Announced in April, the new OnePlus 8 Pro smartphone is equipped with a multitude of high-end features, including interesting camera specs. But it also includes a unique 5MP Color Filter (infrared) camera. In the camera’s operating system, the mode that uses this particular camera array is referred to as the Photochrom filter within the native camera app, and as numerous users have been discovering this week, the Color Filter camera allows you to see through some objects, including various plastics.
Twitter user Ben Geskin photographed Oculus Quest controllers, for example, realizing that the Photochrome filter allows you to actually see through the dark gray plastic on the device. Other users have photographed television remotes, Apple TV devices and more, resulting in images showing internal circuitry that you cannot see with the naked eye or traditional image sensors.
OnePlus marketing materials divulge very little information about the Color Filter camera. On the OnePlus 8 Pro product listing, there is only a single example image, shown here in an enlarged format. Image credit: OnePlus
In marketing materials for the OnePlus 8 Pro, OnePlus states that the Photochrome filter allows the user to ‘turn ordinary scenes into surreal landscapes,’ but as OnePlus 8 Pro owners are finding out, it does a lot more than that. The 5MP Color Filter camera is essentially an IR camera, so if an object does not include a material which shields IR, the camera can see through it. In the video below from Unbox Therapy, you can view the effect on a pair of television remotes, Apple TV and a Nintendo Switch Pro controller. You can also see in the video below that the Color Filter camera can partially see through some fabrics.
There is a lot more to the OnePlus 8 Pro camera for photographers than the interesting Color Filter camera. The OnePlus 8 Pro also includes a 48MP Ultra Wide Angle Camera with a 120-degree field of view and 3cm Macro Mode, 8MP Hybrid Zoom camera with 30x digital zoom, and a 48MP Main Camera with optical image stabilization.
Image credit: OnePlus
The wide camera uses a 0.5-inch type Sony IMX586 image sensor with an F2.2 lens. The primary 48MP camera uses a 1/1.4-inch type Sony IMX689 sensor with an F1.78 lens. The primary camera also includes on-sensor omni-directional phase-detect autofocus. Further, the main camera can record ‘dynamic video,’ which is a form of HDR video.
The OnePlus 8 Pro is available now from a starting price of $ 899 USD. For much more information on the OnePlus 8 Pro smartphone, read our coverage of the camera’s announcement.
Aaron of Lensrentals uses his new, specialized driver to carefully remove screws from the Nikkor AF-S 120-300mm F2.8 FL ED SR VR lens.
Roger and Aaron at Lensrentals are back again with another lens teardown; this time, the Nikkor AF-S 120–300mm F2.8 FL ED SR VR lens.
While no reason is needed to take apart another lens to see what goodies lurk within, Roger specifically notes he chose this lens because he wanted to see if the new modern design of Nikon’s Z-mount lenses is being carried over to newer F-mount lenses as well. In the introduction paragraph of his teardown post, Roger says:
‘We were interested to see if newer F lenses would pick that up, or if they would continue in ‘classic’ format. While it’s pure speculation on my part, I thought that if F lenses were starting to pick up Z characteristics, it would, perhaps, signify a unified approach going forward. If not, maybe then Nikon is maintaining separation of the Z and F design teams.’
Roger notes Lensrentals only has ‘a few of these,’ almost all of which have been rented out. However, one came in with dust inside and although it wouldn’t affect the image quality of the lens, Roger thought it’d be a perfect opportunity to do a teardown. Plus, ’t customers like to receive really sparkly clean lenses, and we didn’t want to deal with the inevitable “I can’t believe there’s dust in this $ 10,000 lens” complaint,’ he says.
The disassembly started in the front, as that’s where the dust was located. The first notable observation is that Nikon has made the front filter barrel fairly easy to remove—and therefore replace—as it slides out after removing half a dozen screws and a bit of tape.
From there, it was onto removing the first group of lenses, which Roger believes consists of 3–4 elements (Nikon is yet to publish an optical diagram for this lens yet). After a brief moment of concern that the dust was lodged between these elements, he and Aaron discovered the dust was instead on the next group of lenses—the optical zoom group. As you might expect for a 120–300mm F2.8 lens, this group has quite a bit of travel in it.
Upon diving further into the lens, Roger found the answer to the initial question he had for this teardown. When looking underneath the rubber grip of the zoom optical group, he saw an aluminum cover; a discovery that made him ‘sad.’ He elaborates:
Note the clear plastic tape and aluminum shielding beneath the zoom ring rubber.
[The aluminum covers are] what Nikon uses to cover old-time position-sensor brushes, which means this lens has ‘classic’ brush position sensors, not newfangled optical sensors. They work just fine, don’t get me wrong, but this is a strong hint we’re not going to find new ‘Z- style’ electronics inside this lens.
At this point, no further assembly could be done from the front of the lens, so he and Aaron turned it around and started taking off the rear bayonet mount, which was ‘thoroughly weather resistant with both hard rubber and foamed rubber gaskets.’
From there, Roger and Aaron break it down all the way to the aperture assembly, carefully maneuvering through a messy array of soldered wires, ribbon cables and enough glue that it might just give Roger nightmares. In wrapping up the teardown, Roger says:
‘We had seen what we most wanted to see. The lens is well built in the old, classic Nikon F way. Obviously, we don’t think that’s pretty, and it’s not fun to work on. But it’s been an effective method of manufacturing for decades. The moving parts are solid, the chassis and assembly are solid, the weather resistance is as good as anything, maybe better.’
While the teardown was done, Roger also ran an optical test on the lens to see how this copy performed. He notes ‘there will be better or worse copies’ out there ‘but given the price of the lens, I assumed it should be clearly better than the Sigma 120–300mm F2.8 lens.’
His assumption ended up being correct, with the MTF curves looking much cleaner than the Sigma (which he notes is a great lens in its own right) and ‘at least as good as, perhaps better than’ Nikon’s own 300mm F2.8 lens.
Nikon AF-S Nikkor 300mm F2.8G ED VR II Average MTF vs Nikkor 120-300mm F2.8 FL ED (@300mm) Average MTF
Sigma 120-300mm F2.8 DG OS HSM Sport (@300mm) Average MTF vs Nikkor 120-300mm F2.8 FL ED (@300mm) Average MTF
When all was said and done, Roger concludes that ‘Roger’s Law,’ which states ‘that Zooms Are Never as Good as Primes has at least one very expensive exception. At one of its focal lengths. This zoom is ‘prime good’ at 300mm.’ Other lessons learned include that the 120–300mm F2.8 is incredibly well-build and ‘spectacularly good optically, particularly at the long end.’
You can see more images and read a more detailed breakdown of Roger’s thoughts over on the Lensrental blog post.
According to a report by industry publication The Information, two key executives in Google’s Pixel team left the company earlier this year. One of them is the former General Manager of the Pixel Smartphones Business Unit, Mario Queiroz. According to his Linkedin profile, he left Google at the end of January to take on the role of Executive Vice President at data security company Palo Alto Networks.
A few months earlier, and two months before the launch of the Pixel 4 devices in October 2019, he had already moved internally from the Pixel team into a role that directly reported to Google CEO Sundar Pichai.
From an imaging point of view, the second executive leaving the Pixel team and company is more interesting, though: Marc Levoy has been a Computer Science professor at Stanford University since 1990 and since 2014, in his role as Distinguished Engineer at Google, had been leading the Pixel team that developed computational photography technologies for Pixel smartphones, including HDR+, Portrait Mode, and Night Sight.
Since its inception the Pixel smartphones series had excelled in the camera department, receiving positive camera reviews across the board. With the Pixel phones using very similar camera hardware to its direct rivals, a lot of the Pixel’s camera success could likely be attributed to the innovative imaging software features mentioned above.
However, things look slightly different for the latest Pixel 4 generation that was launched in October 2019. While many of the software features and functions were updated and improved, the camera hardware looks a little old next to the top-end competition. Companies like Samsung, Huawei and Xiaomi offer larger sensors with higher resolutions and longer tele lenses, and combine those hardware features with computational imaging methods, achieving excellent results. The Pixel 4 is also one of very few high-end phones to not feature a dedicated ultra-wide camera.
The Pixel 4 camera is still excellent in many situations but it’s hard to argue that Google has, at least do a degree, lost the leadership role in mobile imaging that it had established with previous Pixel phone generations.
It looks like internally there has been some discontent with other aspects of the Pixel 4 hardware, too. The report from The Information also details some criticism from Google hardware lead Rick Osterloh on the Pixel 4 battery:
At a hardware team all-hands meeting in the fall, ahead of the October launch in New York, Osterloh informed staff about his own misgivings. He told them he did not agree with some of the decisions made about the phone, according to two people who were present at the meeting. In particular, he was disappointed in its battery power.
Battery and camera performance are likely only two out of a range of factors that caused Pixel 4 sales figures to decrease when compared to its predecessors. IDC estimates that Google shipped around 2 million Pixel 4 units in the first two quarters the phone was on sale, compared to 3.5 million Pixel 3 units and almost 3 million Pixel 3A devices.
These figures are also relatively small when compared to the largest competitors. According to IDC Apple sold a whopping 73.8 million iPhones in the fourth quarter of 2019, for example.
It’s not entirely clear, but likely, that the departures of Queiroz and Levoy are linked to the Pixel 4’s performance in the marketplace. What will it mean for future Pixel phones and their cameras? We will only know once we hold the Pixel 5 in our hands but we hope Google will continue to surprise us with new and innovative technologies that get the most out of smartphone cameras.
The Tamron 70-180mm F2.8 Di III VXD is an affordable, compact telephoto zoom lens for Sony full-frame mirrorless cameras. It lacks internal image stabilization, a contributing factor to its petite footprint, but does offer a moisture-resistant design – and produces sharp results throughout the zoom range.
For more on the Tamron 70-180mm F2.8, check out DPReview TV’s full lens review.
See our Tamron 70-180mm F2.8 sample gallery for Sony full-frame
The post Peak Design Everyday Backpack Zip Review appeared first on Digital Photography School. It was authored by Suzi Pratt.
In October 2016, Peak Design released the Everyday Backpack, a pack that has become iconic and ubiquitous among photographers and non-photographers alike. You might recognize this bag by the MagLatch and unique design that doesn’t scream, “I’m carrying tons of expensive camera gear!” Three years later, Peak Design updated its Everyday Bags to V2, and added brand new bags to the line including the Everyday Zip. In this Peak Design Everyday Backpack Zip review, I’ll discuss some of the unique features of this bag and who this bag is for.
The all-new Peak Design Everyday Backpack Zip (20L). 1/125, f/7.1, ISO 500.
Everyday Zip 20L specs
Even though its formal name is the Peak Design Everyday Backpack Zip V2, this is the very first iteration of this backpack design. Its design borrows heavily from the original Everyday Backpack, but there are a couple of key differences. First, the Everyday Zip is only available in 20-liter or 15-liter versions, while the Everyday Backpack can be either 20 liters or 30 liters. This review is of the 20-liter version of the Everyday Zip. Second, the Everyday Zip does not have the MagLatch and instead is secured via the wrap-around zippers.
Weight: 2.91 lbs (1.3 kg) without dividers, or 3.42 lbs (1.55 kg) with dividers
Maximum laptop carry: 38.1cm x 25.4cm x 2.5cm (15″x10″x1″) – Holds 15/16” Macbook Pro
Maximum tablet carry: 30.6cm x 22.1cm x .7 cm (12″ x 8.69″ x 0.27″) – Holds 12.9″ iPad Pro
External dimensions: 48cm x 31.5cm x 23.5cm (18.9” x 12.4″ x 9.3″)
Internal dimensions: 45cm x 28.5cm x 20cm (17.7” x 11.2″ x 7.9″)
Peak Design Everyday Backpack V1 (left) and Everyday Backpack Zip (right). 1/125, f/7.1, ISO 500.
What’s new?
If you’re familiar with the Everyday Bags V1, here are some of the V2 changes:
More streamlined seams and rounder profiles.
Softer, more comfortable bag straps.
New UltraZips that are 20x stronger than standard zips.
Sleeker and more ergonomic MagLatch (on applicable bags).
New colors (navy and cream) and two new bags: Everday Backpack Zip and Tote.
Who is this bag for?
I originally purchased the Everyday Backpack V1 (20L) as a daypack for shooting and working in the city. The features that most appealed to me was the ability to carry my full-frame DSLR camera, 2 lenses, and flash, plus my 15-inch MacBook Pro in a low-profile bag to fit my 5’2″ frame.
Many other camera backpacks out there are either too big and bulky or have an outdoorsy design that doesn’t fit well in corporate photography settings, which is where I often find myself. I also appreciated the fact that the bag dividers are not specific to camera gear and you can even remove them if you want to use the backpack for non-photography purposes.
If you can relate to my situation above, then the Everyday Backpack might be right for you.
Contents that can fit inside of the Peak Design Everyday Backpack V1 and Everyday Backpack Zip (20L). 1/280, f/4.5, ISO 2000.
Is the Everyday Zip better?
Throughout my 2 years of using the Everyday Backpack V1, the main thing that I disliked about it was also its main selling point: the MagLatch.
It gives the bag a unique look and makes it very easy to access the top portion of the bag, but it was not possible to lock or secure. In many of my photography settings (corporate events), I empty my camera bag of most of its contents and walk around to shoot, while leaving the bag in a semi-secure area. Oftentimes, my laptop and a spare lens are in the bag, and it is unnerving to leave the bag unlocked. While I haven’t had the bag or its contents stolen before, I am often pushing my luck.
My hope with the Everyday Zip was that all of the big compartments could be locked and secured. While it takes a little DIY work to secure the 5 zippers on this bag, it does indeed live up to this standard.
Top access on the Everyday Backpack Zip (20L). 1/125, f/7.1, ISO 500.
Other positive points
Another great feature of the Everyday Backpacks is that you can access your camera gear (or chosen contents) via the side zippers. This means you don’t have to empty the entire contents of your bag to reach things sitting on the bottom.
Given the wrap-around zipper on the Everyday Zip, side access requires a bit more attention to detail to avoid accidentally opening your entire bag, but it is still a nice feature.
Side access on the Everyday Backpack Zip (20L). 1/125, f/7.1, ISO 500.
The Everyday Zip also has side pockets for stowing things like a small tripod, monopod, water bottle, etc, and a back panel for easily attaching the bag to a rolling suitcase.
There are also straps for attaching a tripod or large item to the outside of the bag, but I always find that a cumbersome and impractical way to carry a tripod.
Another selling point of the Everyday Backpacks is their ability to carry a 15″ or 16″ laptop, or so Peak Design claims. A lot of modern bags have sized down and only carry 13″ laptops or tablets. On the Everyday Zip, my 15″ MacBook Pro from 2015 fits, but it is very tight and leaves no room for adding anything else to that pocket, even though there are dividers for adding other items such as documents.
Modern laptops are getting thinner and will likely fit more easily, but be wary if you have an older computer.
Laptop compartment on the Peak Design Everyday Backpack Zip (20L). 1/125, f/7.1, ISO 500.
The final selling point of this bag and Peak Design products in general is the overall aesthetic and attention to detail. This is a really unique and modern-looking bag with tons of storage pockets throughout. Peak Design values not wasting any space and that rings true for the Everyday Backpack Zip. It’s easy to pack this bag full and not have any loose space anywhere.
However, the maximization of space comes at a cost, which echoes my original complaints about the Everyday Backpack V1.
When filled with heavy contents, this definitely is not the most comfortable backpack out there. Sure, the bag has sternum and waist straps to distribute the weight more ergonomically, and the shoulder straps are noticeably more padded.
But the comfort problem stems from the ultra-stiff back padding, which seems to be there to allow the bag to attach to rolling luggage. This is indeed helpful if you travel a lot, and is a feature lacking on my favorite large camera backpack. But in general, this bag still feels like a pair of stilettos – you sacrifice some comfort for the sake of fashion.
The all-new Peak Design Everyday Backpack Zip (20L). 1/125, f/7.1, ISO 500.
Let’s end this on a positive note by talking about the real reason why I’m sticking to Peak Design: there’s a lifetime warranty on all of their products.
My Everyday Backpack V1 was a trooper for 2 years, but the zipper came apart recently, rendering the bag useless. Upon realizing there was a lifetime warranty, I contacted Peak Design via their website, and within days organized for a replacement bag to be sent my way.
I could not arrange for a new style of bag as the replacement and paid for the Everyday Zip out of my pocket. I still have a brand new version of my old bag that I can give away or sell, and I know that my Everyday Zip is covered under a similar warranty.
The all-new Peak Design Everyday Backpack Zip (20L). 1/125, f/7.1, ISO 500.
Conclusion
If you’re looking for a sleek, modern backpack to hold light camera gear and a laptop, this might be the camera bag for you. Because this bag is uniquely structured when compared to other camera backpacks on the market, it can take some time to get used to if you’re new to Peak Design backpacks.
Given its compact size, thorough utilization of space, and that lifetime warranty, this is a great bag to consider. It’s not perfect, but then again, what bag is?
The post Peak Design Everyday Backpack Zip Review appeared first on Digital Photography School. It was authored by Suzi Pratt.
Have you ever wanted to make your life simpler when it comes to finding stock photos, and by simpler I mean not dealing with confusing licenses, being afraid that one day an image you used may change its license, and not paying for subscriptions or collections of images? Well you are in luck as today I will be going into Continue Reading
The post Unsplash: The Perfect Source for Free Images? appeared first on Photodoto.
Bag manufacturer Peak Design has donated 100% of the profits it made from the launch of its first tripod to charities dealing with the coronavirus response and with climate change. The four-day launch saw the company sell 2265 units of its new Travel Tripod, which generated $ 218,150.
The funds were then split equally between the non-profits Centers for Disease Control Foundation which is assisting in the fight against the Covid-19 pandemic, and the Climate Neutral organization that helps companies to reduce their carbon foot print. Peak Design is actually a founder of Climate Neutral, which has so far certified 105 brands as being climate neutral, including Kickstarter, and is helping numerous others to achieve this goal.
The development of the Travel Tripod was funded by a Kickstarter campaign, and over the launch period, the aluminum alloy version generated $ 75,110 in profits while the carbon fiber version made $ 143,040 after selling 110 units more.
You can see more information about the Travel Tripod on our initial news coverage, as well as our hands-on with the carbon fiber version.
Press release:
Peak Design Donates 100% of Profits From its 4-Day Travel Tripod Launch Funds will be Distributed Between COVID-19 Response and Combating Climate Change
Peak Design, the worldwide leader in crowdfunding and everyday carry solutions, has announced it will donate 100% of profits from all Travel Tripods sold during the company’s highly anticipated launch, April 7, through April 10, 2020. Profits will include both sales of tripods through PeakDesign.com and through retailers worldwide. Funds generated by the launch will be donated to the CDC Foundation to support their efforts on the front-lines of COVID-19 response, and to Climate Neutral, an organization that helps businesses from all industries verifiably achieve carbon neutrality.
Peak Design depends on a global network of partners to ensure their products are safely manufactured and delivered. The launch of the Travel Tripod is an opportunity for Peak Design to continue to financially support their colleagues while helping to address two global crises. “Now more than ever is the time for us to act on our core values and ensure that our employees, contractors and retail partners can find economic shelter in a product we’ve spent years developing,” commented Peak Design CEO, Peter Dering. “Peak Design is also in a unique position to offer financial support to those that are solving the problem. To be able to donate in a time of need speaks volumes to the company we’ve built over the last ten years. I couldn’t be more proud,” continued Dering.
Peak Design understands that sustainability programs may come under threat as businesses are forced to examine expenditures due to COVID-19. In addition to donating to the CDC Foundation to support Coronavirus relief, Peak Design hopes additional aid to Climate Neutral will help to bolster the response to climate change. “Unfortunately we haven’t swapped one global disaster for the other. Climate change is still a very real threat amidst the COVID-19 pandemic and we fear that many businesses will be forced to consider the economic viability of their sustainability commitments,” states Dering. “We can’t afford to relinquish the progress we’ve made in combating climate change.”
The Peak Design Travel Tripod was originally launched on Kickstarter in May 2019, and raised $ 12.1M from 27,168 backers. Praised for its ground up reexamination of traditional tripod design, Peak Design achieved the world’s most portable, packable, and easy-to-setup tripod for professionals and first-time tripod owners alike. Customers can choose between carbon fiber (MSRP: $ 599) and aluminum alloy (MSRP: $ 349.95) starting April 7, at 12am PST.
For more information about the Peak Design Travel Tripod, please visit: http://www.peakdesign.com/pages/travel-tripod. To learn more about the CDC Foundation’s efforts in supporting the people, communities, and healthcare providers on the global frontline of coronavirus response, please visit: http://www.cdcfoundation.org. To learn more about how Climate Neutral assists businesses to achieve carbon neutrality, please visit http://www.climateneutral.org.
Lens manufacturer Viltrox has issued a statement warning customers that a number of its X-mount lenses can damage Fujifilm X-Pro3 camera bodies.
The statement, seen below, notes that ‘it would be better not [to] use [the] Viltrox 23mm, 33mm or 85mm X-mount lenses’ with Fujifilm X-Pro3 camera systems, as it can damage the camera ‘due to the structural conflict [wherein] they will scratch a little bit against each other.
This information is backed up by reports on this DPReview forum post from Pete Richardson that notes his Viltrox 85mm lens rubs up against the lens release button on the X-Pro3 camera body, causing ‘the slightest mark on the edge of the collar surrounding the release button.’ The reason this only affects X-Pro3 camera bodies is that the lens release button sticks out ever-so-slightly further than that on the X-Pro2, as illustrated in this screenshot from CameraSize.com by DPReview reader DarnGoodPhotos:
Note how the lens release button on the X-Pro3 sticks out marginally further than on the X-Pro2.
If that is the case, the damage would be mostly cosmetic, but it’s probably best to avoid using the lenses with the camera unless you don’t mind scratching up either item.
The post How to Arrange Your Photoshop Workspace for Faster Editing appeared first on Digital Photography School. It was authored by Darina Kopcok.
The key to quick and painless retouching is creating a workflow that works for you. Photoshop has a highly customizable workspace that you can set up in a way that best suits your needs. Here are some tips on how to declutter your Photoshop workspace for a seamless and efficient workflow.
Photoshop workspace preferences
A workflow that’s effective for one photographer may not be as helpful for another.
Your Photoshop workflow has to be built around your preferences and your most-used tools and windows. For example, the tools that I use most for my food photography may not be as useful for wedding photography or street photography.
For this reason, you may want to have multiple workspaces set up for different applications, especially if you shoot in more than one genre.
You may want to have a workspace for black and white photography only, and another you use for color retouching. It’s up to you if you want to have multiple workspaces and how you organize them.
The important thing is that you arrange your workspace in a way that you’re best prepared for the type of retouching that you want to do. This will keep distractions to a minimum and make the process of retouching go faster.
Photoshop comes with some pre-configured workspaces, depending on what you use the program for. You’ll find these, as well as your various options to set your preferences, under the Window tab at the top of the Photoshop workspace. The panels that show up in your workspace are denoted with a checkmark. Click them on or off accordingly.
Choose the default Photography workspace as a base and customize it from there.
When setting up your workspace, I recommend always showing your Layers and Histogram panels to keep you on track while retouching. I also like to sometimes have my History and Actions visible.
Rename your workspace in a way that will help you quickly differentiate it from other workspaces, if you have them. I personally only use one workspace because I mostly shoot in one genre – food photography.
Creating a new workspace
To create a new photoshop workspace:
go to > Window navigate to > Workspace choose > New Workspace Give your workspace a name Hit >Save
Toolbar and windows
The toolbar and various menus in the Photoshop workspace can be easily dragged to where you want them. In the default workspace, you can find the toolbar on the left-hand side. However, you can drag it to the right-hand side of your workspace, so you have all your tools and menus on one side. This can make the workspace cleaner and more effective because everything you need to access will be consolidated in one area, and your eyes won’t be bouncing around, looking for things.
Make sure that your most important windows are visible, and that you hide or collapse any that are unused, or rarely used.
Observe which windows and tools you use the most and make sure that they are prominent and easy to navigate to.
You can make your menus larger or smaller in relation to the rest of your workspace, depending on your preference. If you have a large screen, you might feel comfortable having several wide menus.
In my Photoshop workspace, I want to see my Histogram and Navigator panels at the top, where I’m used to seeing them in my RAW editor.
Below that, I have my Adjustments and Actions, which I access regularly.
I also always have my Layers panel open so I can see them all and know exactly which one I’m working on.
You can minimize a given window and have it noted by an icon. For example, I have minimized my History panel to a small icon because I want it accessible in case I need to step back in my retouching process, but it’s not a panel that I constantly use, therefore I don’t need to expand it.
History panel denoted with an icon.
When you move your panels around, note that they will be saved as such in the organization of the current workspace. If you go to another workspace and then come back, all your panels will be found in their most recent arrangement.
Floating menus
Any of the individual panels can be moved onto the screen. They can be moved outside the Photoshop window, or even onto other monitors, if you use a double or multiple monitor set-up.
Some photographers like to work this way, while others find floating panels annoying and intrusive.
Docking panels
You can dock panels with other panels to create panel groups.
To do this, you hover the pointer of the mouse over the boundary of another panel. A blue outline will show you where the panel will be docked.
Two panels docked together.
You can also dock several panels into columns, as I did with my History panel. Again, you probably want to do this with the panels that you need but use less often.
Shot at 38mm on a 24-70 f.2.8 zoom lens at ISO 100, shutter speed 1/160th.
Conclusion
An organized workspace is one of the most important factors in working effectively in Photoshop. Arrange your tools and panels in a way that makes sense for you.
This might mean:
creating multiple workspaces with various preferences for different applications
consolidating your toolbar and panels on one side of the screen
hiding unused menus and collapsing those that are used less often
docking floating panels and tools together or using floating panels on another monitor
minimizing the number of panels in your workspace to avoid distractions
At the end of the day, your retouching process has to make sense for you. Hopefully these tips will help you declutter your Photoshop workspace for a faster and efficient retouching workflow.
If you have any other tips for decluttering your Photoshop workspace, let us know in the comments.
The post How to Arrange Your Photoshop Workspace for Faster Editing appeared first on Digital Photography School. It was authored by Darina Kopcok.
Model Naomi Campbell became a cover star, make-up artist and photographer for the latest issue of Essence magazine as lockdown measures prevented the team from traveling that was booked to work on the special issue cover. Just days before the shoot was due to take place, as part of the magazine’s 50th anniversary issue celebrations, the USA went into lockdown so the magazine asked Naomi if she would shoot the pictures herself.
On the eve of her 50th birthday, @NaomiCampbell covers our 50th Anniversary issue, shot by the icon herself with an iPhone while in isolation during the COVID-19 pandemic. Tap the ? for more on our May/June 2020 issue. #ESSENCE50 https://t.co/JluyvLQwha pic.twitter.com/ZrL7F9ka8M
— ESSENCE (@Essence) May 5, 2020
Also celebrating a 50th anniversary, Campbell rose to the challenge and, with direction from the magazine’s creative team, set up and shot the pictures with her iPhone. Planning discussions went on from the team’s homes via video chat, and the actual shoot was styled and directed remotely on the day—and the pictures have turned out pretty well.
it also brought me hope and encouragement to know that our people and our infrastructures are resilient. We are rooted in knowledge and creativity and continue to take back full control of our narratives. We will come out of this stronger than ever.
— Naomi Campbell (@NaomiCampbell) May 5, 2020
‘Naomi shot herself with an iPhone,’ says MoAna Luu, the Chief Content & Creative Officer of the magazine. ‘We couldn’t send a team so, she had to do her hair, her makeup and her styling herself. We were on late night calls trying to figure out how she was going to do the shoot with her phone in her hand. Then, we had to do a re-shoot because the photos didn’t come out how we imagined. So, there were technical challenges, there were human challenges; but Naomi did it all without asking any questions, she never quit. What’s amazed me the most about working with Naomi to do this cover shoot during the pandemic is the way that she embraces the fact that she truly controls her own narrative. She’s never waited for people to do for her; she’s created her own opportunities. She’s been a pioneer in so many ways and now she’s a pioneer in ESSENCE history because she’s completely and literally controlling her own narrative in this issue from the cover to the in-book story.’
Presenting GQ’s June/July cover star: Robert Pattinson. See all the self-portraits by Robert Pattinson and read the story by @ZachBaron here: https://t.co/EPzPWk2vTH pic.twitter.com/2IZ75xJ3gE
— GQ Magazine (@GQMagazine) May 12, 2020
Campbell isn’t the only one doing her own shoots during the global pandemic, as Batman actor Robert Pattinson had to take the pictures for an interview with him for GQ magazine. Pattinson had the good fortune to have a Nikon DSLR to shoot himself with rather than his phone, but perhaps a little less direction from the magazine. The pictures are pretty cool, and one shot in a mirror is used on the cover of this month’s magazine while another is being used as the header on the magazine’s social media channels.
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