The post 3 Lightroom Tools to Enhance Your Nature and Wildlife Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.
Do you want to bring out texture in your images of flowers, butterflies, plants, or macro subjects?
Are you looking to remove haze from your beautiful landscape images?
Do you want to reveal fine detail in your wildlife images?
Then you’re in the right place.
Because today I am going to share with you three Lightroom tools for nature photography. I use these three tools to enhance my own nature and wildlife images. And I am sure these tools will be helpful to you, as well.
And the best part is?
All of these Lightroom tools are easy to apply. It doesn’t matter if you are a beginner or an intermediate-level photographer; you can pick up these tools and start enhancing your nature images right away.
Note that these three Lightroom tools can be applied to an overall image (as a global adjustment) or to a targeted area of the image (as a local adjustment).
Let’s do this!
The 3 Lightroom tools for nature photography
Here are the three Lightroom tools that will instantly enhance your nature photos:
Texture
Clarity
Dehaze
To access these tools, head to the Develop Module, find the Basic Panel, and scroll down to Presence:
The Texture, Clarity, and Dehaze sliders in Adobe Lightroom.
Texture
Texture has a subtle sharpening effect. It brings out the finer details.
You can use the Texture tool in Lightroom to subtly add sharpening to flowers, patterns, plants, and more.
By default, the Texture slider is set to “0.” Drag the texture slider to the right to increase the texture effect.
Or drag the Texture slider to the left to reduce its effect.
Here is an example of the Texture slider in action. First, take a look at this chameleon photo without any added texture:
Before applying the Texture slider.
Then, as you increase the texture, the chameleon details appear sharper:
After applying the Texture slider.
Here’s a final before and after:
The effect of the Texture slider (before and after).
Clarity
The effect of the Clarity slider is more prominent than the effect of the Texture slider.
What does Clarity do?
It primarily increases the midtone contrast.
Now, the Clarity slider is set to “0” as a default.
To add Clarity, drag the slider to the right:
The Clarity slider is a useful Lightroom tool for nature photography.
To reduce the effect, drag the Clarity slider to the left.
Since the effect of the Clarity slider is strong, make sure you use Clarity in moderation.
If you capture a well-exposed image with a relatively centered histogram, then the Clarity slider will improve the midtone contrast and can bring out additional details in your picture.
Here’s an image without the Clarity slider applied:
Before applying the Clarity slider.
As well as its corresponding histogram:
The histogram before applying the Clarity slider.
And here’s the image with the Clarity slider applied:
After applying the Clarity slider.
And its corresponding histogram:
The histogram after applying the Clarity slider.
As Clarity increases, the midtone contrast increases, too; notice how the center of the histogram has expanded.
Additionally, after increasing the Clarity, details on the bird have begun to pop.
Dehaze
The Dehaze slider is quite helpful for landscape images.
When out photographing, you may end up with haze in the atmosphere. Additionally, fog or rain will make an image look hazy.
You can use the Dehaze slider to reduce the haze.
To apply the Dehaze effect (and reduce the haze), drag the Dehaze slider to the right:
The Dehaze slider in Lightroom.
To reduce the Dehaze effect (and increase the haze), drag the Dehaze slider to the left.
As you increase the Dehaze effect, haze in the picture will be reduced, and the overall saturation of the image will increase. If the saturation increases too much, then bring down the Saturation slider slightly.
Note that the Dehaze slider will shift the histogram to the left (toward the side of the histogram representing the darker tones in the image).
When I was photographing the scene below, there was mist and drizzle over the forest valley. Here’s the image prior to applying the Dehaze effect:
Before applying Dehaze.
And here’s the same image, but with the Dehaze effect applied:
After applying Dehaze.
As I increased the value of the Dehaze slider, the haze was reduced. The difference between the original and edited images is quite significant.
You can also use the Dehaze slider for early-morning images, wildlife during the winter season, photos captured in the rain, and wildlife captured from a distance.
The elephants pictured below were moving along the riverbank. I was photographing them from a boat at a far distance, it was evening, and there was a slight fog in the atmosphere, hence the image appears a bit hazy:
Before applying Dehaze.
But, thanks to the Dehaze slider, the haze in the picture is reduced:
After applying Dehaze.
The Lightroom tools for local adjustments
There you go!
Those are the three Lightroom tools for nature photography that will instantly enhance your photos.
But here’s one more thing you should know:
Texture, Clarity, and Dehaze aren’t only available as global adjustments. They’re available as local adjustments, too.
You can apply local adjustments using a Graduated Filter, a Radial Filter, or an Adjustment Brush.
As you apply your local adjustments, you can shift the Texture, Clarity, and Dehaze sliders.
Let me give you an example. Here’s an unedited image:
After making global adjustments in Adobe Lightroom, I used a local (targeted) adjustment on the sky:
On the stormy clouds:
And on the road passing through the grassland:
Note that these local adjustments include the Texture, Clarity, and Dehaze sliders.
Here is the final image:
The final, post-processed image.
So you can use these three tools when adding local adjustments, too!
Lightroom tools for nature photography: Conclusion
I hope these three Lightroom tools will help you enhance your nature and wildlife images.
Now I would like to hear from you:
Which of these Lightroom tools for nature photography are you going to try first?
Let me know by leaving a comment below.
The post 3 Lightroom Tools to Enhance Your Nature and Wildlife Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.
One of the most common questions we get from photographers that are just starting out is about photo editing software and which one they should use. Most people have heard of Adobe and its Photoshop and Lightroom software but are confused to what the differences between them are and exactly which one they should be using. Let’s take an in Continue Reading
The post Using Lightroom vs Photoshop: A Quick Reference Comparison appeared first on Photodoto.
DJI has announced the release of its new DJI Pocket 2, a second-generation three-axis mini camera.
The updated camera drops the Osmo nomenclature its predecessor bore and improves its performance across the board. Despite keeping its compact size, weighing just 117g (4.2oz), the Pocket 2 has a larger sensor and wider lens than the Osmo Pocket, which DJI claims has dramatically improve image quality for both photos and video.
The new 1/1.7” sensor (Osmo Pocket had a 1/2.3” sensor) works in tandem with a new 20mm (equivalent) F1.8 lens to capture 16MP photos in standard mode and up to 64MP images in high-resolution mode. The Pocket 2 can record 4K video at up to 60fps at a 100Mbps bitrate. DJI has added HDR recording and the device now offers up to 8x zoom using the 64MP high-resolution mode or 4x lossless zoom when shooting at 16MP or in 1080p.
DJI has also improved the focus system, which should make it easily to track moving subjects faster and more accurately than with the Osmo Mobile. The Hybrid 2.0 AF feature uses a combination of contrast and phase detection to deliver these performance improvements.
DJI Matrix Stereo also improves upon one of the weakest points of the Osmo Mobile—audio. The new audio system uses an array of four microphones to capture what DJI calls an ‘immersive audio experience.’ DJI has added a number of audio features, including Directional Audio, SoundTrack and Audio Zoom. Below is a description of the new features straight from DJI:
’Directional Audio enhances sound recording from those microphones to pick up as much detail as possible, with SoundTrack adjusting the audio based on where the camera is facing, while Audio Zoom narrows the sound field when zooming the camera in. To further filter out unwanted background sounds, an optional wind noise reduction helps keep the audio clean in outdoor settings.’
As with nearly all of DJI’s products, there’s a handful of pre-programmed shooting modes included with the Pocket 2:
Pro Mode: Control advanced camera settings such as ISO, shutter speed, EV, and focus mode.
ActiveTrack 3.0: Select a subject and let DJI Pocket 2 keep it in the frame automatically.
Slow Motion: Capture the fast-moving world in slow motion with a max speed and resolution of 8x at 1080p.
Timelapse, Hyperlapse, Motionlapse: Speed up the world around you with the varying effects of three different time-lapse operations. Hyperlapse automatically integrates Electronic Image Stabilization (EIS) for added smoothness. Users have the ability to save individual images separately, record in RAW format, and use ActiveTrack 3.0.
Panoramas:
180° Pano: Captures four photos for sweeping landscape images.
3×3 Pano: Merges nine images for a wide and detailed view.
Livestreaming: Livestream directly to Facebook, YouTube, or RTMP.
Story Mode: Preset camera movements, color profiles, and music make it easier to choose a template, record the moment, and share to social media instantly.
Other features include a new Fast Wake option that will instantly turn on the device so you don’t miss any action, a Drop Aware function that will ‘take preventative measures when it senses the gimbal falling’ and a Pause Recording feature that will quickly pause video recordings.
With new hardware comes new accessories, including a charging case, wireless microphone set, waterproof housing, a more compact control wheel, an extension rod, a (more) wide-angle lens attachment, a wireless module and a smartphone support system. All of the above features and more can be controlled with the free DJI Mimo smartphone app, available on both Android and iOS.
The DJI Pocket 2 can be purchased in two configurations: the DJI Pocket 2 with the Mini Control Stick and Tripod mount for $ 349, or the DJI Pocket 2 Creator Combo, which includes the Mini Control Sitck, tripod mount, wide-angle lens attachment, wireless microphone with windscreen, the do-it-all handle and the micro tripod for $ 499. Units can be purchased through DJI’s online store and authorized DJI retailers.
Today is the day a number of reviewers are allowed to share their first thoughts on Apple’s new iPhone 12 Pro, the smaller of the company’s two latest flagship mobile devices announced last week. While we haven’t had the chance to take one for a spin yet, we’ve rounded up a few reviews from across the web to see what others’ opinions on the photographic capabilities of the new iPhone devices are.
From more general tech-centric reviews, such as The Verge’s Nilay Patel’s, to photo-specific reviews such as Austin Mann’s in-depth dive, we’ve tried to gather a nice spread of opinions. Overall, the consensus seems to be that while the iPhone 12 Pro is at the top of its game in the photography department, the iPhone 12 Pro Max will likely pack even more punch with its better camera specifications—so long as you don’t mind the extra bulk.
Over the coming days, as more reviewers get units in their hands, we’ll add those to this round-up. If there’s a review (or two) you think we missed, leave it a link the comments below.
Austin Mann
You can’t talk about annual iPhone camera reviews without mentioning Mann’s thorough deep dives. He’s spent some time with Apple’s latest iOS devices while camping out of an Airstream in Glacier National Park, Montana and has wrapped up his thoughts on the photographic capabilities of the iPhone 12 Pro in a very comprehensive guide on his website.
He puts the new ultra-wide-angle lens to the test, pushes Night Mode to its limits and overall provides a comprehensive overview with plenty of sample images to look through. He concludesd by saying, under the headline ‘Buying advice for photographers:’
’The iPhone 12 Pro is a solid camera, and thanks to a bunch of new digital tech I found it to be slightly stronger than the already great iPhone 11 Pro — but if you are serious about photography with your iPhone, wait for the iPhone 12 Pro Max. It looks to be the most significant jump in iPhone camera hardware we’ve experienced in years, and it’s only three weeks away.’
Nilay Patel, ft Becca Farsace (The Verge)
iPhone 12 and iPhone 12 Pro reviews are here. @backlon reviewed the 12 with a focus on 5G: https://t.co/3T9zVkHQWA
And I reviewed the 12 Pro and they let me completely nerd out on Dolby Vision – with a big assist from @BeccaFarsace! https://t.co/xc4NwiavYQ
— nilay patel (@reckless) October 20, 2020
Being a more general technology website, The Verge’s review doesn’t only focus on photography, but author Nilay Patel does have a thorough section dedicated to the imaging capabilities of the iPhone 12 Pro. He also gets the thoughts of The Verge video director Becca Farsace, whose work we’ve featured here on DPReview in the past.
There’s also a video review from The Verge:
Aundre Larrow (via PetaPixel)
new work with the new #iphone12pro #shotoniphone https://t.co/f7KPNpJYKJ pic.twitter.com/ZsHfEx5Wjh
— aundre (@aundrelarrow) October 20, 2020
Photographer and former Adobe Creative Resident Andre Larrow has teamed up with PetaPixel to share his thoughts on the new iPhone 12 Pro camera system. Taking a departure from the usual type of imagery you expect to see in reviews, Larrow opted to put it to the test by taking a series of intimate portraits with friends and acquaintances who have been quarantining together, as to minimize any health risks with the outdoor portrait sessions.
The series is somehow both serious and lighthearted with an editorial feel you don’t often associate with smartphone photography. It’s a welcomed change of pace and well worth the read.
Raymond Wong (Input)
?Here it is: my iPhone 12 and 12 Pro review on @inputmag!?
? Most powerful performance ? Better cameras ? Slick new design ? MagSafe Charging ? 5G
It’s really hard to find anything to complain about.
These are virtually perfect iPhones: https://t.co/QujmF3qdM6
— Raymond Wong??? (@raywongy) October 20, 2020
Despite ‘taking [his] phone photography quite seriously,’ Raymond Wong of Input takes a more casual approach to reviewing the camera technology inside the iPhone 12 Pro. Despite the more casual approach, he does a great job comparing the new iPhone 12 Pro to the iPhone 12, iPhone 11 Pro and Pixel 5 in a number of areas, with sample images for comparison. Head on over to the review to see for yourself.
In addition to its Lightroom and Photoshop updates, adobe has also revealed a prototype of its Content Authenticity Prototype, a key new tool that will play a key role in Adobe’s Content Authenticity Initiative first unveiled a year ago at Adobe MAX 2019.
A screenshot from the video showing the ‘Content Credentials’ toolset in the beta version of Adobe Photoshop.
As the above video demonstrates, the new opt-in tool provides a way for photojournalists, artists and other creatives to cyptographically sign and embed editing and attribution information to images that have been adjusted or altered in Photoshop (and presumably other Adobe programs). Creators can choose to include as little or as much data as they would like and export that information with the image(s).
A screenshot from the header video showing what information will be embedded with the edited image upon export from Photoshop.
When the image(s) are uploaded to websites with CAI compatibility, viewers will be able to see exactly who captured the image, what edits were made, what assets were used and more. Adobe is even launching a dedicated site (verify.contentauthenticity.org) that will serve as an original database of sorts to see every detail of every change made and asset used.
The verify.contentauthenticity.org website will break down the signed metadata for each asset used.
Currently, the prototype will only be available to a select group of beta testers. Eventually, we can expect the tool to roll out to the masses, but even then, adoption will come to be the greatest barrier to Adobe’s efforts to keep authenticity at the forefront of digital content creation.
Adobe says it’s working with ‘The New York Times Company, Twitter, Inc., Microsoft, BBC, Qualcomm Technologies, Inc., Truepic, WITNESS, CBC and many others,’ but it’s honest about what it will take to get the masses to adopt such attribution technology as the norm:
‘We believe attribution will create a virtuous cycle. The more creators distribute content with proper attribution, the more consumers will expect and use that information to make judgement calls, thus minimizing the influence of bad actors and deceptive content. Ultimately, a holistic solution that includes attribution, detection and education to provide a common and shared understanding of objective facts is essential to help us make more thoughtful decisions when consuming media. Today is a huge leap forward for the CAI, but this is just the beginning.’
While the companies Adobe is already working with are certainly leaders in their respective spheres, there are plenty of other agencies and organizations that will need to hop onboard the CAI train to truly make this a ubiquitous standard that’s the rule instead of the exception. Media empire Gannett, for example, would be a great opportunity, as the company owns over 90 daily newspapers, nearly 1,000 weekly newspapers and almost two dozen television stations. Getty, AP and others are obvious candidates as well.
You can keep up with the latest CAI developments on the Adobe Blog and the Content Authenticity website.
As part of Adobe MAX 2020, which is virtual (and free to attend) this year, Adobe has announced the latest updates to the Adobe Photoshop family. Artificial intelligence and Adobe Sensei play a major role in today’s updates, which are now available for all subscribers.
Adobe Photoshop 2021
Adobe calls Photoshop 2021, also known as version 22.0, the ‘world’s most advanced AI application for creatives,’ so let’s see what’s new. The primary new features are Neural Filters, Sky Replacement, improved Refine Edge Selections and the all-new Discover panel.
The Neural Filters workspace is a ‘complete reimagination of filters and image manipulation inside Photoshop.’ The first version includes a large set of filters, some of which are still in a beta state. Adobe wants to get as many of them into the hands of users for testing. The Neural Filters workspace offers users access to non-destructive filters including Skin Smoothing, Smart Portrait and more. Smart Portrait allows you to transform a portrait subject along parameters such as age, expression, pose and more. AI analyzes the portrait to allow you to change aspects of your subject’s features, such as changing the direction of the subject’s head, gaze and the intensity of their smile. As you can see below, you can even adjust the direction of light in an image.
In this image, the light direction slider within Adobe’s new Neural Filters was moved from left to right. As Adobe’s Pam Clark notes, finishing touches can be easily applied within Photoshop. Image credit: Adobe
In addition to making AI-powered adjustments to portraits, Neural Filters also includes features to help repair damaged images, including Photo Restoration, Dust and Scratches, Noise Reduction, Face Cleanup, JPEG Artifacts Restoration and even a Neural Filter for colorizing a black and white image, a task which takes a considerable amount of skill and time to perform manually. You can learn more about how Neural Filters works and how they can be used in your workflow by visiting Adobe’s dedicated webpage.
Adobe’s new Sky Replacement feature includes numerous user controls when changing the sky, such as brightness and temperature. You can see the new workspace by enlarging this image. Image credit: Adobe
Moving on to Sky Replacement. Using the power of AI, Photoshop can analyze your image to detect what areas of your image are foreground versus sky and then perform masking and blending in order to realistically change the sky in your image. You can select from Photoshop’s database of skies or add your own. There are creative controls as well, including the ability to zoom in and select a portion of the sky and move the sky around the scene. Today’s Photoshop release includes around 25 sky presets. You can learn more about Sky Replacement in this article and by watching the video below.
It seems every major release of Photoshop includes substantive improvements to making selections in your images and the latest release is no different. Adobe Sensei is powering a pair of new features in the Select and Mask workspace: Refine Hair and Object Aware Refine Mode.
Making selections of hair has long been challenging, but Sensei now allows you to leverage its power to refine a selection incorporating hair in a single click. Similarly, Object Aware Refine Mode uses the power of AI to make even more precise, informed selections of portions of your image. Consider the example image below of a selection of the hair in the lion’s mane. It’s an impressive selection that was performed in only a few seconds.
Image credit: Adobe
Photoshop’s new Discover panel includes a brand-new learn and search experience. Within Photoshop, you can quickly access an expanded library of educational content, new step-by-step tutorials, and a vastly improved search functionality. AI makes context-aware recommendations based on your work, including tips and tutorials. There are new one-click Quick Actions that allow you to instantly perform certain tasks when you’re in a rush or teach you how to do the task for yourself step by step.
Photoshop 2021 includes an all-new Discover panel. Image credit: Adobe
Photoshop also includes Pattern Preview and shape creation features. Pattern Preview is a special view mode that allows you to view how your document would look as a pattern. Creating and adjusting shapes on the fly is now easier. There’s a new tool to create triangles and on-canvas controls to resize and adjust shapes.
Pattern preview is new to Photoshop 2021. Image credit: Adobe
Further improvements include enhancements to the Properties Panels and major revisions to how you access plug-ins within Photoshop. There’s a new plugins marketplace within the application where you’ll find curated collections in addition to the wide array of plugins and integrations on offer for Photoshop. Adobe has also integrated UXP to Photoshop. UXP is its new extensibility platform for building plugins.
This plugin architecture results in improved reliability and performance for plugins. There are already plugins built on UXP available in Photoshop. These include plugins to connect Photoshop with apps and services such as Dropbox, Trello and Slack. Plus, there are image editing plugins from photographers such as Tony Kuyper, Greg Benz and Davide Barranca.
It’s now easier to find plugins in Photoshop. Plus, plugins built on the UXP platform will be even more stable and faster. Image credit: Adobe
On the topic of connectedness, when working on a cloud document inside Photoshop, versions are now automatically created, allowing you to look back or revert to prior states. Within Photoshop, it’s now possible to view, revert, open, save as and rename save states within the version history. Cloud documents are also now available offline.
When working on cloud documents, you can now access a file’s version history. Image credit: Adobe
For the full breakdown of everything new in version 22.0 of Photoshop on desktop, click here. Now, there have also been specific new functions added to Photoshop on iPad.
Photoshop for iPad
When using Photoshop on iPad, you can now change the dimensions, resolution and sampling of a PSD file, matching what you can do with a PSD file on the desktop version of Photoshop. You can learn more about this function by clicking here.
It’s now possible to live stream from within Photoshop on iPad. You can use the tablet’s built-in camera and mic to communicate with viewers as well. Image credit: Adobe
Within Photoshop on iPad, users can now start a live stream via the Export menu. You can use the iPad’s built-in camera to interact with members of Adobe Behance. Live streams are sent to Behance automatically and Adobe will be moderating and posting selected recordings in the gallery on Behance and within the Photoshop on iPad app directly. There is also a new Behance Gallery within the app. This lets you view the work of others, watch live streams (including recordings), browse through Behance projects and share your own work. You can learn more by clicking here: Live streaming and gallery.
As you can see, there’s a lot new in Photoshop. You can learn more about all the new features and find links to additional information by reading this Adobe blog post.
This Friday, October 23, Terry White will be hosting a live stream at 11:00 AM ET in which he discusses all the new features of Adobe Lightroom and Photoshop for photographers. You can learn more about this live stream and set a reminder by clicking here. If you’d like to take part in Adobe MAX 2020, alongside more than 500,000 other registrants, you can sign up for different live events right here. There are a ton of great guests scheduled to appear this week, including celebrities such as Conan O’Brien, Chelsea Handler and Zendaya. Over the next three days, there are over 350 sessions, labs and creativity workshops, so be sure to check them out, it’s completely free to attend.
The post The Five Most Essential Camera Settings and How to Use Them appeared first on Digital Photography School. It was authored by David Shaw.
Modern cameras, from smartphones to high-end DSLRs, are designed to make decisions for us.
And, for the most part, they do a pretty good job. Slap your DSLR into Auto mode, and more often than not you’ll get images that are sharp with a decent exposure.
Now, if you’re just looking to document your world, then go for it. Snap away. But the drawback is that images taken with Auto mode tend to look similar to one another, with a uniform depth of field and exposure.
If you want to move beyond the automatic camera settings, you need to understand your camera, how to use it and, most importantly, what impact changing those settings will have on your final image.
Here are five of the most essential camera settings, what they mean, and how they’ll impact your photos.
ISO
Here’s the first essential camera setting you should know:
ISO.
Now, the acronym “ISO” is terrible, because it’s basically meaningless in terms of photography. It stands for International Organization for Standardization, a European non-governmental organization that makes sure industries apply the same standards.
In the case of photography, the International Organization for Standardization wanted to make sure that an 800 ISO on a Canon camera is the same as on a Nikon, Sony, or a Fuji. If that standard didn’t exist, then settings wouldn’t be applicable across camera brands. So if I set my Canon to make an image at 1/100s at f/2.8 and ISO 400, and you set your Nikon to the same settings, we wouldn’t get the same exposure.
Thankfully, all the major manufacturers do subscribe to the ISO standard.
So what is ISO?
ISO is the measure of the sensitivity of your camera’s digital sensor to light. The lower the number, the lower the sensitivity; the higher the number, the more sensitive the sensor becomes.
Say that you’re shooting in a low light situation, such as in a poorly-lit room or on a dusky evening. An ISO setting of 100 will require that more light reaches the sensor than if you were to use a setting of ISO 400, 800, or 1600.
This night image required a fast shutter speed to retain detail in the flame, so I had to use a high ISO (3200). In the next shot (below), you can see the noise in the original RAW file. (By the way, this image shows what happens when you free methane from a bubble in the ice of a frozen pond in the boreal forest and then set it alight.)
Drawbacks of a high ISO
So why not shoot with a high ISO all the time?
Two reasons:
High ISOs often create digital noise in the image (though camera sensors are getting better and better at avoiding this).
Sometimes you may want to force a slow shutter speed, in which case you need less sensitivity to light. This may be the case if you are trying to capture blurred motion such as water or wind, or if you’re creating pleasing blurs in sports photography.
Note the noise in the detail of the person’s clothing and in other shadowed areas.
In short, ISO is one of the three tools you have at your disposal to manipulate your exposure.
Shutter speed
The length of time your camera’s sensor is exposed to light is the shutter speed.
Many cameras have a mechanical shutter that snaps open and closed, allowing light to reach the sensor. Others use a digital shutter that simply turns on the sensor for a set period of time before switching it off again.
Your shutter speed has a huge impact on the final image.
Why?
Because a long shutter speed will create blur in moving subjects. As a landscape photographer, I use long shutter speeds to blur water, capture starlight, or show wind motion.
For this image, I used a 1/2s shutter speed to blur the waves while retaining some detail.
A 30s shutter speed blurred the Yukon River into a mirror-like surface.
Short (i.e., fast) shutter speeds have the effect of stopping motion. Use a shutter speed of 1/2000s and the motion of a runner or a cyclist will be stopped dead.
This image of a passing bike required a shutter speed of 1/500s. The shutter speed was just fast enough to make the image sharp overall while retaining some sense of motion in the spinning tire.
Your use of shutter speed must be thoughtful to create a good image. Think about the final image you want to create. Does it have blurred components or is it all sharp? Do you want to stop your subject or convey a sense of motion?
Consider, experiment, then decide on your shutter speed.
Aperture
The aperture, or f-stop, might be the most confusing aspect of photography for many photographers. This is because it affects images in unexpected ways.
Essentially, the aperture is how big the hole in the lens is. The smaller the hole, the less light that is allowed in; the larger the hole, the more light that gets through.
What often confuses people is the numbering system:
The smaller the number, the larger the hole.
So a setting of f/2.8 corresponds to a larger opening than f/4, f/5.6, f/8, f/11, and so on. Lenses with a wide maximum aperture (i.e., a small number like f/2) are considered fast, meaning that they are capable of allowing in more light.
But it’s not just about light and how wide a lens can open. The aperture also affects image sharpness.
You see, most, if not all, lenses are sharper a few f-stops down (called the sweet spot). A lens with a maximum aperture of f/2.8 will create a sharper image at f/8 than at f/2.8. The better the lens, the less this matters, but it is noticeable on most lenses.
Depth of field and its applications
The aperture also controls the depth of field.
The depth of field is the amount of the image from close to far that is in focus. A lens set to its widest aperture (say f/2.8) will give less depth of field than the same lens set to f/11.
A very shallow depth of field in this image brings the grouse hiding in the brush into focus while the surrounding chaos of branches blurs into a haze.
As with shutter speed, your use of aperture should be purposeful. Have a landscape image that you want in focus from front to back? You better select a high f-stop (such as f/11). How about a portrait where you want a clean, soft background but a tack-sharp eye? Then use a small f-stop (such as f/2.8 or f/4) and carefully choose your focus point.
An f-stop of f/11 at 17mm was sufficient to make the entire scene, from inches in front of the lens to the cliffs in the distance, sharp.
The aperture directly impacts the shutter speed. A narrow aperture will require you to use a longer shutter speed to attain a proper exposure, just as a wider aperture will allow you to use a faster shutter speed. Aperture and shutter speed are completely interrelated; there is no escaping it.
So you need a strong understanding of both.
White balance
White balance, like ISO, relates to the sensor.
But, in this case, it has to do with the color of the light, rather than its brightness.
Different light sources have different color tones. Our eyes often don’t detect these differences, but you can bet your camera will. Have you ever seen a photo of a home interior lit by soft white bulbs, but including a window? Usually, the interior of the room looks natural while the outdoor light looks artificially blue.
That’s white balance. The camera (or photographer) decided to use the interior light (the warm-toned bulbs) as the neutral color, but then the natural light outdoors shifted toward blue.
Now, when the white balance is set wrong, the colors are off. They look too yellow, blue, or orange.
But when the white balance is correct, everything looks natural, as our eyes detect it.
Here is an image with the camera’s white balance set to Auto. The colors of the aurora borealis appear too purple and yellow.
In this version, I adjusted the white balance further into the blue range, making the colors of the lights appear more natural and pleasing.
What about Auto White Balance?
I’ve got a confession to make here:
I almost always use the Auto White Balance setting on my camera. Cameras are pretty darn good at assessing color tones and deciding on the appropriate white balance. When my camera does get it wrong, I can check the image on the LCD and make the correction for the next shot.
Also, I shoot exclusively in RAW format, which means that I can make adjustments to the white balance during post-processing. I trust the image on my computer screen more than I trust the tiny LCD on the back of my camera.
That said, there are times you should adjust the camera’s white balance setting. The first is if you are shooting JPEGs. The JPEG file format will not allow you to effectively adjust the white balance later, so you must get it right in-camera.
The second time you’ll want to adjust your white balance setting is when stacking images, either for high-contrast scenes or for panoramas. When stacking, slight changes in color tones will make combining several images into a single HDR photo or a panorama much more difficult or even impossible.
You can also adjust your white balance if you purposely want to make an image look cool or warm, or if you are using artificial lights.
So be mindful of your white balance; know what it does and how it will impact your images. Then decide how to use it.
Exposure compensation
What is exposure compensation?
Exposure compensation allows you to very quickly add or subtract light from an image.
Too dark? Use the exposure compensation feature to add a stop of light. Too bright? Exposure compensation can quickly darken the image.
For the image above, I used exposure compensation to make sure the scene showed details in the foreground, while keeping the bright sunset in the background from being blown out.
And the image below was made in bright sunlight, but a deliberate underexposure of three stops (via exposure compensation) reduced the mountains to black but retained detail in the sky, resulting in a surreal image.
Know your camera well
Exposure compensation is a tool you should know how to adjust without lowering the camera from your eye. How it is set depends on your camera settings.
I use Aperture Priority mode most often on my camera. So I select the aperture, and the camera decides the shutter speed. If I adjust the exposure compensation, my camera will retain my chosen aperture and simply adjust the shutter speed up or down to get the desired exposure.
And if I were to use Shutter Priority mode, as I sometimes do, the camera would adjust the aperture, instead.
(In Auto mode, the camera makes this decision for you.)
I use exposure compensation constantly. It is my go-to method for fine-tuning my exposures in the field. On my Canon DSLR, I can adjust it with a simple twitch of my thumb on the rear wheel of the camera. Other cameras have their exposure compensation control as a wheel near the shutter button, or as part of a system of buttons on the back.
Know how your camera works and learn to adjust the exposure compensation quickly and efficiently. Understanding this important tool will mean you don’t miss your chance to get the shot right when you are working in the field or the studio.
Essential camera settings: Conclusion
These five camera settings are the most important things to understand about your camera.
Experiment with them so you know how they affect your final image. Learn to change each setting quickly and without fuss.
Once you’ve done this, you’ll have taken charge of your photography.
And you’ll be on your way to creating purposeful images.
If you have any comments or questions, please add them below!
The post The Five Most Essential Camera Settings and How to Use Them appeared first on Digital Photography School. It was authored by David Shaw.
The Nikkor Z 24-50mm F4-6.3 is Nikon’s most compact and affordable ($ 400 MSRP) lens for full-frame Z-mount cameras. It’s also one of two lenses available as a kit with the excellent, entry-level Nikon Z5 body, and collapses down to a mere 51mm (2″) when retracted. While it’s certainly not the fastest glass in town, it is respectably sharp for a modern kit lens. Take a look for yourself.
My much-used Nikon Z7, purchased used from a friend (this guy) in late 2018.
Please note that the following article is very much a personal take, written from the perspective of someone who has been using an original Z7 for some time. Your needs (and your experience) may well vary greatly from mine, and I’d encourage you to read our launch content to get a feel for how well (or not) the Nikon Z6 II and Z7 II meet your requirements.
And with that out of the way…
Here at DPReview we get to use a lot of cameras and lenses in the course of our work (lucky us) but despite the availability of free loaner equipment, most of us still own and maintain a personal collection of gear. I’m talking about cameras, lenses and accessories purchased with our own money, for those times when we’re not testing the latest and greatest new thing. Much of my favorite gear of the past few years has – when finances have allowed – made its way into my personal collection.
For two years, my main camera (alongside models from several other manufacturers, I hasten to add) has been the Nikon Z7. The Z7 divided opinion when it was released in 2018 (who knew that so many people couldn’t live without a second card slot…?) but it met my fairly basic requirements very well. I needed high resolution in a compact body, image stabilization, a high–resolution viewfinder (with a priority on detail, rather than refresh rate), and a menu system which I could navigate without getting a headache. Something to replace my D810, with an emphasis on image quality rather than speed.
I had a running list of things I wanted fixed – or at least improved – in a future Z7 replacement
Fast-forward two years and my needs haven’t changed that much. That being said, after spending so long with a single model as my primary ‘creative’ camera (and having used the raft of competitive full-frame options released by Canon, Sony and Panasonic in the intervening time), I had created a mental list of things I wanted fixed – or at least improved – in a future Z7 replacement.
In no particular order, here’s my list – all of which might equally apply to the Z6.
Backlit controls
More customization for Fn buttons (for example the option to toggle silent shooting on/off)
Improved VR
Faster AF, better focus reliability in low light
A proper analog for 3D AF tracking as found in Nikon’s DSLRs
Compatibility with 10–pin MC–30A release (the plug–in MC–DC2 is fiddly and flimsy)
A proper vertical grip
A less intrusive EVF electronic level
Greater articulation of rear LCD (and a less sensitive EVF/LCD switch)
More effective sensor cleaning / dust–reduction
Two things not on my list, but I know are very close to some peoples’ hearts: Improved video, and twin card slots.
Of the 12 improvements and additions mentioned above, the Z7 II addresses four of them (highlighted in bold), but only two from my main list. The Z6 II and Z7 II are nearly impossible to tell apart from their predecessors, and that’s quite revealing: They’re extremely similar. Even the old MB-N10 battery grip will fit the the new cameras, which is good news for the five people who bought one.
Unlike the original Z6 and Z7, the new Mark II models are offered alongside a true vertical control grip, which duplicates controls for portrait-orientation shooting.
Is the provision for a proper vertical grip, and improved autofocus enough to make me upgrade from my Z7? Honestly…? probably not. I say ‘probably’ because I’m reserving judgement until I can judge for myself the improvement to AF in low light and the handling difference that the new grip makes when shooting with the Z 70–200mm F2.8 VR S. The fact is that – for me – the original Z7 is still a great camera, and here at DPReview, even two years on, we still consider the Z6/7 to be among the most pleasant to use of the full-frame ILCs currently on the market. If I buy a new camera in the next year or so, it might just end up being a second Z7, if the prices drop low enough. But if I do upgrade, at least I know that the process will be unusually painless (even custom tripod plates for the Z6/7 will fit the new models).
There are a lot of ‘single issue voters’ out there in the camera–buying world
Of course, that’s just me. There are a lot of ‘single issue voters’ out there in the camera-buying world, whether that issue is the number of card slots, USB power, battery life, which way the focus ring rotates (FINALLY something you can customize in the Z6/7 II…) or whatever else.
The Z6 II and Z7 II have twin card slots. They can be powered over USB. They are, undoubtedly, faster and more powerful cameras than their predecessors. Nikon claims that their twin processors allow for improved low light AF performance, as well as more versatile face/eye-AF, reduced blackout time between shots, and faster continuous shooting. Hopefully, the increased processing power will allow Nikon to add more features via future firmware updates, too.
There will be a lot of people reading our launch coverage of the Z6 II and Z7 II and thinking (and no doubt already commenting) ‘these are the cameras that the Z6 and Z7 should have been’. I think that’s unfair (hindsight is cheap – R&D isn’t), but they’re certainly better cameras – and a more convincing entry-point into mirrorless for existing Nikon DSLR owners.
Because the new Z6 II and Z7 II are physically identical to their predecessors, custom plates from the likes of Acratech (shown here) Kirk and Really Right Stuff designed for the older cameras will also fit the new models.
That’s crucial, because while the answer to the question ‘should you upgrade from a Z6 or Z7 to the Z6 II or Z7 II?’ is a resounding ‘maybe…‘, for Nikon users considering whether to move into mirrorless for the first time, it’s much more clear–cut.
If you’re a D750 or D850 (or D5000–series or D7000–series) owner, you’ll probably find these new cameras more attractive upgrade options than the original Z6 and Z7. They work in broadly the same way (if not exactly the same) as the DSLRs that you’re used to, autofocus should be a little better, you can use your existing SD memory cards if you want, without the short–term need to invest in a new media type, and if you need proper vertical controls for portraits or long lens work, you got ’em. Meanwhile the extra processing power makes them a little more future-proof when it comes to firmware updates.
But what if you’re not an existing Nikon DSLR user? Is the Z6 II a better option than (say) the Canon EOS R6, or Sony a7 III, or Panasonic Lumix DC–S5? That’s not a question we can answer yet. They certainly look pretty competitive on paper, and you can see how their specs compare in our database, but bare numbers can only tell you so much. Rest assured though that we’ll be testing both the Z6 II and Z7 II (and adding them to our Buying Guides) as soon as we receive final production samples.
Black and white film and paper manufacturer Ilford Photo has produced a series of videos to help beginners get to grips with essential darkroom techniques. Hosted by Rachel Brewster-Wright from Little Vintage Photography the collection of videos tackles some of the basics of common darkroom questions in a simple to follow format.
So far, subjects covered in the 16-video playlist include dodging and burning, selenium toning, using multi-grade paper and more. The series sits alongside a mass of other educational content from the film-maker that covers issues such as how an enlarger works, pinhole photography, a checklist for setting up your own darkroom and processing your first roll of film. This is mixed with inspirational interviews with black and white photographers and printers, as well as footage inside the Ilford Factory in the UK.
If you want to get started in black and white film photography, or you want a refresher on how it’s all done check out the Ilford Photo YouTube channel.
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