms, whether or not it’s
acceptable to talk about the concept of masculinity in our time, and pushing boundaries. My work continues to document the perception of the human body as a machine of passion and sculpture in human matter.

Honorable Mention, Fashion & Portraiture: ‘Under the Veil’ by Ney Mila

Artist statement: Fashion photo shoots I created and directed in 2019.

Honorable Mention, Fashion & Portraiture: ‘Under the Veil’ by Ney Mila

Artist statement: Fashion photo shoots I created and directed in 2019.

Grand Prize, Fine Art & Personal Work: ‘#Metoo’ by Carol Record

Artist Statement: The #MeToo movement, which went viral in October 2017, prompted me to reexamine and reprocess my own personal history with sexual assault and harassment.

From 1996 to 1998, between the ages of 13 and 15, I was raped and manipulated by my stepfather, a man I had grown to love and trust like my own father. This series revisits family photographs from this time period, documenting my turbulent state of mind and expressing what I was unable to fully process in the moment. Through the addition and subtraction of various elements, the images reveal the extent of the trauma and begin to more accurately illustrate my life and psyche during this chaotic nightmare.

Working both digitally and physically allows me to create layers of separation and an emotional buffer between myself and the memories. Using the laptopogram process, family photos, legal documents and diary entries were scanned, digitally manipulated, and then exposed to silver gelatin paper via a laptop monitor in the darkroom. The resulting images were then developed and rescanned to create new images that could not have been made through digital means alone.

This workflow allows me to both mentally and physically process my thoughts, exorcising the demons from my past by physically channeling long-held feelings of anger, grief and frustration into the development of the image. The solitude and focus during the practice allow me to reflect upon this turbulent period of my life now that I am no longer inside it.

Honorable Mention, Fine Art & Personal Work: ‘Untangle’ by Sadie Cook

Artist Statement: I want to hold onto my body. I want to understand all its sides and parts. I’m just starting to understand how tangled up desire and photography and power and gender are. Figuring out how to negotiate this tangle, especially as a young, queer girl, feels urgent and exciting and frightening. I take pictures incessantly. I photograph the women around me and the act of touch and myself.

I think about language a lot. I want looking at my photographs to feel like when an acquaintance stops me on the street to say hi and ask how I am doing, and I take a deep breath and I say everything I?m really feeling and thinking with all the stammers and stutters and half-said sentences.

Grand Prize, High School (Any Subject): ‘Above the Rim’ by Losany Doumbouya

About this photo: From a teacher submitting on behalf of Losany Doumbouya, a junior at Ypsilanti Community High School: ‘This photo represents the stereotype that athletics, specifically basketball, are the only way for African American students to get ahead. The idea was Losany’s as well as the composition and camera settings, while his classmate, Jessie Jones, took the photo so Losany himself could be in it.’

Honorable Mention, High School (Any Subject): ‘BW Surf’ by Jack Bober

Artist Statement: My idea behind this series was to create a unique view of surf and waves. By making them black and white, it adds a certain mood that adds solitude and feeling to the ocean.

Grand Prize, Still Life: ‘How Many’ by Pratik Parulekar

Artist Statement: A photographic solution to a curious question.

Honorable Mention, Still Life: ‘Monochromatic Food’ by Pratik Parulekar

Artist Statement: A self-promotion project about Japanese food in the contexts of design, color and minimalism.

Grand Prize, Travel & Landscape: ‘Vacated Vacation’ by Itamar Dotan Katz

Artist Statement: Whether it was caused by the wave of terror attacks (2004), the Tahrir Square uprising (2011), or various economic considerations, this once-promising tourist area has turned into a graveyard of hotels. These enormous monuments have been abandoned and now stand as silent memorials to what might have been.

The South-side of the Sinai peninsula is beautiful, unlike any other landscape, as unique and as barren as Luke Skywalker’s home planet. Its dramatic red mountains tumble down into a turquoise ocean, which is filled with colorful aquatic life. Scattered on the beach are some very low-cost guest houses in the form of straw huts. Only a handful are occupied by those “brave” enough to visit Sinai.

The land itself is inhabited mostly by Bedouin tribes and the Egyptian army. But what looks like a heavenly resort area is almost completely deserted, filled only with traces of humans. Some of those resorts are in a fully operational state, with beds in the rooms and running water in the sink; others are in different stages of construction—but all are empty.

Over the past three years I have been documenting these resorts to show the wastefulness of men, the consequences of conflict and economy, and how present humans can be without being present at all. This is an ongoing project and the aim is to present it as a mock ‘travel guide to abandoned hotels.’

Honorable Mention, Travel & Landscape: ‘A Salted Land’ by Beihua Guo

Artist Statement: ‘A Salted Land’ explores the escalating environmental disasters triggered by human activities at the Salton Sea. Located in Southern California, the Salton Sea was accidentally created by engineering failures and was once a popular tourist destination. However, agricultural runoff and other pollutants resulted in fish and bird die-offs as well as rapidly increasing salinity, destroying homes and resorts.

Articles: Digital Photography Review (dpreview.com)

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The dPS At-Home 7-Day Photography Challenge – Week Four

09 Apr

The post The dPS At-Home 7-Day Photography Challenge – Week Four appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

As many of us around the world are continuing self-isolation, and social distancing (whoever thought that would be a thing?), we thought we’d make it a bit more fun and creative (as well as keeping our photography skills sharp). So, we are giving you (and us) an “At-Home, 7-Day Photography Challenge.”

This is now week four of the challenge (see week one here, week two here, and week three here. You can still do those challenges, as there are no deadlines on any of these).

This week we are going to focus entirely on post-processing your images and fun techniques you can try.

As always, it would be fabulous to see your results, so please share them with us in the comments section. That way, we can connect and share, and keep ourselves occupied with something positive and creative!

At-Home, 7-Day Photography Challenge – Week Four

Day 1

This is a fun challenge. Take a series of photos of anything and turn them into an animated GIF in Photoshop! You can also add text or make it into an animated meme. You can then use them for social media if you like! How to Make an Animated GIF in Photoshop

Day 2

This one shows you have to make a multi-exposure image in photoshop. How to Create a Multiple Exposure Effect in Photoshop

Day 3

Another fun one – create a tiny planet in Photoshop! How to Make a Little Planet Quickly and Easily in Photoshop

Day 4

Split toning can give your image some interesting effects. So, jump into your archives and see what you can do to enhance some of those images with split toning in Photoshop. How to Rescue an Image in Lightroom With Split Toning

Day 5

This one is all about creating reflections in your images. Make it look like a landscape has a water reflection! See what you can come up with. Create Awesome Reflections in Photoshop with Ease (Step-by-Step Guide)

Reflections in Photoshop — © Kevin Landwer-Johan

Day 6

This one is for creating photo composites. Take bits and pieces of various images and turn them into a new image! Fake it to Make it – Creating Convincing Photo Composites

Day 7

Create a cool photomontage with this great technique! How to Make a Cool David Hockney-Inspired Photomontage in Photoshop

I’m looking forward to seeing your results. Don’t forget to share them with us in the comments!

The post The dPS At-Home 7-Day Photography Challenge – Week Four appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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Review – Viltrox 85mm f/1.8 Lens for Fujifilm

09 Apr

The post Review – Viltrox 85mm f/1.8 Lens for Fujifilm appeared first on Digital Photography School. It was authored by Suzi Pratt.

Viltrox 85mm f/1.8 Lens for Fujifilm Review

It used to be that photographers were wary of third-party camera lens makers because they often sacrificed quality for a cheaper price. However, that’s no longer the case today. In fact, third-party lens makers such as Tamron and Sigma are now creating viable lens alternatives that even professional photographers are turning to. Relatively new to the game is Viltrox, a Chinese camera accessory manufacturer. They recently put out the Viltrox PFU RBMH 85mm f/1.8 STM and I tested it out with my Fujifilm X-T3. Here are my thoughts.

Viltrox 85mm f/1.8 for Fujifilm — Viltrox 85mm f/1.8 lens for Fujifilm

Lens specs

The Viltrox 85mm f/1.8 lens is a fixed autofocus lens available for both Fujifilm X-Mount and Sony E-Mount cameras. It’s interesting to note that this is a full-frame lens as it works with both Sony FE and crop-sensor camera bodies; if Fujifilm made a full-frame mount, it would likely work with that as well.

This is a hefty lens, weighing in at 1.4 lbs (636 grams). It is an all-metal body that, unfortunately, is not weather-sealed. However, it would likely be able to hold up well over time, given its hard exterior.

The lens is simple with no buttons or controls on the body, which made for an interesting usability experience (more on that below). It comes with both a lens hood and front and rear caps.

Filter size: 72mm
Focal length: 85mm (roughly 127.5 mm on a crop-sensor)
Aperture range: F1.8-F16
Optical structure: 10 Elements in 7 Groups
Aperture Blades: 9
Focusing distance: 0.8m~?
Flange distance: 17.7mm
Object distance image ratio: 1:8
Image stabilization (IS): No IS or vibration reduction
Weight: 636g (1.4lb)
Price: $ 399 USD

Comparable lenses

One of the biggest selling points of this lens is its price: US$ 399 for an f/1.8 short prime lens is a pretty good deal.

Looking at Fujifilm’s native lens library, your closest other choices are the XF80mm f/2.8 for US$ 1,199.00 and XF90mm f/2 for US$ 729.99.

When compared to these two lenses, the Viltrox 85mm f/1.8 seems like a steal at its price point, plus it is the fastest lens of the bunch.

Usability

Part of the joy of shooting with a Fujifilm camera is the experience. Most cameras, including the Fujifilm X-T3 and X-H1 that I use, have dedicated buttons and dials for setting details such as shutter speed and ISO.

All official Fujifilm lenses are built to integrate well with this shooting experience as they include a dedicated aperture ring used to control your F-stop. This little tidbit is where shooting with the Viltrox 85mm f/1.8 took some getting used to.

The Viltrox lens has no buttons or dials on it, and no aperture ring for adjusting the aperture. Instead, the front dial on your Fujifilm camera becomes the default way of changing your aperture. For long-time Fujifilm shooters, this is a strange thing to get used to.

Camera lens balance

Another thing to get used to is the weight of this lens.

Fujifilm mirrorless cameras are typically quite lightweight and compact compared to many of their full-frame competitors. As a result, which camera body you choose to pair with this lens can make a big difference in how you shoot with it.

When attached to my Fujifilm X-T3, the camera was harder to hold due to the shallow grip on the X-T3. In comparison, the Viltrox felt better balanced when paired with the Fujifilm X-H1, which has a more solid body with a deeper handgrip.

However, don’t forget that you can enhance the grip of most cameras like the X-T3 by using the optional battery grips or adding an L-bracket.

Autofocus

The autofocus is a mixed bag. While the autofocus mechanism is accurate once you secure focus, it does quite a bit of hunting when you first begin framing your subject. This is also not a very quiet lens, and you can hear the focus mechanism as it works to find focus. It’s not necessarily a dealbreaker unless you shoot a lot of fast-moving subjects, or really need dependable autofocus. But you get what you pay for.

Image quality

Image quality is spot on and in line with what you would expect from a Fujifilm camera. Sharpness, color, and contrast are all great at various apertures, but the best feature is the bokeh. When shooting wide open at f/1.8, you get bokeh that is insanely smooth and gorgeous.

Review - Viltrox 85mm f/1.8 Lens for Fujifilm — Fujifilm X-H1 with Viltrox 85mm f/1.8 – 1/12 sec, f/1.8, ISO 200

In conclusion

Is the Viltrox 85mm f/1.8 lens worth it? It depends on your budget and expectations for quality.

Many features from solid build quality, respectable integration with the Fujifilm system, and overall image quality are on-point. However, autofocus is not as reliable as it would be on a native Fujifilm lens.

Then again, you’ll be paying a lot more money for a similar Fujifilm lens, so if the cost is an issue, you really can’t go wrong with this lens given its price point.

The post Review – Viltrox 85mm f/1.8 Lens for Fujifilm appeared first on Digital Photography School. It was authored by Suzi Pratt.

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The ins and outs of ISO: What is ISO?

09 Apr

What is ISO?

Strictly speaking, ISO is a Switzerland-based standards body whose name derives from the greek word for ‘the same’. It is not an acronym, since the letter order would change in different languages, hence it shouldn’t be pronounced as a series of letters.

ISO is the name given to what’s commonly called ‘sensitivity’ in photography. It’s analogous to the system used in film but has a few fundamental differences, and these differences have been increasing over time.

Lightness

Throughout this article we use the term ‘lightness’ to express how light or dark the final image is. This is to make clear that we’re discussing a representation on a white to black tonal scale, not a measure of emitted light. How ‘bright’ any tone specific tone appears to a viewer would depend on the display it’s viewed on.

At its most simple, ISO tells us that using specific exposure settings at a given illuminance level should give an image that looks like we expect it to. For many circumstances, this is all you need to know. It’s still a close-enough analogy for the film standard that a film-era light meter will still work for digital. Give or take.

But it’s often assumed that increasing ISO just adds amplification (voltage gain applied to the analog signal coming from the pixels), a bit like turning up the volume on an audio amplifier. This is not true, and this misunderstanding can make it harder to understand what your camera is actually doing. Virtually all modern cameras have at least one mode or function that diverges from the ISO = Amplification concept, so put that idea aside.

Seriously, what is ISO?

ISO in digital cameras (specifically ISO standard 12232:2019) is designed to resemble the ASA film speed standard that was adopted by the International Organization for Standardization in 1974.

ISO describes the response of the whole processing pipeline, relating exposure to end image lightness

However, there is a fundamental difference: the film standard defined the ‘speed’ of a film that would give a correctly exposed negative (for print film) when combined with a certain exposure and illumination level, but said nothing about how light or dark your prints would come out. The digital standard covers the response of the whole processing pipeline to give a final JPEG image with the ‘correct’ lightness.

The ISO in digital photography is based on the lightness of the final JPEG. It doesn’t specify how this lightness should be achieved. It explicitly doesn’t specify a relationship between Illumination, Exposure and amplification for Raw files.

To really understand the impact of ISO on your photography, it’s useful to recognize that it binds together a series of functions to relate exposure to image lightness:

Exposure: the density of light hitting your camera’s sensor, based on the illumination level, shutter speed and aperture value used
The inherent, unchangeable response of your sensor to light
Lightening: the sum of all processing by which your camera delivers the expected image lightness from this exposure. ‘Lightening’ includes both analog amplification and any subsequent digital processing.

Separating out these elements helps us eliminate another error: that amplification or some aspect of the camera’s electronics increase noise when you raise the ISO level. In most circumstances, it’s the reduction in exposure that increases the noise, because it means you’re capturing less light and are more likely to see how random and noisy the light itself is.

How are you defining ‘correct’ lightness?

The light conditions here demanded the use of a wide aperture to capture as much light as possible, given the camera shake-constrained shutter speed. The high ISO setting has delivered the image lightness the photographer wanted.

Fujfilm GFX 50S | ISO 12,800 | 1/90 sec | F2.8 | GF 63mm F2.8 R WR
Photo: Dan Bracaglia

Before we go any further, it’s worth noting that there are two different definitions of ISO currently in use in cameras:

SOS – Standard Output Sensitivity
REI – Recommended Exposure Index

SOS is the simpler of the two. It essentially says that if you get an sRGB JPEG with lightness values of 118 (ie: middle grey) from a middle grey target shot with a given illumination level and exposure settings, then this must represent a certain ISO rating. This is the variant that most closely resembles the old film speed standard.

REI is the variant designed for multi-weighted metering modes. This is broadly similar to the SOS system, except it doesn’t specify the lightness of the final image. Instead the manufacturer gets to decide what ‘correctly exposed’ looks like. As a result, it can’t be measured, since there’s no definition of what the end result should look like.

Sensitivity

It’s worth noting that that you cannot adjust the ‘sensitivity’ of a sensor.

A camera’s sensor will capture a certain proportion of the light that hits it, depending on the efficiency of its design. This can’t be increased or decreased. Everything after this step is a question of signal processing: you can try to minimize any further degradation, and you can manipulate how that signal gets represented in the final image, but only changing your exposure can adjust how much light you capture.

In most instances, the results from the two systems are usually pretty similar, but in a REI-based camera, you can’t take your light meter and conclude that following its advice will give you a specific image lightness.

Manufacturers are supposed to specify which of these standards they are working to, but this isn’t always done.

As an aside, the ISO 12232 document also specifies other ways of assessing camera response (based on saturation point or based on noise level), but these aren’t the ones your camera is claiming to comply with, so there’s no reason to expect them to align with what your files say in their EXIF.

What about Raw?

Raw is often talked about as being like a ‘digital negative’ but as we’ve seen, unlike the film standard, the digital version of ISO doesn’t specify what should happen in your Raw file.

The latest update to the ISO standard makes it explicit that it does not apply to Raw files. Until a tone curve is applied, a Raw file doesn’t have a ‘middle grey’: it’s up to the manufacturer to decide which Raw value should be used. Consequently, there isn’t a specific Raw value you can measure or check for correct exposure, so you can’t measure the ISO (or ISO accuracy) of a Raw file.

If you’re ever seen graphs plotting ‘Measured ISO’ against ‘Manufacturer ISO,’ then you risk being misled.

If you’re ever seen graphs of ‘Measured ISO’ plotted against ‘Manufacturer ISO,’ then you risk being misled. What they show is how a camera’s ISO settings are delivered, relative to an arbitrary system that assumes Raw files will saturate at a certain exposure. You can often work out how amplification is being applied using these graphs, but they do not show ISO accuracy, since the ISO standard doesn’t define a relationship between exposure and Raw saturation.

What’s next?

Now we’ve established that ISO includes exposure and lightening components, and that the lightening part is made up of more than just amplification, we can look at how these distinctions are exploited.

In part two of this article, we’ll look at how ISO is implemented in different cameras and different modes, why you tend not to get low ISO options in Log mode and how some video cameras are moving beyond ISO by separating the exposure and lightening aspects.

Articles: Digital Photography Review (dpreview.com)

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DPReview TV: Fun with bokeh

09 Apr

Photographers throw the word ‘bokeh’ around a lot, but what exactly is it? Our resident mad scientist, Don Komarechka, takes us on a ride through a bokeh-rific world of creative possibilities.

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

Introduction
What is bokeh?
Bokeh shapes
Trioplan 100 bokeh
100mm triplet projector lens bokeh
Take apart a lens and put it together backward
Using bokeh in composition
Using bokeh in video
Conclusion
Wait… just one more thing!

Articles: Digital Photography Review (dpreview.com)

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5 stay-at-home challenges for photographers and videographers in quarantine

09 Apr

People are getting creative during these challenging times. As a result, a few top camera companies and creators are acknowledging homebound ingenuity. Freelance photographer Jeremy Cohen already won the ultimate reward, the cover shot on a recent edition of the New Yorker after his ‘quarantine cutie’ TikTok clip went viral.

It isn’t just about sharing, or winning. It’s also about community. This is why major companies, from GoPro to Leica, are launching challenges and offering free educational resources as well. The key is to stay inspired and even learn a few new skills. The opportunity to gain exposure, without being exposed, is going to be an ongoing theme these next few months. Here are 5 photography and videography challenges worth checking out.

GoPro #HomePro Challenge

GoPro recently launched the #HomePro challenge to reward photographers and videographers confined to their abodes with prizes. From now until April 30th, creators are encouraged to upload their most imaginative homebound content to Instagram, TikTok, Twitter, Youtube, or Facebook with the #HomePro and #GoPro hashtags. 5 submissions will be selected every day and the winners will receive their choice of a HERO8 Black or MAX camera plus 5 years of GoPro PLUS.

‘The GoPro community captures the most amazing videos that wow billions of viewers around the world. Now, we want to tap into their creativity to inspire others to find magic in their home-bound experience,’ said GoPro founder and CEO, Nick Woodman. ‘We launched this challenge to see what creative radness, inventiveness or weirdness people are getting up to at home. And so far, we’ve been stoked with what we have seen.’

Turn up volume on for #HomePro awardee Philipp Klein’s stop-motion freeride.

“What inspired me was to try to put all the negative news on pause and put a smile onto peoples’ faces. If I wasn’t home, I’d be skiing, my biggest passion, so I found a way to ski at home.” pic.twitter.com/N0eFXoPP6w

— GoPro (@GoPro) April 4, 2020

Download the FREE GoPro App to get started. You don’t need to capture footage with a GoPro device to qualify. Entries taken with any type of camera, including a phone, will be considered. If you’re looking for a soundtrack to accompany your footage, GoPro offers up free music on their contest page.

Stay Home with Leica Photo Challenge

Leica recently announced a series of free Akademie educational talks to help the photography community stay active and inspired while safely social distancing. To coincide with the courses, they’re also offering weekly Instagram challenges to reward community members who are making the most of their time indoors. Courses with Ruddy Roye and award-winning documentary photographer Doug Menuez are starting this week.

View this post on Instagram

Some more Color captured from my balcony. . . . #stayhomewithleica #leicas #leica #leicastorela #leicagallery #socialdistancing #crps #spicollective #streetphotography #street #streetphotographyinternational #color_captures #capturestreets #lensculture #lifeframer #streetphotographer #walking #store #fromhome #stayhome #streetlife #digitalmediumformat #mediumformat #city #losangeles #leica_fotografie_international #spi_colour #capturelandscapes

A post shared by Terry LaRue (@terrylarue) on Apr 6, 2020 at 7:11pm PDT

Any camera can be used to capture submissions to the contest. Simply tag your posts with the hashtag #StayHomeWithLeica to be considered for a prize that includes a Leica Akademie bespoke class (a $ 150 value) and a feature on their social profiles including Instagram. The winner of the current challenge will be announced on Saturday, April 11th. Here are the rules:

#StayHomeWithLeica Photo Challenge Rules

Follow us on Instagram
Post an image that shows a daily ritual performed or a moment with your family
Tag #StayHomeWithLeica & @LeicaCameraUSA in the caption

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“Untitled,” – 2020 #leica #leicam240 #? #stayhomewithleica #socialdistancing #DVNLLN

A post shared by Devin Allen (@bydvnlln) on Apr 1, 2020 at 12:56pm PDT

Sigma #shotathome

Starting April 6th through June 26th, Sigma is encouraging participants to submit their best photos and videos depicting life in quarantine. A $ 500 American Express gift card will be awarded weekly. At the end of each month, weekly winners will be pooled and the overall best submission will be awarded with a $ 1,000 American Express gift card. At the conclusion of the contest, the grand prize winner will receive a Sigma fp camera plus a 45mm F2.8 DG DN contemporary lens. A second-place contest winner will be awarded with any Sigma lens valued at $ 1000 or less.

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After nap snuggles. We were standing by our front door and I noticed our reflection in the window. This girl has always been a snuggle bug, it’s my favorite thing. #sigmashotathome ?? • • • #nikond750 #sigma35mmart #candidchildhood #pixel_kids #cameramama #clickinmoms #getin52 #my_magical_moments #follow_this_light #galleryoflightfeature #jj_its_kids #exploringcreativephotography #clickthrough52 #oureverydaymoments #loveourbigkids #theartofchildhood #momhub #cm_homesweethome #sigmashotathome #sigmaphoto

A post shared by Faith Fritz (@faithfritzphotography) on Mar 23, 2020 at 6:01am PDT

‘We are in the midst of an unprecedented moment in history that has dramatically impacted the heart of the creative imaging community,’ says Mark Amir-Hamzeh, President, Sigma Corporation of America. ‘#sigmashotathome is our humble attempt to bring inspiration and creativity to a difficult situation and to remind creators, regardless of stylistic choices, field or gear preferences, that we are in this together.’

Entries can be captured with any type of camera though Sigma encourages entrants to let them know if their brand was used. Up to 10 photos or videos are permitted per week and can be submitted here. The contest is currently open to U.S. residents only.

Files uploaded must:

Have the file naming convention: DATE_LAST NAME_DESCRIPTIVE TITLE
Be under 25MB and .jpg format with 3000×2000 maximum resolution
If any discernible person is in your film, you must be able to provide an image release form
Must be original work in which you own all creative rights

Entrants can also:

Like and Follow Sigma Corporation of America on Facebook and Instagram
Upload the photo submission to Facebook and Instagram, tag Sigma Corporation of America and include the hashtag #sigmashotathome

Getty Museum Recreations of Famous Artwork

While there aren’t any prizes awarded, the opportunity to be featured on the Getty Museum’s Twitter feed, which currently boasts 1.3 million followers, makes it worth the effort to enter their current stay-at-home challenge. To qualify, the Los Angeles-based museum has invited people to recreate famous works of art using three objects found in the home with these simple requirements:

Choose your favorite artwork
Find three things lying around your house
Recreate the artwork with those items
And share with us (by replying to their Twitter posts)

We stan.https://t.co/K3JVGpFPAJ pic.twitter.com/rIqXzr5hIK

— Getty (@GettyMuseum) March 25, 2020

The contest looks to be ongoing. The Getty staff has shared the following resource for inspiration.

Bathroom tile Mondrian pic.twitter.com/zKB6hmyavP

— Dan Martini (@dmontherocks) March 29, 2020

The Art of Photography Challenges

Ted Forbes, who runs the popular instructional YouTube channel The Art of Photography, has returned with much-anticipated new challenges for 2020. Free bi-weekly classes are designed to change how photographers see things while enhancing their skills.

In the spirit of staying home, and mostly indoors, Forbes is encouraging people to make the most of the light that is available. The lessons for his first assignment can be found below:

Articles: Digital Photography Review (dpreview.com)

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