Title fight! In one corner we have the new Olympus E-M1 Mark III. In the other is the Panasonic G9 – two years old, but sporting an impressive mid-life firmware update. Find out who wins the battle for Micro Four Thirds supremacy!
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We’re continuing to test the Olympus OM-D E-M1 III, the latest iteration of the company’s sports-focused camera. It inherits a number of features from its big E-M1X sibling, including a 80MP high-res mode. There’s more work to be done on our full review of the E-M1 III, but in the meantime you can now compare its studio test scene results with those of its peers.
The Canon AE-1 (Program) is by far the camera that has had the most impact on my life. Not that there’s anything particularly extraordinary about this classic film SLR, aside from its affordability, availability and reliability – ok, I guess that makes it a little special.
Over the years it’s a camera that I’ve come back to again and again as a means to hit reset, and recontextualize my love for photography.
I first picked mine up along with a “nifty fifty” for $ 200 at the end of my second year of high school (May, 2004). I’d been an avid film shooter for about four or five years prior, but hadn’t owned a fully-manual camera (coincidentally the AE-1 Program is one of the first mass-market SLRs with auto controls).
The September (2003) prior I’d launched a monthly zine with some of my friends, packed to the brim with skateboarding and rock & roll photographs, along with silly articles and band/artist interviews (creatively named, Dan’s Zine). I was the chief photographer/editor and took my role quite seriously (for a teenager, at least). We printed them on the B&W Xerox machines at my father’s office and distributed the copies by hand in school and at a local deli.
Skateboarding was my earliest photographic obsession. I shot this in 2004 for a cover of Dan’s Zine, a monthly publication I published with some friends. Will Best, Taildrop.
What started out as mostly a joke blossomed into a full-blown amateur journalistic/photographic obsession. By the time May rolled around, we were printing at least 50+ copies an issue (eventually closer to 150+). With the school year coming to a close I was eager to learn more about photography. Up until that point I’d only really paid attention to composition, but suddenly the idea of exposure control and handling my own film seemed like a brave and exciting new world.
The idea of exposure control and handling my own film seemed like a brave and exciting new world
So I enrolled in a summer darkroom photography course at the local community college. And much to my excitement, a fully-manual camera was at the top of the list for course materials.
That summer accelerated my love for photography at lighting speed. I quickly became a creature of the darkroom, monitoring it on the weekends for modest pay and volunteering to assist other students. I spent hours, often alone, making prints or hanging out by the drying racks reading stacks of old photo magazines from the 60’s, 70’s and 80’s.
A selection of “Dan’s Zine” master copies from our 36-issue run.
I also fell in love with my Canon AE-1 that summer; I’d spend the next two years of high school bringing it with me everywhere I went including many solo train trips to Hoboken, New Jersey, where I’d shoot street photography along the waterfront. I also used it to shoot the next 28 issues of Dan’s Zine, which came to a close with issue #36 as I prepared to head off to college (summer, 2006).
I’d acquired a shiny new D300 and all things film photography became an afterthought. My AE-1 would remain untouched for many years to come
I’d spend the next four years studying photojournalism and immersing myself in digital photography and its workflow – first as a photographer for our daily student newspaper, The Daily Targum and later in a variety of editor positions including photo editor. It was there I first handled a DSLR and became hooked on digital.
By my second year in college I’d acquired a shiny new D300 and all things film photography became an afterthought. My AE-1 would remain untouched for many years to come.
I picked back up my AE-1 after a 5 year break to document my transition from college to young adulthood while living in New York City. From a personal project titled Analog 3086.
But then when I needed it most, it reemerged: I was a year out of college and working as an assistant magazine editor, commuting daily from New Jersey to midtown Manhattan. At the time, my life revolved around all things photographic, though I had almost no time on-the-job for actual photography. It was around this point I began to feel a creative emptiness bubble inside me along with all sorts of existential dread.
You can’t force creative passion, so instead reconnect with what made you fall in love with photography in the first place
Perhaps it was the realization that my best years were seemingly behind me (haha) and I’d be spending the next 40-something years working; or perhaps it was a lack of personal creative stimulation. But I needed help, and so I turned to a trusted colleague who advised me that “You can’t force creative passion, so instead reconnect with what made you fall in love with photography in the first place.”
And so I brushed off my dusty AE-1 and start shooting film again, with no real objective other than to try and spark passion. And boy did it.
For me, film is a more intimate medium to work with than digital. From a personal project titled Analog 3086.
I’d spent the next couple years working on personal project, part self-documentation, part observation, called “Analog 3086.” The sole purpose of the project was to foster a stronger relationship between myself and photography.
At the time, I considered most of the images nothing more than snapshots. But as I’ve gotten older and wiser, I now see them as historical records – vivid depictions of a young man finding his way through early adolescence. These are images that otherwise would never had existed, had I not turned back to film.
The rekindling of love for my AE-1 sparked a deep and nerdy interest in film cameras as a whole
That rekindling of love for my AE-1 not only reignited my creativity and passion for photography, it also sparked a deep and nerdy interest in film cameras as a whole. I’d soon begin to buy and sell them with regularity and still do. Years later, my collection would swell to numbers I care not admit.
But even as heavy-hitters like the Leica M6 joined my collection, I’d still find myself picking up the AE-1 in moments where I simply wanted to enjoy photography, without the noise (people see a Leica in the wild and want to talk your ear off). And for many years it remained my go-to photographic decompressor.
Another “Dan’s Zine“-era shot from around 2005. John Mullen, noseblunt slide.
These days, I still use my AE-1 from time to time for sentimental reasons, but it’s largely been retired (replaced by a Nikon FM2). Fortunately, the lessons it’s taught have been well-learned, and I don’t just mean exposure values. It’s taught me how to slow down and reconnect with my childhood photographic curiosity, the one that sent me careening down my present career path some 17 years ago.
It’s taught me how to slow down and reconnect with my childhood photographic curiosity
Ultimately, we all have a story about what got us here, to the point of being photo/camera-obsessed. And mine’s no more or less special than anyone else’s, just as my AE-1 is no more or less special than the 254 currently for sale on Ebay. But you know what is special? The fact that most of us never got into photography because of the gear, we got into because of a feeling: a feeling of joy, curiosity and satisfaction that comes from the first few times you hear that shutter “click”.
It’s a wondrous feeling and one well-worth reconnecting with.
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The post Black and White Photography Exercises to Help You Improve Your Skills appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
Black and white photography exercises can help you gain an understanding of how it differs from color photography. Concentrating on black and white images helps develop your photography in many ways.
“Color is descriptive. Black and white is interpretive.” ~ Eliott Erwitt
Loading a black and white film into your camera forced you to think in black and white. This is different with digital photography because it’s easy to convert a color image to monotones.
There are plenty of tools to help you do this. The Nik Software Silver Effects Pro is a superb Photoshop plug-in for converting color images to black and white.
Purposefully photographing in black and white is different than converting during post production. A photographer must think differently when their intention is to create photos without color. You see in color, so you must learn to disregard the color and think in black and white. Good black and white photography is not about taking the colors out of a photo.
Black and white photography relies on contrast and tone range and how these relate within your compositions. You must learn to look at the tones, not the colors, as you compose your photos.
Light has a huge influence on the tones in a photograph. The camera records reflected light to make photos. The amount and quality of the light used defines how a subject will appear when you take a photo of it. Hard light or soft light will produce very different results. This is the same with color, but it’s more pronounced in black and white photography.
One of the best ways you can learn to do this is by practicing black and white photography exercises.
Choose one subject for these black and white photography exercises
Find one or two interesting subjects to photograph for these exercises. You may even choose to set up a small still life scene with various objects you have around the house. This will allow you to make comparisons and see differences.
You need to find things you can move around and place in different locations.
Look for things that are not all black or all white. A mixture of tones will produce the most helpful results. If you photograph something(s) with white, black and mid-tones you’re going to be able to see the effects more clearly in your photos.
The main aim of these black and white photography exercises is to help you develop a better understanding of tone. Don’t try to make masterpiece photos that you’ll hang on your living room wall. If you do, that will be a bonus.
Soft light, outdoors on a cloudy day using Averaged light metering. Nikon D800, 55mm f/3.5, 1/800 sec, f/8, ISO 400, Manual Mode, Pattern Metering.
Lighting for black and white photography exercises
The reason you need to photograph something you can move is so you can photograph it in different locations and lighting conditions.
The type of light you photograph your subjects in, directly affects how they will look. Using hard light will produce very different-looking black and white photos than when you use soft light.
Strong light creates high contrast, no matter what tone your subject is. Soft light makes an even exposure much easier. Think about the quality of light and how it affects the look and feel of your photographs as you work.
Hard light
Place your subject in a location with hard light. Outside on a sunny day is ideal because you’ll be able to see where the shadows fall.
If you can’t manage that, using an on-camera flash with no diffuser will produce a hard light. You’ll need to take test images and study them to see where the shadows fall.
Take a series of photos from the first angle you think of. Expose some normally. Use averaged metering and set your exposure so the meter reads zero, or let your camera choose the setting if you use an auto mode.
Hard light, outdoors on a sunny day using spot metering from the highlight on the steel jug. Nikon D800, 55mm f/3.5, 1/800 sec, f/11, ISO 400, Manual Mode, Spot Metering.
Next, expose for the highlights.
Take a light meter reading from the brightest part of your composition.
To do this, set your camera’s meter to spot and point the spot at the bright area to take your reading. If you use live view, your camera may display the way your photo will look when you use manual mode. This way, you can adjust the exposure for the highlights based on what you see on your monitor. On many mirrorless cameras, the viewfinder will display the exposure the same as this when you are set to manual mode.
After taking a few photos with these settings, use the same technique to set your exposure so the shadow areas will be exposed well. Take another series of photos.
Hard light, outdoors on a sunny day using spot metering from the darkest area on the black jug. Nikon D800, 55mm f/3.5, 1/250 sec, f/11, ISO 400, Manual Mode, Spot Metering.
If you’re finding this exercise valuable and you have time, repeat this process.
Move around your subject and make compositions from different angles. Remember, the first angle you think to take a photo from is the most obvious, but not always the most interesting. Look at the way the light is falling on your subject and how the shadows look. Repeat the process and take photos at the three different exposure settings.
Soft light
If you’re photographing outdoors in the sun, move your subject into a shady area. Find somewhere outside where there’s still plenty of daylight.
If you’re inside and have been using your flash, take this next series of photos without using your flash. You may need a tripod if there’s not much light.
Soft light, outdoors on a cloudy day using spot metering from the highlight on the steel jug. Nikon D800, 55mm f/3.5, 1/2500 sec, f/8, ISO 400, Manual Mode, Spot Metering.
Repeat the same series of exposures as you did when you were photographing in hard light. Think about the tones in your composition when you are making your exposure readings and looking at the results.
If you’ve been photographing outdoors, move your subject inside and away from any windows or other strong light and repeat the whole process. This lower contrast situation will produce different results again. The variation will be subtle, but it’s interesting to see.
During this process, make notes about what you are doing and your thought process. You don’t need to record your camera settings as these are included in the EXIF data. Instead, write down what you are observing with the tones, light and shadows. Why did you take photos from these angles? How has the light and tone affected the way you’ve chosen to compose your photos?
Soft light, outdoors on a cloudy day using spot metering from the darkest area on the black jug. Nikon D800, 55mm f/3.5, 1/80 sec, f/8, ISO 400, Manual Mode, Spot Metering.
Make the most of shadows
Especially in hard light, shadows have a major impact on black and white photography exercises.
Think about where the light is coming from in relation to where you are with your camera. How does this change the way the composition looks when you move around your subject? How does it change when you move your subject?
This is easier to see when you are working with the sun as your light source. Using flash, you’ll need to refer back to your monitor often to see the variations. Look at the differences in the shadow areas in the different sets of photos. How different do they look when you exposed for the shadows and when you exposed for the highlights?
Once you’ve uploaded the photos to your computer. Select one image from each setup and each exposure setting. Simply desaturate all of these photos. This is not an ideal means for converting your photos to black and white, but it will suffice for this exercise.
Now look at these and compare them. Think about the way they look and the differences between the exposure settings. Consider how the various light has had an effect on the tone of your subjects.
Under hard light and soft light, you’ll notice the tone of your subjects looks different. Each set of photos taken at the various exposure settings will produce very different results. This is particularly noticeable with those taken under hard light.
Choose one photo from each set to make some further post-processing adjustments. Work with the sliders for:
contrast,
shadows,
blacks,
highlights
and whites.
Experiment with these various settings. Play with them. Discover how much impact post-processing has on these black and white photography exercises. What you can do with post-processing monotone images is beyond the scope of this article, so just have some fun with it.
I’d love to see some of your best results and know what you learned by doing this exercise. You can share your photos and thoughts in the comments section below.
The post Black and White Photography Exercises to Help You Improve Your Skills appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
OnePlus has announced it’s working on an update for its OnePlus 8 Pro smartphone that will disable the 5MP near-infrared camera that was able to see through certain materials, including some clothing, when used with a ‘Photochrom’ mode in the native camera app.
The Color Filter camera onboard the 8 Pro has been known since the smartphone’s announcement back in April. However, not much was shared about the particular camera module at the time. It wasn’t until 8 Pro units started hitting the front doors of reviewers when it became clear what the 5MP near-infrared camera could see.
Last week in particular, a number of high-profile reviewers and pundits shared examples of just how much the Color Filter camera onboard the 8 Pro could reveal. Most notably, the below video, shared by YouTube channel Unbox Therapy, showed that beyond being able to see through the plastic IR shields built into numerous electronics, it could also see, at least to some degree, underneath certain clothing when stretched unusually thin.
Unsurprisingly, the see-through capability of the 8 Pro brought up privacy concerns, not unlike those that led to Sony recalling more than 700,000 ‘HandyCam’ camcorders back in 1998 when it was revealed the ‘Nightshot’ mode on its TRV 615 XR camcorders was revealing more than the general public was comfortable with.
Today @OnePlus decided to temporarily disable the ‘Color Filter’ camera functionality through software update in the coming week.
In order to eliminate the impact on users privacy under possible extreme circumstances and eliminate everyone’s concerns.https://t.co/uk3gn9iXvU
— Ben Geskin (@BenGeskin) May 19, 2020
OnePlus heard the response loud and clear and in an effort to get ahead of any further controversy, OnePlus announced, via Weibo, that it is temporarily disabling the Color Filter camera via a software update within the next week. In the post, OnePlus writes (machine-translated, edited with brackets for clarity):
‘When planning the [color] filter lens of OnePlus 8 Pro, we hope[d] to use this lens to perceive the characteristics of infrared light to provide users with a unique texture photography style effect. But recently, based on user feedback, we have found that under very specific environmental conditions, the filter lens may have a slight perspective effect on special materials at very close distances […] In order to eliminate the impact on user privacy under possible extreme circumstances and eliminate everyone’s concerns, we decided to temporarily disable the filter function through software upgrades.’
OnePlus doesn’t elaborate on how temporary this solution is or what the long-term fix will be, but it’s a start. It’s also unknown whether this will be a forced update or something optional users can opt out of to keep the near-infrared capabilities.
Videographers waiting to be able to record 5.9K ProRes Raw video footage from the Lumix S1H to their Atomos Ninja V will have to wait a bit longer as statements from both camera and recorder manufacturers have confirmed that while the expected firmware release will go ahead on Monday, May 25, Raw video won’t be included.
Atomos says a technical issue is the cause and that the delay will be ‘slight,’ while Panasonic concentrates on the other new features firmware v2.0 will bring to users. Both companies say they’re working together to rectify the problem.
There’s no indication what the problem is, but only that it cropped up in beta testing and that both companies want to ensure recording quality is at its best before the firmware is released. A new release date for the raw video feature will be announced ‘shortly.’
Firmware V2.0 for the Panasonic S1H adds ProRes Raw video capture capability when paired with an Atomos Ninja V recorder.
While the v2.0 firmware won’t have its headline feature when released on Monday, it will still offer these new features:
LUMIX S1H Firmware Version 2.0 (*RAW video data output function is not included.)
Down converted output over HDMI during [6K]/[5.9K]/[5.4K] video recording is available.
In Creative Video mode, it is now possible to disable the operation of starting/stopping video recording by pressing a shutter button.
In Creative Video mode, it is now possible to set [Rec Quality (My List)] from the control panel.
The value of noise reduction in [V-Log] in Photo Style has been expanded to [-1], designed to suppress ghosting or afterimages that could have previously occurred in some situations.
It is possible to prevent the enlarged view window of MF Assist to be output over HDMI.
There were cases where colour banding appeared in 4:2:0/10-bit video recording in some situations. This bug has been minimised.
There were cases where the REC RUN time code did not count up when the video was not recorded on an SD Memory Card but was recorded on an external device over HDMI. This bug has been fixed.
It is now possible to set [AF+MF] in AFC mode.
It is now possible to assign functions to the lens’ Fn buttons when the Panasonic LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) is mounted.
It is now possible to assign function to the Fn buttons of Sigma L-Mount interchangeable lenses.
When attaching a lens using the Sigma MC-21 mount converter and [Image Stabilizer] > [Lens] is set to ON , Body I.S. (Image Stabiliser) suppresses roll movement.
[Backlight Illumination Period] has been added to the menu of Status LCD. [ON1] prevents the LCD backlight to be turned off.
It is now possible to select the card slot to save the JPEG images developed by in-camera RAW processing.
[0.5 SEC] has been added for an option of [Duration Time (photo)] in [Auto Review].
[Off (Disable Press and Hold)] can be assigned to the Fn button. It disables operation when the button is long-pressed.
The Fn button can be used for checking aperture effect while the button is pressed.
To prevent improper operation, touch-control is disabled for [Delete All] operation in playback mode. Only cursor buttons can be used for [Delete All] operation.
There were rare cases where the camera froze during [Segmented File Recording] or during recording at 400 Mbps under a particular set of conditions including the type of SD Card used. This phenomenon has been improved.
Aperture and shutter speed can be controlled using front/rear dials when the rear monitor is set to OFF.
There were cases where F stop value control failed depending on the maximum F stop value when non-Panasonic L-Mount lens is mounted. This bug has been fixed.
The new firmware will be downloadable for free via the Panasonic Japan support pages.
Atomos press release:
Atomos Ninja V and LUMIX S1H RAW firmware delay
The firmware updates enabling the much-anticipated Atomos Ninja V and Panasonic LUMIX S1H RAW over HDMI combination have unfortunately been slightly delayed from the original 25th May release schedule, to ensure the highest possible level of RAW recording.
An unforeseen technical issue has come to light in the final rounds of beta testing that needs rectification prior to shipping. The companies are working together to complete the development as soon as possible. We apologise to our mutual customers waiting for the functions this release enables.
Please note that Panasonic will be releasing Ver 2.0 firmware on May 25th with various improvements to camera functions, however will not include the planned RAW HDMI output feature. Atomos will release its Ninja V AtomOS for LUMIX S1H HDMI RAW in-line with Panasonic’s RAW output firmware.
Window light is the way that the sunlight comes through a window or glass door and creates interesting light-play on walls, floors and other surfaces. It creates shadows, it can sometimes create colors. Anyway, get your cameras out and capture the way the light falls through your windows.
You can also play with them in post-processing if you like – make them black and white, or boost contrast. The possibilities are endless.
Check out some of the articles below that give you tips on this week’s challenge.
Tips for photographing WINDOW LIGHT
How to Achieve Great Black and White Photos in Editing
How to Use Color Temperature in Black and White Conversions
How to Create Silky Split Toned Black and White Photos Using Luminosity Masks
12 Tips For Indoor Natural Light Photography
How to Split Tone Black and White Photos in Lightroom
Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.
Share in the dPS Facebook Group
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSwindowLight to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.
The post Weekly Photography Challenge – Window Light appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
The post The Sony ZV-1 Is a Powerful New Camera Designed for Vloggers appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Sony is preparing to launch a new camera, designed specifically for vloggers:
The Sony ZV-1, a small camera that will pack a large punch.
News of the ZV-1 has been leaking for weeks, but as we approach the likely announcement date (May 26th), information has appeared at a frenzied pace, including leaked product photos, leaked press announcements, and even a teaser from Sony.
What can you expect from this compact camera?
While nothing has been officially confirmed, Sony’s teaser shows a small camera with a full-articulating rear LCD. This is fully in line with the leaked press text, which suggests that the new ZV-1 will offer:
An articulating screen
A 1-inch, 20.1-megapixel sensor
A 24-70mm lens
Excellent AF (including Real-time Eye AF)
A soft skin effect “to reduce skin wrinkles and marks while ensuring you preserve skin-tones and the sharpness of eyes and mouths”
(And more!)
If all this information is accurate, vloggers will be in for a treat; the combination of an articulating screen, a 24-70mm focal length, and Sony autofocus capabilities (described in the leaked press text as “super-fast AF”) will be too good to pass up for plenty of content creators. The press text also promises “high-quality sound capturing performance and noise reduction in full stereo,” in addition to “a wind screen” and a “3.5mm input jack” for increased flexibility.
The camera will also likely appeal to still photographers looking for a compact, walkaround option. Twenty megapixels is just enough to satisfy beginners looking to enter the realm of higher-resolution photography, plus the 24-70mm lens offers a great range of focal lengths for street photography, landscape photography, architectural photography, portrait photography, and more.
So if you’re a vlogger or a still photographer looking for a camera that’s small, mighty, and tailored to the needs of content creators, the ZV-1 is certainly worth a look. Keep your eye out for news of the ZV-1’s official announcement on May 26th.
Now over to you:
What do you think of the ZV-1? Is it a camera you’d be interested in? Is it missing any features that you’d like to see?Share your thoughts in the comments!
The post The Sony ZV-1 Is a Powerful New Camera Designed for Vloggers appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Superzoom cameras are in their element during this time of social distancing, and the Nikon P950 is no exception. It boasts a 24-2000mm equiv. zoom range (that’s over 83x optical zoom if you’re keeping score at home), second only to the 24-3000mm equiv. zoom on its big brother, the heftier and pricier P1000. To get started testing it, we put it to work photographing aircraft, wildlife and moon craters, to name a few subjects. Take a look at what this truly super zoom can do.
A Dutch court has ruled a grandmother must delete photographs of her grandchildren she shared on social media without consent from the children’s parents or pay a daily fine.
The BBC reports the legal battle ended up in The Court of First Instance of Gelderland after the grandmother refused to remove the images from Facebook and Pinterest, despite requests from the children’s’ mother to do so. According to the judge’s ruling, the images violate the EU’s General Data Protection Regulation (GDPR) and, more specifically, the Dutch GDPR Implementation Act (UAVG), which states that posting photos of minors under 16 years old requires their legal representative(s)’ consent.
The judge ruled that because the images were shared on social media, where a wider audience could view and potentially save the photographs, the photographs did not meet the ‘purely personal or household activity’ exemption found within Article 2(2)(c) of the GDPR. Lawyer Neil Brown chimed in with the following tweet to note that had the grandmother put restrictions in place in terms of who could see the images, she might’ve been clear under the ‘domestic purposes’ exemption, but because the courts could not determine how the images were protected, it ruled as it did.
The court did not have information about how the grandmother restricted viewing of her account (from other people, as well as search engines), or what controls there were on re-distribution.
If restrictions were in placing, it might have met the test for “domestic purposes”. pic.twitter.com/bakg26Tq0y
— Neil Brown (@neil_neilzone) May 21, 2020
If the grandmother doesn’t remove the image from social media, she will be required to pay a penalty of €50 for each day the images are still up, up to a maximum of €1,000. The ruling also prohibits the grandmother ‘from posting, displaying or otherwise distributing photographs of [the plaintiff’s] minor children on social media,’ with the same €50 penalty being applied up to €1,000 for each additional image shared.
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