Pictures and video from an action camera can be awesome. But how do you get the best shots? It’s all about the mounting of the camera and we’re going to tell you how to do it. How and where do you mount an action camera? The most popular place to mount an action camera is on a helmet using a Continue Reading
The post How (And Where) To Mount an Action Camera (On Anything!) appeared first on Photodoto.
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You’ve bought your first camera. You’ve bought some film. You’re ready to load up and start shooting. What could possibly go wrong? Lots of things! When you make a mistake with your digital camera, you’ll know right away, but with film, it’s not until days or weeks later, when you’re home from your once-in-a-lifetime trip that you discover you’ve screwed up the picture you can never re-create. This is what makes film so awesome.
The good news is that you are not alone – with film, mistakes are part of the process. I can’t stop you from screwing up (and I wouldn’t want to, because misery loves company), but I can give you a heads-up on common mistakes to look out for – and, in some cases, how to fix them.
Photos by: Dan Bracaglia (except where noted)
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Nearly every film shooter will at some point get developed negatives back from the lab with nothing but edge writing and numbers on them. There are two possibilities: 1) Your light meter is way, way, way, way, way off, or 2) you didn’t load the film properly.
For 35mm cameras, a good indicator of the latter is that you loaded a 36-exposure roll last week and you’re on your 67th shot. Take-up reels don’t always grab the film properly, so make sure you fire-and-wind at least one shot before you close up the camera in order to verify that the film is moving, and once the back is closed, rotate the rewind lever to (gently) tension the film.
If the winder continues to rotate freely, that means the film sprockets didn’t engage (and commiserations – you just accidentally rewound an unexposed roll of film). If you loaded the camera correctly, once the slack has been taken up, the rewind knob should turn on its own as you advance the film.
For medium-format cameras, a surprisingly common misstep is loading the film backwards so that the backing paper, not the film, faces the lens. You might say, “Well, the backing paper has writing on it. How stupid must I be to get that wrong?” But in the case of cameras that use detachable film magazines, things can get very confusing indeed, because the paper markings will be facing inwards on the magazine. So a better question to ask is, “How stupid must the camera be?” Take it slow, visualize how the magazine fits into the camera and you should be fine. Better yet, read the manual.
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Not all cameras have a nifty little film window.
This is another of the classic “oh crap” moments in film photography: You pop open the back of the camera and see there’s already film there. (Alternatively, you drop the camera and the back opens. Happens to all of us.) The very first thing to do – preferably during and not after the obligatory cursing – is to close the camera back right away. (Seems obvious, but we all get paralyzed by disbelief.)
Have you just ruined all your pictures? Probably not. You’ll definitely lose the current exposure, and the two or three previous will likely be spoiled or partially fogged. But most cameras wind the film tightly enough that the rest of the photos will be okay if you get the back closed quickly enough. Film still in the cartridge will be fine; just fire off a couple of “blank” shots to get past the film that was exposed when you opened the back.
Some 35mm auto-wind cameras, like Canon Rebel SLRs, protect against this sort of thing by winding all of the film out of the cartridge when you load them and then rewinding as you shoot. That way, any pictures you’ve already taken are safe, and it’s only possible to ruin the unexposed portion of the film. (Isn’t it nice to know a camera was designed with the assumption you’d screw up?) Chances are in this situation that the rest of the roll is still usable once you’ve shot past the frames which are definitely ruined, but if you’re shooting anything important, it’s best to play it safe – rewind the film and load up a fresh roll.
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As someone with a bad case of GAS (Gear Acquisition Syndrome), I have a lot of cameras and I can’t always remember which ones I’ve loaded with film. To be fair, I often can’t remember what I had for breakfast or where I left my keys or my children, either. Auto-wind cameras usually have an icon to tell you if they’re loaded, but what about manual-wind cameras that don’t?
Easy solution: Remember earlier how we tested that the film was loaded properly by tensioning the film with the rewind knob? That trick will also tell you if there’s film loaded. Pop out the rewind knob and turn it gently. If there’s film, it should move freely at first then start resisting as you take up the slack. (Don’t turn with too much force or you may rip the sprockets on the film.)
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You rewind your last roll of film, pop in a new one, go to set the ASA/ISO dial, and your heart sinks – you see the dial is set at 100, but the film you just pulled out is 400. Cue the movie guy running in slo-mo and yelling “NOOOOOOOO!!!”
Panic not, my petal, for this is a common mistake with an easy fix. If you’re shooting color print film and you’re only off by a stop (½ or 2x the right ISO) or even two, you probably don’t need to worry. Consumer-level C-41 process film has a lot of latitude; in fact, disposables and other cheapie cameras with limited exposure settings count on this built-in flexibility. (Traditional-process black and white and some “pro” print films are less forgiving, and slide film even less so.) If in doubt, just tell your lab what happened. If necessary, they should be able to compensate with processing (albeit sometimes at extra cost).
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Nope, can’t do that with film! On a digital camera, turning the ISO dial changes how the camera records images, but on a film camera all it does is calibrate the meter so that you get correct readings for the film speed you’re using. If you want consistent metering (and you usually do) the whole roll has to be shot at the same ISO. The only exception to this is for exposure compensation. If you’re shooting ISO 200 film on a bright snowy day, setting the ISO to 100, or even 64, will help compensate. Similarly, if you’re shooting a moody portrait of someone wearing dark clothing, setting the ISO dial to 400 or 800 will prevent skintones from coming out too dark.
Many more advanced film cameras offer a dial with +/-2 stops of exposure compensation to make this easier to get your head around, but it’s the exact same thing (with the advantage that it’s quicker to dial in, and you’re less likely to forget to unset the compensation later).
You also have the option of pushing or pull your film. Pushing is when you intentionally under-expose your film, then compensate by over-developing, and pulling is the opposite. The pictures won’t be perfect; they may have more grain, more or less contrast, or color shifts, but they will come out. (Some film stocks respond better to pushing and pulling than others.) Why would anyone do this? Sometimes it can lead to an interesting look, and it’s also a handy way to get more (or less) sensitivity in a pinch.
For example, when shooting indoors under low light, instead of using dedicated high-speed film, I push my 400-speed Ilford HP5 Plus film two stops by setting the meter to 1600, then alter my developing as outlined on the data sheet. There’s more grain and contrast, but I happen to like the look.
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Modern digital cameras have sophisticated multi-zone meters that can figure out tricky lighting situations. I’m amazed at how even my phone can get pictures that would be impossible for most film camera meters to sort out. Then again, I’m amazed that my phone can make phone calls and that they can fill up soda bottles without the soda fizzing all over the factory. Seriously, how do they do that?
Anyway, multi-zone metering was in its infancy when film gave way to digital, and most film camera meters are center-weighted, meaning they take an average of the scene with more emphasis on what’s in the middle (presumably what you’re pointing the camera at) and a little less on the top part (presumably the sky, which screws things up when you rotate the camera for a vertical shot). As I mentioned earlier, bright or dark backgrounds, deep shadows, snow, nuclear fireballs and other scenes with large light or dark patches can fool the meter and throw off your exposure.
What do to? Serious photographers carry a gray card, but serious photographers tote enough gear to flatten a pack mule. In a pinch, you can take a meter reading off the grass or a patch of medium-toned fabric – just make sure the camera is pointing in the same general direction as your subject. If the readings are different, the scene is probably fooling your camera’s meter and you should adjust accordingly.
If in doubt (and assuming you don’t mind burning through film a little faster) just take a handful of shots at slightly different exposure settings to make sure. At least one of them is likely to turn out.
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Asking a bunch of photographers which film is best is like asking them which letter of the alphabet is best. As sure as loading 800 ASA film makes the sun come out and 50 ASA makes it rain, you’ll get 85 replies and no consensus. That’s because different films have different characteristics, and “best” is a matter of personal preference (which is why there are so many choices). Everything I’ve ever read on any forum about a given film being good or bad has been wrong – not because the people don’t know what they were talking about (though a couple obviously didn’t), but because the question of film quality is so subjective.
The best way to find the right film for you is to try different kinds and see what you like. I recommend starting with well-known staples like Kodak Gold or Ilford HP5+ to get some sort of a baseline for yourself. (Best not to start with slide film, as it’s really picky about proper exposure.) Then you can ask a different kind of question on the forums: “I’ve been shooting BlastMax 200 and I was thinking about trying a roll of Elbowchrome. What can I expect?” Now that your fellow shooters know your baseline, they can give you a more meaningful answer by comparing the new film to what you know. Better yet, don’t ask – just buy a roll and decide for yourself.
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For those who haven’t heard of it, the Zone System is how famed landscape photographer Ansel Adams made his amazing black-and-white landscape photos. It’s an elaborate method that involves treating exposure, developing and printing as a unified system: you make adjustments in one part of the process that are compensated by adjustments in the others. Incidentally, you can use a form of the Zone System in digital photography, and it’s quite a bit easier since your “processing” is electronic.
The Zone System has understandable appeal to digital photographers who are used to mining the data to draw details out of their exposures. If you’re developing and printing your own black-and-white film, then by all means, dive into the Zone System. But, really, you don’t need to. Bracketing, where you shoot a couple of exposures over and under your metered exposure at ½- or 1-stop increments, as descried earlier, is a better way to give yourself options, and always a good idea with slide film. Better to concentrate on things like composition, because a boring photo is a boring photo no matter how perfectly it’s exposed.
Photo: Ansel Adams / US National Archives and Records Administration
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Someone recently wrote in DPReview’s Film Photography Talk forum, “If you want to hate film photography with a passion, start with slide film.” Truer words have never been typed. This isn’t a mistake all newbies make, but it’s one to be avoided. Here’s the deal: Slide film is exceptionally sensitive to proper exposure. If you (or your camera) is off by even a little, the picture won’t look good. Back In The Day, shooting slide film gave you bragging rights, but that’s when the film and processing didn’t cost much more than print film. You could afford to burn half a roll by bracketing (shooting pictures over and under your camera’s meter reading) to get that perfect shot.
Today, slide film and its processing is more expensive, and with so many photographers using a digital workflow (scanning and printing), many negative films are now optimized for scanning. Slides are still cool, slide film is typically sharper and finer grained than equivalent print emulsions, and slides look great when projected. If you want to shoot slides, I certainly won’t try to stop you. But I suggest waiting until you have some experience with your camera.
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Neglecting to fit a UV filter is a mistake you might not realize you’ve made until it’s too late. Though they do filter UV light (not really a concern with modern films; older film stocks could go a bit blue without one) their real job is to protect your lens in case you drop the camera or hit it against something, which I absolutely guarantee you will do at some point. And yes, this is experience talking – I’ve done it both ways. Most recently, I had a Nikon zoom fall off a shelf and land face-down. The $ 8 filter shattered and the $ 50 lens was unscathed. I could have kissed that filter, except that putting broken glass to your lips is a bad idea.
I’ve heard people argue against protective filters by saying that a shattered filter could scratch the lens surface, but this is rare. I have, however, heard many, many, many stories about photographers bashing their cameras into rocks or walls or furniture or people and having the UV filter save the lens. UV filters cost from $ 5-$ 10 up to $ 100+ (personally I use these Amazon Basics filters) and they’re worth it, protecting you from the consequences of bad spur-of-the-moment decisions.
Photo: Magnus Akselvoll
Articles: Digital Photography Review (dpreview.com)
The Duchess of Cambridge has launched a photography competition in partnership with the National Portrait Gallery to document stories of human kindness and suffering during the coronavirus pandemic lockdown in Britain. A keen and very capable amateur photographer herself, the Duchess says that she hopes the competition will showcase life under the lockdown and tell stories of how the inhabitants of the UK were affected.
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The contest, called Hold Still, will culminate in an online exhibition of 100 of the best images entered. Though not categories as such, the themes of Helpers and Heroes, Your New Normal and Acts of Kindness have been suggested, and Kate expects to see images depicting harrowing stories, stories of sadness as well as uplifting stories that show how the population has come together to help each other.
The competition will be judged by the Duchess herself along with the Director of the UK’s National Portrait Gallery, Dr Nicholas Cullinan as well as members of the gallery team. Entry to the competition is free and you can one images along with a short explanation of what the picture is about. The Gallery says ‘Images must involve people, and can be captured on phones or cameras. Each image will be assessed on the emotion and experience it conveys rather than its photographic quality or technical expertise.’ The images must also have been taken in the UK.
The Duchess of Cambridge is a patron of the National Portrait Gallery as well as being patron of the Royal Photographic Society. She has become recognised for her touching pictures of her children, and is known to be a Canon DSLR and Powershot user, and has taken lessons from a well-known UK press photographer. She recently released images taken as part of a project to commemorate the 75th anniversary of the end of the Holocaust.
The competition is open now, and closes on 18th June 2020. You can find more information and submit your entry on the National Portrait Gallery website.
Press information
Why is the project called ‘Hold Still’?
Today our society had been told to isolate, to stay inside, not to travel unnecessarily or go out unless vital –to hold still to protect our helpers and heroes.And while many people’s lives are on hold, there are some that work harder than ever, and others that endure the upheaval of hardship and loss.
Through this project we hope to record these experiences, holding still to capture moments in time.
So for both those whose lives have been forced to slowdown and those working at a hectic pace, we hope this project will provide an opportunity to record our personal experience through one still image. And that by bringing together these individual moments we can create a collective portrait of lockdown reflecting resilience and bravery, humour and sadness, creativity and kindness and tragedy and hope.
‘Hold Still’ is a portrait of our nation as we pause for the good of others, and a celebration of those who have continued so we can stay safe.
What are the three themes?
These have been suggested to help entrants think about what they may like to photograph.
Please note these themes are not categories that entrants will specifically enter but are intended as inspiration for the content and will be in the minds of the panel when they are selecting the final 100.
What are the entry dates?
Entry opens on 7 May 2020 and the closing date 17.00 on 18 June 2020
Are there any restrictions on who can enter?
The project is about recording the experience of people in the United Kingdom so we would like the photograph to have been taken in the United Kingdom.
There is no age restriction, and the project is open to adults and children alike. However, when submitting an image, entrants will need to confirm that the image is their own work and is not defamatory and does not infringe any UK laws (see Terms & Conditions for full details) and that anyone under the age of 18 has the consent of a parent/guardian to enter. Consent will also be needed for any sitter who is identifiable in the photograph (for those under 18 from a parent/guardian).
We will ask entrants to follow current social distancing rules when taking part.
How do I enter my photograph?
Visit www.npg.org.uk/holdstill, complete the entry form and upload your image, along with a short title telling the story of the photograph.
How many images can I upload?
You can upload one digital image.
Any format restrictions on entries?
What are the requirements for the image that I upload?
Each image must be saved as a JPG/JPEG and be smaller than 3 MB.
How many photos will end up in the final selection?
The final selection will be 100 photographs.
What other requirements will be needed?
If your image is part of the 100 selected, you will be required to complete a form to provide information about yourself and the image.
Will there be a cap to the total number of entries to the project?
There will be no cap on the total number of entries to the project.
Who will be making the selection?
The selection will be made by a panel including members of the National Portrait Gallery team, The Duchess of Cambridge and Director of the National Portrait Gallery, Dr Nicholas Cullinan.
When will the selection be on view?
The selection will be available to view as a ‘virtual’ exhibition on the Gallery’s website in August 2020. Following this ‘virtual exhibition’ we hope to show the images across the country later in the year although we are unable to confirm details at this point due to the current restrictions.
Can I send in my application by post?
All submissions must be made online via the website.
I would like to take a picture via an app of someone I miss who is based in another country, is this allowed?
Yes, this allowed as the picture is taken in the United Kingdom.
What will you do with my personal information?
Please see terms and conditions. All personal data given will be held securely by the Gallery and only be used to administer your entry. It may be used for internal research/statistical purposes. It will not be passed to any third parties apart from the project partners for administration of the project.
Articles: Digital Photography Review (dpreview.com)
The post The Sony a7S III May Be Announced in Late June appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Over the past several weeks, rumors of a new Sony full-frame camera have been on the rise.
And, taken together, it looks like we may have a Sony a7S II successor before the summer is out.
One rumor, originally reported by Sony Alpha Rumors, suggests that a Sony full-frame camera (and a full-frame lens) will debut at the end of June.
Another rumor, also revealed by Sony Alpha Rumors, tells of a Sony a7S II successor in “late June.”
According to this second report, the a7S III should be launched toward the end of next month, with the camera “scheduled to be on the market by late Summer,” assuming that coronavirus doesn’t cause further, unexpected issues.
Put these two reports together, and an a7S III seems very likely, though it is possible that we’ll be surprised with an a7 IV.
An a7S II successor is long overdue; the a7S II launched way back in 2015, and since then much has changed in the camera industry. Note that the a7S III would be part of Sony’s video-centric stills lineup, which focuses on high-quality video over features such as huge megapixel counts and insanely good autofocus tracking.
So what can we expect from this new Sony snapper?
First, the a7S III should feature at least 4K/60p (the old a7S II offers 4K/30p), but there’s also a possibility for a jump in resolution to 6K or even 8K.
A June-announced 8K camera would be poised to compete with the upcoming Canon EOS R5, which will leapfrog over other mirrorless bodies to offer 8K/30p recording. Personally, I’m doubtful as to whether Sony could pull this off; it’s far more likely that we’ll get 4K/60p, or maybe 6K.
We should also see some standard Sony features: touchscreen capabilities, IBIS, faster AF, and a relatively compact body. The a7S II was (and is) a powerful low-light shooter, so the a7S III may take that even further, offering top-of-the-line high-ISO performance.
As for the price:
The Sony a7S II is currently available for around $ 2000 USD, but it debuted with an MSRP of $ 3000 USD; we can expect that the a7S III will start at this mark, though it’s possible we’ll see a higher price if the camera offers some unexpected features (such as 8K video).
So if you’re a hybrid shooter looking for your next camera, keep an eye out for updates over the next couple of months!
Now over to you:
Are you excited about the potential release of the a7S III? What do you think the camera will offer in terms of video and stills capability? Share your thoughts in the comments!
The post The Sony a7S III May Be Announced in Late June appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post Color Photography Exercises to Help You Improve Your Skills appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
Learning to use color in your photographs well will help you, in many ways, to take better pictures. Many photographers tend not to practice with the aim of improving their skills. We all like to take good photos. Doing some color photography exercises will help you build awareness. You can learn how to incorporate color into your photographs with more meaning.
“The ability to see the quality of color and it’s different relationships is an art, as well as a skill that must be honed through continual exercise.” ~ Nevada Wier, travel photographer and author.
In this article, I want to encourage you to practice looking a the colors in your compositions. Understanding how colors in a picture interact will help you add more feeling to your photography.
Understanding of color and how to use it well is a good skill to acquire. Like any skill, it takes study and practice. Getting a little theory in your head is rarely enough – you need to put it into practice to begin to comprehend it in practical ways.
These color photography exercises are designed to help you be more aware and considerate of how you use color in your photographs.
The color wheel has been in use by artists and scientists since Sir Isaac Newton first developed the design in 1666. There are now many variations. But the basic color wheel can provide you with enough relevant information. It will help you understand the relationships between different colors. This basic wheel is displays three types of colors:
Three primary colors make up the simplest color wheel. Red, yellow and blue are primary colors. These cannot be made by mixing other colors. All other colors are combinations of primary colors.
Secondary colors are green, orange and purple. They are created by mixing two primary colors together.
Tertiary colors are created by mixing a primary and a secondary color. These are:
Complementary colors are opposite each other on the color wheel. Used together they produce high contrast and high impact.
They are:
Find or create photos using complementary colors boldly in your compositions. You might find a red flower and frame it so you can only see grass or foliage behind it. You could slice an orange or papaya and photograph it against a blue background.
You could find two objects that have complementary colors. Photograph them against a plain, non-colored background.
Have a look around your home or garden and I am sure you’ll find things of strong primary colors that you can photograph together.
Analogous colors are sets of three colors that lie next to each other on the color wheel.
Using combinations of these colors creates a harmonious feeling in photographs. These colors often occur in nature and are pleasing to the eye. Choosing one color to dominate and the others to support will help you create more relaxing images.
This exercise may be a little more challenging because you need to find things with three colors that are close to each other on the color wheel. Don’t fret if you cannot find colors that match the color wheel perfectly – close enough is good.
You might find something of a primary blue and place it in a composition with a blue-green and green. This will create a photo with a cool, harmonious feeling. Choosing warmer colors, such as orange-red combinations, produce photos with a positive feeling.
Look around. You may find these combinations happening naturally in your garden, or you may have to create some still-life setups.
A triadic color scheme is a combination of three colors that are evenly spaced around the color wheel. Red, blue, and yellow together are triadic. As are orange, green, and violet and the set of three tertiary colors.
Look to use these sets of colors with one dominant and the others to accent it. You might have a red and a blue pen on a yellow background. Or a green apple and an orange on a violet background.
Try various ways to compose your photo so that one or other of the colors is more dominant in your photos. Look for different angles or, if you can, move your subjects around and arrange them alternatively.
Shades or tints of a single color used together can produce very interesting color photographs. Shades are colors with varying degrees of black added to the color. Tints are colors where white has been added.
Find items around your home or in your garden that you can create monochromatic compositions with. The color will all be essentially the same. The interest will be determined by the degrees of shade and tint you can include.
Green against green is the most common monochrome we see in nature. Or, depending on where you live and the season, it may be brown on brown.
Think imaginatively as you look for different things to photograph. Try and create interesting photographs with color use as the main subject. The purpose is to learn and practice how colors relate to each other in a photograph.
When you practice anything enough, it becomes second nature. Doing these exercises may seem a little odd because you may not be taking great photos. Color photography exercises like this help you develop your color awareness more. Once you are well-practiced, you will ‘see’ color and color combinations more naturally.
So, try these color photography exercises and share your results with us in the comments section.
The post Color Photography Exercises to Help You Improve Your Skills appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
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At the time of its announcement on February 12 this year, Nikon said its flagship D6 DSLR was expected to ship in April 2020, with pre-orders starting the day of its announcement. However, due to component supply issues caused by the COVID-19 pandemic, Nikon was forced to issue a ‘notice of delay’ on March 9 stating the first units wouldn’t be shipping until May.
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Nikon has held true on that promise, confirming in a press release today that the first D6 units will start shipping to customers on May 21. In addition to the new shipping date, Nikon also shared a few images captured with the new DSLR as a teaser of sorts to tide over customers (and pixel-peepers alike):
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You can read more about the Nikon D6 in our initial coverage linked above, as well as in our hands-on coverage from our time with it at WPPI. Pre-orders are still live at retailers acros the globe, with the D6 DSLR body-only going for $ 6,500 (Adorama, B&H).
Press release:
MELVILLE, NY (May 7, 2020) – Today, Nikon Inc. announced the retail availability of the new Nikon D6 DSLR, which was unveiled in February of this year. The D6 will be available in the U.S. starting on Thursday, May 21 for the suggested retail price (SRP) of $ 6,499.95* for the body-only configuration.
Whether on an assignment or in the studio, Nikon’s flagship D6 DSLR always delivers. The D6 incorporates Nikon’s most powerful AF to date, featuring a high-density system with 105 selectable cross-type AF points to help capture pivotal moments again and again, even in the most challenging conditions and environments. Since every second counts, the uncompromising D6 incorporates important upgrades to enhance photographers’ workflow and accelerate file transfer capabilities, offering time-saving and customizable options during and after capture. Additionally, the D6 offers robust reliability, unrivaled low-light capability, amazing versatility, 4K UHD multimedia capabilities and a mechanical shutter frame rate that can capture at a blazing fast 14 frames-per-second (fps).
Articles: Digital Photography Review (dpreview.com)
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Blackjet has two relatively new storage peripherals: the new TX-4DS four-bay Cinema Dock with Thunderbolt 3 and the TX-1CXQ reader for CFexpress Type B and XQD cards. Both products offer rapid data transfer speeds up to 40Gb/s due to the inclusion of Thunderbolt 3, making them suitable for users who often shoot Ultra HD footage, manage data-heavy projects or who need to rapidly transfer large batches of images between drives.
The Blackjet TX-1CXQ Thunderbolt 3 hub features support for CFexpress Type B cards and Sony XQD / XQD 2.0 cards with ingest speeds up to 1600MB/s and 500MB/s, respectively. The hub is powered by the Thunderbolt 3 cable that connects the device to the user’s computer. The TX-1CXQ works with Windows 10 and macOS 10.12 and higher.
The model is priced at $ 199 but is listed on multiple online retailer websites as on backorder without clear availability or shipping dates at this time.
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Joining the card reader is the Blackjet TX-4DS Thunderbolt 3 Cinema dock, which features four M.2 NVMe SSD enclosures, dual Thunderbolt 3 ports for daisy-chaining up to five Thunderbolt devices (displays, external drives, etc.), and optional reader modules for directly turning the inputs into CFast 2.0, XQD, SDXC, SSD, SxS and CFexpress card readers.
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The TX-4DS features a built-in cooling fan and can be configured with RAID 0, RAID 1 and JBOD using the included software. The unit measures 120 x 145 x 155mm (4.7 x 5.7 x 6.1in); it is compatible with Windows 10 and macOS 10.12 or higher.
The enclosure is available from numerous retailers, including Amazon and Adorama, for $ 499.99—the price doesn’t include SSD drives, which are sold separately. You can find out more information on Blackjet’s website.
Articles: Digital Photography Review (dpreview.com)
DJI has lifted the veil on its latest commercial drone platform and its first hybrid camera series, the Matrice 300 RTK (M300 RTK) and the Zenmuse H20.
While the M300 RTK and Zenmuse H20 are both packed with features designed specifically for commercial use-cases, the systems feature a number of groundbreaking technologies and features that will inevitably make their way into more consumer-centric drones.
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The M300 RTK features a unique design with a top-mounted body and bottom-mounted blades, opposite of its 210 predecessors. This unique design allows advanced AI-powered technologies to get a more expansive overview of the environment for less obstructed viewing. The chunky array atop the drone features a six directional sensing and positioning system that offers a maximum object-detection range of up to 40m (130ft) horizontally, as well as an Anti-Collision Beacon for making the drone more visible in low-light environments. DJI has also included its AirSense (ADS-B) technology that will alert pilots if other aircraft or drones are nearby.
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DJI has also improved its OcuSync Enterprise technology to enable triple-channel 1080p video transmission up to 15km (9.32m) thanks to its 2.4GHz and 5.8GHz connections, which will switch in real-time based on what offers the clearest connection.
Together these systems work together to power the Primary Flight Display (PFD) that ‘merges real-time flight and navigation data into one integrated display.’ Aside from the usual flight telemetry, the pilot will also see obstacle data and other details to ensure a proper flight path in tricky conditions.
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The M300 RTK also features DJI’s new Advanced Dual Operator Mode, which gives two separate pilots equal access to flight controls, telemetry and other data. ‘Now, if one pilot becomes compromised or their controller loses battery or connection, the other pilot gains full control over the M300 RTK and its payloads,’ says DJI. This feature can also be used for training new pilots, where the teacher can take over control of the drone if need be.
When paired with the new Zenmuse H20 camera system, the M300 RTK will also offer two new means of syncing the drone’s location with objects of interest for more precise location tracking in coordinated missions, such as search-and-rescue operations and critical infrastructure repairs. The first is PinPoint, ‘a function that allows users to mark the subject of interest and instantly share the precise location data to a second operator or if necessary to ground teams via DJI FlightHub.’ The second method is Smart Track, ‘which allows users to automatically detect and track a moving object, even at extreme distances, while synchronizing the subject’s dynamic location in real time.’
The M300 RTK is capable of carrying up to three payloads—two on the bottom of the drone and one on the top. Below are a few product photos, including a trio of images showing one-, two- and three-camera setups.
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Additional data collection tools include Live Mission Recording, AI-Spot Check and Waypoints 2.0. Below is a description of each of the three systems from DJI:
‘Live Mission Recording [is] for recording sample automated missions in real time; AI-Spot Check which enables data collection from exactly the same location every time, greatly improving the accuracy of automated missions. After photos from a sample waypoint inspection mission have been recorded, operators are able to mark the subject of interest. During subsequent automated flight missions, AI algorithms perform a comparison between the marked subject and current live view, thus correcting the camera orientation accordingly to deliver accurate and consistent results; and Waypoints 2.0 [is] an improved mission planning system offering up to 65,535 waypoints, while supporting an array of consecutive actions, 3rd party payloads, and more.’
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DJI says the M300 RTK offers up to 55-minutes of flight time on a single battery, offers AES-256 Encryption of its data between the drone and its connected controllers, has IP45 Protection with an operating temperature window of -20 to 50° C (-4 to 120° F) and a self-heating battery when running in the lower temperatures.
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While the M300 RTK can be used with other payloads, including previous camera systems from DJI, the Zenmuse H20 series is designed to make the most of the new technologies inside DJI’s latest drone. The H20 series comes in two versions: the H20 and the H20T.
The H20 is a triple-sensor unit with a 20MP, 23x Hybrid Optical Zoom Camera, a 12MP Wide Camera and a Laser Range Finder that covers distances from 3–1200 meters (3–1312 yards). The H20T, on the other hand, adds an additional Radiometric Thermal Camera (640 x 512 pixels), that ‘allows operators to see what is invisible to the human eye thanks to high thermal sensitivity.’
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DJI has also updated its Pilot app to make it easier to switch between the various sensors onboard the H20 series payloads and added a few new modes to make the most of the multi-camera array. One-Click Capture will capture photos or video from all three cameras simultaneously without having to switch between cameras mid-flight, as well as a Night Scene mode that will capture better low-light images when lighting conditions are less than ideal.
Both the M300 RTK and Zenmuse H20 series payloads are available to pre-order from authorized DJI Enterprise dealers. the first units are expected to ship in the second quarter of 2020.
Articles: Digital Photography Review (dpreview.com)
The post Four Essential Beginner Photographer Tips appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
If you are new to photography the possibilities can seem endless and the options almost overwhelming. Buttons, dials, apertures, shutters, flashes…where do you even start? Of course, it’s always good to learn basics like the exposure triangle, but there are some simple beginner photographer tips that will immediately elevate your picture-taking prowess.
The first of the beginner photographer tips is tho look for the light.
Does your camera have a flash? Great!
Does it turn on all the time? Not so great.
This is usually a sign that your camera thinks your picture is too dark, so it tries to add a bit of light to fix things. From that perspective, the flash makes a lot of sense, but often it can end up ruining what might otherwise be a perfectly good photo. Instead of a pleasing, well-lit image, you end up with red eyes, harsh shadows, and bright spots of light reflecting off windows.
Instead of relying on the flash, look for the light that’s already available and reposition yourself accordingly. If you are indoors, put your subject in front of you and put your back to a window. If you are outdoors, look at where the sun is. Move yourself and your subject so that the light is behind you, not behind the person or object you are shooting. Better yet, re-compose your shot so your subject is in the shade and evenly lit.
In the picture above, the light was so bright that my kids were entirely shrouded in shadow, creating a silhouette.
The only way to save the photo was to make it black-and-white in Lightroom! I could have also waited until the light was more overcast to get a more even exposure. Or I could have intentionally used the pop-up flash as a fill flash to add a touch of light to the two shadowy subjects.
This technique works for casual snapshots, formal portraits, or pretty much any style of photography.
To get this group photo of three generations of women in a park, I had to get a little creative with light and positioning. I found a spot that was in the shade of a tree, so all their faces were well lit. You can see a swath of light going across the foreground that would have wreaked havoc on the photo if everyone was two steps forward.
Looking for the light is one of those beginner photography tips that sound constraining, but with practice, it will become second nature. You will automatically find yourself thinking about light and shadow and how to create the best composition without resorting to that pop-up flash. It’s also one of the most impactful things you can do to differentiate your photos and make people think twice when considering you as more than just an amateur.
Modern DSLRs and mirrorless cameras are outstanding when it comes to autofocus – certainly much more than their counterparts from a few years ago.
Modern focusing systems can track people, objects, and animals with ease. The latest mirrorless cameras can even lock focus on a single eye and reacquire in an instant if the person turns their head or another object momentarily blocks your view.
Action shots are almost impossible without rock-solid autofocus. Almost any camera you get is probably going to be up to the task as long as you’ve got the right lens.
There’s one mistake that a lot of beginner photographers make that can really hold back your action shots or even just everyday photos of people or pets. They use single-shot autofocus instead of continuous autofocus.
When you half-press the shutter button you probably here a sound to let you know that your shot is in focus. It might be a quick beep-beep along with a little dot or square lighting up to indicate that your picture will be tack sharp. Continue pressing your finger and you’ll get just what you expect: a crystal clear image in bright, vivid color.
This is all well and good, but what if your subject moves in that brief moment between the time you lock focus and press the shutter button fully? Worse, what if you want to take another picture?
You have to lift your finger off the shutter button, do a half-press to acquire focus, and then push the shutter down all the way to complete the shot. It might not sound like much, but a lot can happen in that short time!
The solution is to enable your camera’s continuous autofocus setting.
Instead of focusing once, continuous autofocus means your camera will keep your subject locked no matter where your subject goes. It will be in focus as long as you never fully lift your finger from the shutter button. This technique is incredibly useful for everyday shots and almost mandatory for fast action, especially when paired with back-button focus.
Every camera does this a little differently and you’ll find it by looking in the menus under the focus settings.
While it’s not always required, especially if you are shooting still objects or doing macro work where manual focus is preferred, I have found that I generally prefer continuous autofocus in most situations. If you are shooting with a prime lens wide open, where depth of field is razor-thin, it can really help you get better photos with minimal effort.
The next of the beginner photography tips is to use Program Mode instead of Auto.
Every camera has a few different exposure modes, and if you are new to photography, you might find comfort in using the familiar green Auto setting. And there’s nothing wrong with that! Auto is great for a lot of people, and camera manufacturers have tweaked the auto setting so well that it really does produce good results.
Most of the time.
Even though there’s a lot to be said for learning Aperture or Shutter Priority, or even going all the way with Manual Mode, there’s a good middle ground that a lot of beginners don’t know about. It’s called Program Auto, and if you want a little more control than what Auto has to offer, it might very well be the solution for you.
Program Auto is kind of like regular Auto, but you get a little more control over the exposure. The camera starts by setting a value for lens aperture and shutter speed that it thinks will give you a properly-exposed image. You can see these numbers in the viewfinder or on the rear screen, but if you don’t like what the camera selects all you do is turn a dial.
You’ll see the aperture and shutter change but the exposure will remain constant.
Want a little more depth of field? Rotate the control dial on your camera until the aperture value is larger.
Want a faster shutter speed? Spin the dial until the shutter speed increases. Program usually lets you control the ISO as well. And if you still don’t like your picture, you can use exposure compensation to make it brighter or darker.
While the green Automatic mode on cameras is a great way to get started, Program is a good way for beginners to take a bit more control over their photography without getting too confusing.
This final of the beginner photography tips applies no matter whether you have a fancy expensive DSLR or a basic mobile phone. It’s about getting yourself on the same plane as your subject or shooting your subject from a more interesting angle. It’s particularly useful when taking pictures of children, but applies in almost any photographic situation.
The default position for a lot of beginner photographers is to take a picture from an eye level that works for you. It’s usually standing up, sitting down, or whatever position you happen to be in when a picture opportunity presents itself.
For better photos, it’s important to move around and look for a more interesting, compelling, or exciting vantage point.
This a simple thing to do, but it takes repeated practice until it becomes second nature. If your subject is short, crouch (or lay) down to get a more interesting shot, and if your subject is tall, find a way to elevate yourself.
It might not be easy or even comfortable, but your pictures will be much better because you took the effort to adjust your eye level.
These four beginner photography tips are just the tip of the iceberg. There’s so much more to learn when you start down your exciting journey to learn more about photography.
Everyone has to begin somewhere and if you’re not sure where to start, give these a try. If you have any recommendations from what you have learned over the years, share your thoughts in the comments below!
The post Four Essential Beginner Photographer Tips appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Ultra-wide lenses pose special challenges when shooting video, but can create dramatic effects. We review the Laowa 12mm T2.9 Zero-D Cine lens, which shares the same optical formula as the company’s 12mm F2.8 lens for full frame cameras.
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Articles: Digital Photography Review (dpreview.com)
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