There’s no shortage of lighting accessories available for smartphones, ranging from small LED lights to more sophisticated Xenon-flash solutions like the Godox A1 or the Profoto C1. However, all those solutions are more or less designed for maximum portability and amateur use. If you needed professional-level studio lighting that is fully compatible with smartphone cameras, you were pretty much out of luck…until now.
Profoto has announced it’s made its B10 flash series compatible with Apple’s iPhone cameras. The B10 and B10 Plus are compact studio flash heads and have a powerful continuous light source for videographers as well. They come with removable lithium-ion battery and have output control via the company’s AirTTL system. The B10 is a 250Ws unit while the slightly larger and heavier B10 Plus doubles the output.
‘This is a revolutionary innovation, said Profoto CEO Anders Hedebark. ‘Making professional flash available to smartphones has the potential to be ground-breaking, just like how the transition from analog to digital cameras once changed everything. We believe freedom with connectivity is the next step for professional photography. No matter what kind of photographer you are, it’s all about the light. And we want to offer image creators to work with great light, regardless of what capturing device you chose to use.‘
Shot on iPhone with B10 series flash by Andrea Belluso
Profoto says it has been able to make the B10 series units work with the iPhone by using ‘a range of advanced technologies.’ The company’s AirX technology has been key to the project as it allows users to clock synchronize Bluetooth devices. The flash unit has to fire at exactly the right point in time, and for the right length of time. Using Bluetooth-sync iPhone photographers who use the B10 series can capture images at 1/25.000 sec exposure time and still sync the full power.
‘One challenge when working with smartphone cameras is that they require much more flexible flash-length on different shutter speeds than for instance DSLR or MILC. This has forced us to refine our methods with PWM (Pulse Width Modulation) flashes into long, or extremely short, pulses with an exact and controlled intensity‘, explained Göran Marén, Product Manager at Profoto.
Most serious photographers who are happy to lug a portable flash system like the B10 around will almost certainly also carry a DSLR or mirrorless camera. However, this is still very good news from Profoto as it simply gives you the option to shoot with an iPhone on those occasions when you have to work with a flash but absolutely have to or want to minimize the bulk you carry. It also makes the iPhone a potential backup device should your main camera fail on a studio shoot.
Shot on iPhone with B10 series flash by Profoto product manager mobile Marko Pirc
iPhone connectivity for the Profoto B10 flash series is available from today. Profoto B10 users will have to update the flash firmware for the new feature to work which can be done through the Profoto app. The feature requires iOS 11.0 or later and works with the iPhone 7 and newer models.
The Profoto app also allows you to control B10 and B10 Plus strobes from both iPhones and Android devices when shooting with a ‘real’ camera.
Sony recently confirmed plans to launch a successor to the video-centric a7S II, expected this summer. We don’t even know the name of the camera, but Jordan already has a feature wish list for the new ‘a7S III’ – and it doesn’t include 8K.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
Intro
The sensor
Memory cards
Display and video tools
Image stabilization
Autofocus and touch screen
What do you think? Tell us!
Read our recent interview with Sony about its a7 II successor
The post Synology NAS – Transforming Your Workspace to be More Productive appeared first on Digital Photography School. It was authored by Sime.
Messy People Have More Creative And Productive Minds, Science Says
While science may well say this, I’ve got to admit after deciding that I had ‘no room to swing a cat’ with my stuff everywhere, that I’ve taken some time during this COVID-19 lock-in to plan and execute my office clean-up! Along with that office clean up, I’ve reorganized my external storage, my raw image archiving, and my general day-to-day workflow, and I wanted to share that process with you.
I’ve been using a large external ‘DAS’ for a good while – a raid array (external disk) with a Thunderbolt 3 connection. Without spending a shed-load of cash on a very expensive cable, I wasn’t able to get it a suitable distance away from my workspace.
So, all of those pretty glowing blue lights and the accompanying whir of drives had to be right beside me. Not necessarily a terrible thing – it’s a very well behaved Raid array – however, it wasn’t very quiet. And, it was kinda ugly in my new small, streamlined office.
I had the idea to ‘kill the clutter’ and switch to a complete NAS (Network Attached Storage) setup with a single direct attached drive at the back of my iMac. Then I tucked the second NAS away in my “server room” (a cupboard in the corner of my office with some powerpoints and a Cat6 patch panel).
This would move the big whirring, glowing drive out of my office space and tuck my main image archiving server away, out of sight.
I also added a second monitor to my setup, a stunning 27″ EIZO. I highly recommend checking them out! It’s very easy on the eye.
So I loaded six of my regular-flavor hard disks into the Synology DS1618, the 6tb WD Red disks – the same drives I have in all of my Synology NAS gear.
Setting the NAS up using Synology’s SHR (Synology Hybrid Raid) and splitting my data across the drives for some hardware failure redundancy, is a very simple process I’ve written about here. My workflow with the second NAS has changed considerably and, after a month or so of testing, is working exactly as I’d like it to.
Now when I import from an SD card, I import directly into my external USB-C disk (Invariably, a G-Technology 4-8TB) and at the same time import to my backup location which is an identical library on the freshly installed Synology DS1618, where previously I’d import to the blue whirring beast (It was a Promise R8, an amazing unit, but just not what I wanted in my new space) and the USB-C drive. Over Cat6 the import of RAW files to my NAS doesn’t register as taking too long and hasn’t bothered me once.
Now, when I import from an SD card, I import directly into my external USB-C disk (invariably, a G-Technology 4-8TB) and to my backup location – an identical library on the freshly installed Synology DS1618. Previously I’d import to the USB-C drive and the blue whirring beast (a Promise R8. An amazing unit, but just not what I wanted in my new space). Over Cat6, the import of RAW files to my NAS doesn’t register as taking too long and hasn’t bothered me once.
Indirect benefits of the NAS running DSM as a second image storage location are, I can put any RAW files (or all of them), after conversion by the NAS, into a piece of Synology software called “PhotoStation.” This automagically creates good-looking web albums and can group and organize your photos in many ways. In this modern age of never printing anything and having dinner-table arguments discussions about ‘never seeing any of the photos we take’ is a very good thing!
The other main reason for the setup change is that I consult and, from time to time, have people into my home office to chat. Having my servers out and about, with cables hanging around to trip people over, was not a good look! Now, with everything tucked away, there’s no fear of that happening! I also spend a lot of time in my office, and I like to enjoy the space, so I am very happy with the transformation!
Since we talked last about storage, backups and NAS, my home/office internet has joined the (almost) 20th century in the form of 100Mb NBN. This means that my digital delivery to clients directly from my NAS is MUCH faster. I’m able to share albums and full-res finished images directly from my Disk Station, all from the privacy of my cupboard!
In closing, the process of de-cluttering your workspace is really very simple these days and can be quite cathartic! A small to medium-sized Synology NAS tucked away in your cupboard, and you’re good to go.
Together, Synology and WD provided the equipment for this test setup, but the opinions expressed are my own.
Have you got a storage set-up you’d like to share? Please let us know in the comments section.
The post Synology NAS – Transforming Your Workspace to be More Productive appeared first on Digital Photography School. It was authored by Sime.
The EOS-1D X Mark III is the latest high-end, ultra-tough, hyper-fast DSLR from Canon. From the outside, it looks about the same as previous EOS-1D bodies dating back two decades. But on the inside, there are radical updates. And even though this is a big, double-grip DSLR, it functions as a highly capable mirrorless camera in Live View mode provided you’ve got the muscle to hold it out in front of you for extended periods of time.
This is also a camera that can take you beyond 8-bit JPEG shooting as your ‘finished image’, includes AF subject recognition based on machine learning in both OVF and live view shooting, and has some impressive video capabilities (including internal Raw video).
There’s a lot to cover on the EOS-1D X Mark III, so let’s get started with a rather lengthy list of key specifications before diving into just what this all means on the following pages.
Key specifications:
Updated 20.1MP CMOS sensor with Dual Pixel AF
Digic X processor
HEIF 10-bit recording (supports HDR display at smaller-than-JPEG sizes)
16fps bursts (viewfinder), 20fps bursts (Live View) with autofocus
All-new mirror mechanism to reduce vibration and blackout
191-pt viewfinder AF system with new ‘square pixel’ design, 155 cross-type points, Face + head detection, sensitivity to -4 EV, all points support F8 shooting
Live View AF system is now 90% horiz / 100% vertical coverage with enhanced eye detection, sensitivity down to -6 EV, supports F11 shooting
New AF ‘Smart Controller’ built into the AF-ON buttons
5.5K/60p 12-bit Raw video recording, 4K/60p 4:2:2 10-bit H.265/HEVC recording
Dual CFExpress card slots for virtually unlimited buffer in most situations
CIPA rated to 2850 shots with the viewfinder, 610 with Live View using LP-E19 battery
Shutter rated to 500k shots
Weighs 1440g
And those are just the key specifications.
The EOS-1D X Mark III is likely to find its way into the hands of sports, wedding and event photographers, and remain there for years of use and hundreds of thousands of images. Out-of-camera JPEG. EF 85mm F1.4L IS | ISO 3200 | 1/1000 sec | F1.4
Excepting landscape and studio specialists that need massive amounts of megapixels, the EOS-1D X Mark III is the most well-rounded, well-specced camera currently on the market for both stills and video shooters that have the requisite funds. It’s clear that Canon is aiming for the 1D X III to be relevant for professional users for years to come, despite the ever-increasing pace of innovation and ever-decreasing length of product cycles in the industry.
The EOS-1D X Mark III is scheduled to be available in mid-February 2020 for an estimated retail price of $ 6499 USD, body-only.
What’s new and how it compares
Find out what’s new under the hood of the EOS-1D X Mark III.
Read more
What’s new: Autofocus
There have been so many updates to the 1D X III’s autofocus system that they get their own page.
Read more
First impressions
From portraits to pounding white-hot metal, we’ve taken a look at how our pre-production EOS-1D X Mark III stacks up.
Read more
Body, controls and handling
A mix of the new and the familiar will satisfy existing 1D-series users while offering some significant improvements.
Read more
Image quality
The EOS-1D X Mark III shoots Canon’s best-ever JPEGs, and Raw performance is up there with the best.
Read more
Dynamic range
The 1D X III has impressive dynamic range among its class of sports-shooting flagships.
Read more
Autofocus performance
Autofocus has been extensively tweaked on the 1D X III – check out how it performs both in our more controlled testing and with team sports.
Read more
Video
Raw and log recording, detailed footage and reliable autofocus make the 1D X III the best DSLR for video to date.
Read more
Conclusion
The EOS-1D X Mark III gets high marks from us for being reliable, capable, future-proof. It’s also a joy to photograph with.
Read more
Sample galleries
The EOS-1D X Mark III is capable of some seriously good image quality – take a look.
It’s been almost two years since the French startup Pixii announced its display-less digital M-mount rangefinder that uses your smartphone as both a screen and means of storage. Now, the niche camera is available to purchase, but don’t expect to pick it up for cheap.
To recap, the Pixii camera (Model A1112) is a digital M-mount rangefinder constructed of an aluminum frame that houses the 12MP (4080 x 2732 pixels) APS-C CMOS sensor. It features an electronic global shutter, Raw (DNG) capture and works with Leica M-mount lenses, as well as M39/LTM lenses when used with an adapter.
Similar to the Leica M-D, the Pixii camera eschews a rear LCD display and instead relies on being paired with a smartphone to review images captured through the 0.67x magnification optical viewfinder (53.6-degree FOV). The only display on the camera is a small OLED screen on the top of the camera that shows the basic image settings.
The Pixii camera also forgoes an SD card and instead stores images on 8GB of internal storage (4GB if you pick up the ‘launch edition’ model). Once filled, images can be transferred wirelessly to a paired mobile device via Wi-Fi or Bluetooth. The camera also uses a built-in 1,000mAh Li-ion battery that can be recharged via the onboard USB port.
While we haven’t taken it for a spin ourselves, our friend Hamish Gill of 35mmc fame spent some time with one of the units and wrote up a comprehensive review of his experience with one of the first units.
Pixii has also shared a number of sample photos captured with one of its cameras:
The Pixii camera is available to purchase on the Pixii website. The 8GB model comes in ‘Space Gray’ and ‘Black Matte’ finishes and retails for €2,900 / ~$ 3,277, while the special ‘launch edition’ comes in at €2,900 / ~$ 3,259. There’s no information at this time on shipment timeframes, but we’ve contacted Pixii about the matter and will update accordingly when we receive a response.
Take a look at the view from Sony’s new ultra-wide zoom, paired with the 60MP a7R IV. The 12-24mm F2.8 GM rounds out a series of F2.8 constant zooms, joining the existing 24-70mm and 70-200mm in the high-end ‘G Master’ lineup. It’s a touch wider than Sigma’s 14-24mm F2.8 but more than double the cost – check out our samples above and see what that extra-wide view looks like.
Sirui is teasing the launch of its next lens, which will be a 35mm 1.33x anamorphic with a maximum aperture of F1.8. Until recently, Surui was best known for making tripods, but it’s branched out into lenses, with this being the second released this year.
Like the 50mm 1.33x anamorphic that was launched in February, this new lens is designed for APS-C and MFT sensors. It will be only available in the MFT mount but there are adapters for Sony E, Canon EF-M and Nikon Z mount camera systems, according to a video placed on the company’s U.S. Facebook page. The lens will come with detachable geared rings for the focus and aperture rings, uses a 68mm front filter thread and has a minimum focus distance of 0.85m (2.8ft).
The lens is promoted as the wide-angle answer to the existing 50mm lens, and the company says it provides the viewing angle of a 26.3mm lens when used on an APS-C sensor. Sirui says that once de-squeezed, footage from a 16:9 area of the camera’s sensor will take on a 2.4:1 aspect ratio with characteristic oval bokeh and blue light streaks of flare.
The Sirui 35mm F1.8 1.33x anamorphic lens will be available for an early-bird price of $ 599 via an Indiegogo campaign page that goes live on August 3rd at 9am EST. For more information on the company’s 50mm lens see the Sirui website.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
Sony has announced a new member of its high-end ‘G Master’ full-frame lens series: the 12-24mm F2.8. It’s currently the widest F2.8 constant zoom offered for full-frame, with a hefty price tag to match: $ 3000.
The 12-24mm is dust and moisture-sealed and weighs in close to two pounds (847g / 1.9lb to be precise). It’s a bit larger than Sigma’s 14-24mm F2.8, measuring 97.6 x 137mm. With such a large front element, the 12-24 provides a rear filter holder.
Optical construction includes three XA Extreme Aspheric elements (including the largest that Sony’s ever made), two Super ED and three ED elements, as well as one aspherical lens element. Nano AR Coating II is used, along with a fluorine coating. Four XD linear motors move two focus groups – either together or independently – and focusing is silent. The lens uses a nine-blade aperture, and minimum focus distance is 28cm / 11in throughout the zoom range.
The Sony 12-24mm F2.8 GM is slated to arrive mid-August and will sell for $ 3000.
Press release
Sony Electronics Grows Lens Line-up with Launch of 12-24mm G Master, the World’s Widest Full-frame Zoom with a Constant F2.8 Aperture
SAN DIEGO – July 7, 2020 – Sony Electronics Inc. today announced an exciting new addition to its full-frame lens line-up with the introduction of the FE 12-24mm F2.8 GM (model SEL1224GM) Large-aperture Ultra-wide Zoom lens. This compact and versatile lens is ideal for shooting landscapes, astrophotography and architecture while providing extra mobility for active sports shooters who want to capture ultra-wide perspectives. As part of Sony’s flagship G Master series lenses, users can be completely confident that it delivers outstanding image quality up to an ultra-wide 12mm angle of view with F2.8 constant aperture and beautiful bokeh effects.
The introduction of the FE 12-24mm F2.8 GM now extends the F2.8 range of Sony’s G Master series zoom lenses all the way from 12mm to 200mm[ii] and at 12mm, offers the world’s widest range of zoom at F2.8. At this focal length, it is possible to emphasize distance and create dynamic perspectives that are beyond the scope of the human eye, opening the door to new avenues of creative expression.
“We are excited to introduce the new FE 12-24mm F2.8 GM as the 57th lens in Sony’s E-mount line-up”, said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “It is important for us to continue to push boundaries in the industry to develop the best tools for our customers. By extending our range of G Master constant F2.8 zoom lenses out to 12mm, we are excited to see how these new innovations will help our customers create like never before.”
The FE 12-24mm F2.8 GM benefits from innovative construction that delivers outstanding corner-to-corner image quality throughout the entire zoom range. It features three precise XA (extreme aspherical) elements including the largest XA element ever made for an ? – Alpha brand lens. These XA elements, with an additional aspherical element, effectively suppress astigmatism, coma and field curvature right out to the image edges. Furthermore, three ED (Extra-low Dispersion) glass elements plus two Super ED glass elements, powerfully control chromatic aberration and combine to deliver corner-to-corner clarity while minimizing color fringing.
An extremely effective floating focus mechanism divides the lens’s focus group into two independently controllable groups, ensuring both outstanding close-up performance and maximum sharpness at any distance. The two independently controlled groups help realize a constant 11” (28 cm) minimum focusing distance throughout the zoom range, and because it is an internal focus lens, its length remains constant, so its center of gravity varies very little and is always optimally balanced in the hand.
The signature bokeh effects of Sony’s G Master series lens are achieved through the fine tuning of the lens’s spherical aberration characteristics during both the design and manufacturing process. At the same time, the extremely high surface precision of the lens’s XA elements effectively suppresses spherical aberration and, in combination with a 9-blade circular aperture, further enhances its exquisite bokeh.
The FE 12-24mm F2.8 GM employs four original high-speed, high-thrust XD (extreme dynamic) Linear Motors to ensure that it is compatible with the speed performance of both current and future camera bodies. With two XD Linear Motors for each of the lens’s focus groups, autofocus is fast and precise. New control algorithms maximize the response of the system while achieving flawless synchronization between the two focus groups. Further benefits include extremely quiet operation with minimal vibration and lower power consumption.
A brand-new Nano AR Coating II that can be evenly applied to large lens elements or highly curved element surfaces has been used for the first time on the FE 12-24mm F2.8 GM. It suppresses internal reflections, minimizes flare and ghosting for clear, crisp imagery and despite the lens’s wide angle of view, Nano AR Coating II maintains high clarity and contrast throughout the entire image, even in difficult light.
Moviemaking The constant F2.8 maximum aperture at all focal lengths ensures that exposure is stable when zooming. As a result, this means that shutter speed and ISO sensitivity can remain constant while shooting movies. The creative opportunities afforded by shooting movies at a 12mm angle of view with F2.8 constant aperture in full-frame are boundless, and when used on an APS-C or Super 35 camera, the wide end of the zoom range becomes equivalent to 18mm, providing a useful zoom range for moviemaking.
Professional Control Weighing only 1.87 lbs (847 g), the FE 12-24mm F2.8 GM offers numerous features for full professional control of shots. These include a customizable focus-hold button, focus-mode switch, zooming ring and focusing ring that are positioned for easy operation while shooting. The Linear Response MF ensures that the focus ring responds directly to the most subtle adjustments when focusing manually so control feels immediate and precise. It is dust and moisture resistant[iii] and the front lens element features a fluorine coating that repels water, oil, and other contaminants, making it easier to wipe off any fingerprints from the lens surface. The rear filter holder accommodates standard sheet-type ND, color correction and other filters for expanded expressive capability. A cutting template for sheet filters is supplied.
Pricing and Availability The FE 12-24mm F2.8 GM is available in in August 2020 for a suggested retail price of $ 2,999.99 USD and $ 3,999.99 CAD.
The post 5 Different Approaches to Learning Photography appeared first on Digital Photography School. It was authored by Charlie Moss.
There are many different approaches to learning photography. Some people would have you believe that one way is far superior to others. But the reality is, everyone learns differently. People have different lifestyles and learning methods, various time constraints, and different budgets.
You’re already on a site that offers one way of learning photography, but have you considered the other paths that you could take? Here’s a rundown of different ways that you can structure your practice and improve your photos.
1. Blogs
It doesn’t take much to find a myriad of blogs looking to help you learn photography. Anyone from the most experienced professional photographer to someone who just bought their camera can start a blog. I guarantee that you can learn something from all of these photographers.
For some people, like myself, blogs are an excellent format for learning photography. I’m the kind of person who learns well from text and pictures, so I read a lot of different blogs by many different photographers.
There are two significant advantages of blogs over other kinds of learning. The first is that anyone can create them, which leads to all sorts of ideas being shared. The second is that they’re quick to respond to new technologies and techniques. You’ll probably see articles about near gear or styles on a blog way before you see the same information in a book.
2. Books
Having just said that blogs are more likely to have new information than books, books still have some advantages. They often go into much more detail than blogs, especially where the content is unlikely to change even with new technology.
I have several books that cover scientific aspects of cameras and photography, and they’re still useful almost fifteen years after I bought them.
This solid foundation of knowledge can be where it’s helpful to use a few different approaches to learning photography, topping up your foundations with videos or blogs.
You can often pick up second-hand photography books cheap in thrift stores and on online auction sites. I have some real gems from decades back. They are fascinating to use to learn techniques that were in fashion at the time.
My particular favorites are the 70s and 80s glamour photography books I own; when I started shooting male glamour models and wanted an 80s vibe, they were the first place I looked for inspiration!
3. Videos
YouTube is a great place to find both photographic inspiration and tutorials of all kinds. And just like blogs, everyone can start a channel and upload videos to help other photographers learn.
An advantage of video is that if you’re the kind of person who learns best visually, you can get to grips with a technique much more effectively as you watch a photographer demonstrate it. Different approaches to learning photography will suit different people – everyone learns in different ways.
Some websites offer whole libraries of classes to watch, with some of the courses lasting several days! You can generally either buy the class to keep forever or take out annual or monthly subscriptions that allow you to view all the classes on the site for as long as you keep subscribing.
Many people find watching video tutorials a great way to learn. I’ve got several friends who have taught themselves photography almost entirely from YouTube. If you love watching videos, then you’re spoilt for choice. There is a video tutorial on just about every aspect of photography that you can imagine (and a few you’ve never thought of).
4. Workshops
If there’s one good thing that will come out of our global extended time at home, it’s that there are now many more workshops happening online. Participating in a photography workshop can now be as simple as firing up some video conferencing software and tuning in to listen to an instructor talk!
The advantage of live workshops over pre-recorded videos is that you can usually ask the instructor questions during the workshop. Many online video conferencing platforms have the ability for you to type our a question or virtually raise your hand. Do take advantage of this feature and ask all the questions you can think of.
Of course, workshops that happen in person are great too because you can often get hands-on with equipment that you might not have at home. Lighting workshops should give you the time to try out the gear that you’re being taught to use, and ideally, there’s scope to play around a be a bit creative while you have a go.
One type of workshop that it’s particularly helpful to keep an eye out for is when camera manufacturers release new equipment. Often they hold cheap (or even free) seminars that allow you to get hands-on with new lenses and cameras. Even if you don’t intend to buy a new camera or lens, this can be a great way to have access to a professional photography teacher who you can ask questions!
5. University
Perhaps the ultimate long-term commitment to learning about photography is going to university and doing a degree. It’s not an option for everybody, of course. But for those that can afford both the time and the money, it’s incredible to be able to immerse yourself in a single subject for three years and one of the most intense approaches to learning photography.
If this is an option that you’re considering, then do think outside of the standard photography degree. Some universities let you combine photography with subjects like marketing. This combination would be an incredible option for those wanting to go into advertising photography.
If you wanted to go into photojournalism, then you might choose to find a way to combine photography with international politics.
And don’t forget fine art as a subject either! There’s often lots of scope for photography practice on a fine art degree.
I chose to go to university to study art history as a mature student. It is genuinely the best decision that I ever made as a photographer. It has matured my work, given me a greater understanding of issues when it comes to artistic practice, and it has opened my eyes to a whole incredible history of creativity and art. I liked it so much that I’m now doing a PhD. You never know where studying photography might lead you!
Pick the right option for you
The advice that I always give when photographers ask about how best they should learn is that they should pick the route that makes the most sense for them and their photographic aspirations.
There are so many different approaches to learning photography that everyone should be able to find an option that suits their life, budget, and their dreams. And remember that if you’re not enjoying what you’re doing, then try something new! You can always ask photographers that you know and see what worked for them.
Do you have anything you’d add to this? Feel free to share any other tips, or your experiences of learning photography with us in the comments section.
The post 5 Different Approaches to Learning Photography appeared first on Digital Photography School. It was authored by Charlie Moss.
One of the most frustrating things that can happen while editing photos is lag. Especially photoshop brush lag. Imagine, you’re right in the middle of doing some intricate touch-up edits to finalise an amazing photo for your portfolio or for a client and you cannot get the photoshop brush to do the edits in the exact place that you want Continue Reading
The post How to Fix Photoshop Brush Lag: 5 Steps appeared first on Photodoto.
You must be logged in to post a comment.