We’ve updated our ‘best bargains’ buying guide, which features both newer cameras that we think are great values, as well a few older models that are inexpensive yet still very capable.
Articles: Digital Photography Review (dpreview.com)
Posts Tagged ‘Guide’
A Step-by-Step Guide to Color Grading in Capture One Pro
02
Feb
The post A Step-by-Step Guide to Color Grading in Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.
One of the reasons photographers hesitate to move from Lightroom to Capture One Pro is the learning curve associated with a new piece of software. The interface and the tools in COP are very different than those of Lightroom. Color grading in Capture One is one example of a process that is radically different than those found with Adobe products.
That being said, if you already know how to retouch your photos in Lightroom or Photoshop, then it won’t take you long to get up and running with Capture One Pro, which is recognized industry-wide for its superb color grading tools.
Color grading in Capture One Pro is a huge topic, but here are some tips to get you started.
The Color Editor
The Color Editor can be found in the left-hand side of the COP workspace, indicated by an icon as shown below:
Here you’ll find an RGB Histogram, a panel for White Balance, the Color Editor, and Color Balance.
There are three tabs in the Color Editor: Basic, Advanced, and Skin Tone. COP is recognized for its ability to render beautiful and highly realistic skin tones in comparison to other RAW editors.
These tabs allow you to modify the Hue, Saturation, and Lightness of individual colors.
You can also work in Layer Masks. These work similarly to local adjustments in Lightroom and allow you to modify individual colors more precisely.
The Basic tab
There are six color ranges represented in the color wheel under the Basic tab.
To work on a particular color, you first need to define the color range.
Choose the eyedropper to the right of the color wheel and click it on the desired color in your image.
In my image of the roasted cauliflower below, I clicked on the roasted tomatoes in order to work on the red tone.
The shading in the red segment of the color wheel shows you what color/colors have been selected.
You can further define the color range by clicking on the border of the segment and adjusting the width with your mouse.
To see exactly what the range includes click on View Selected Color.
Use the Smoothness slider to control the fall-off of the selected color into neighboring colors. This is represented by the shaded colored area around the boundaries. This will prevent hard edges.
The Basic tab is great in that it allows you to work on colors in your image individually. However, for maximum control when color grading in Capture One, use the Advanced tab.
The Advanced tab
As with the Basic tab, you need to define the color range you wish to work on with the color picker.
Click on the area you wish to adjust.
Then click View Selected Color Range.
Everything that is not part of the selection will be shown on the image as black and white. The width of the selection on the color wheel shows the excluded colors.
When working in the Advanced tab, you have extra precision when controlling the depth of the selection, as shown in the image above.
Simply click on the border and move your mouse towards the center of the color wheel. You can grab the border to include other colors in your selection.
Now you can make adjustments to the Smoothness, Hue, Saturation, and Lightness.
Once you have made the desired adjustments, uncheck View Selected Color Range.
To edit certain colors and not others when color grading in Capture One, you can also work on layers.
Layers in COP work similarly to local adjustments in Lightroom.
The Color Balance Tool
The Color Balance Tool is a simple yet powerful tool for correcting color casts and also for color grading in Capture One.
It can also be found under the Color Tool tab.
Color Balance allows you to not only tweak color, but add luminosity to the highlights, midtones, and shadows individually to an image. It enables precise control over hue and saturation in your images.
It can be used to make local adjustments in conjunction with the Layers Tool.
The tool is split up into five tabs: Master, 3-Way, Shadow, Midtone, and Highlight.
The Master tab allows you to affect color throughout the image. For example, if you want to cool down or warm up your image.
3-Way allows you to conveniently see Shadow, Midtone, and Highlight all at once.
When working with the Color Balance tool, you might want to remove it from the side panel and have it float in your workspace. You can then enlarge it for more comfortable viewing to make extra fine adjustments as needed.
To do this, simply click on the panel and drag it to another area of the workspace with your mouse.
Then drag on a corner to expand it.
To use the individual color balance tools, click on the centerpoint and drag it around the circumference, towards the color you want to affect.
Moving the pointer away from the center towards the perimeter increases saturation.
The curved sliders on either side of the color wheel affect the density of the chosen color range.
To reset the slider, you can click anywhere in the middle.
After you have made your individual color adjustments, you can head over to the Master slider and tweak the overall color balance if you wish.
In the image below, I made a couple of adjustments to the exposure, contrast and brightness of my image but I wanted to improve the colors.
I used the Master tab to cool down the image overall and bring out the blue undertone in the peonies.
Then I added some blue to the shadow. To the naked eye, the plate was quite blue and I wanted to bring this out in my image.
I also added magenta to the midtones and highlights to bring out the pink.
To work on colors individually, like the green of the leaves, you can use the Color Balance tool in conjunction with the Layers tool.
To do this, click on the Layers tab and create a name for your layer so you know what it refers to. I called my “Leaves.”
Paint a mask on the selection of the image you wish to change. There is no need to be super precise.
Use the Master tab to make the adjustment to the color.
The image will be adjusted with the updated color.
Conclusion
Capture One Pro comes with a steeper price tag than Adobe products, however, their claim that they are the number one choice among professionals is not an exaggeration.
Take some time to play around with the Color Editor and Color Balance tool. You may soon find you’ll be abandoning Lightroom for color grading in Capture One Pro.
Do you have any other questions or tips for color grading in Capture One Pro? If so, please share them with us in the comments.
The post A Step-by-Step Guide to Color Grading in Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.
Your Guide to the Fujifilm JPG Film Simulations (with Sample Images)
30
Jan
The post Your Guide to the Fujifilm JPG Film Simulations (with Sample Images) appeared first on Digital Photography School. It was authored by Matt Murray.
When I first bought a Fujifilm Finepix X100 in 2012, I was absolutely stunned by the quality of the images it produced. As the first iteration in Fujifilm’s lineup of excellent fixed-lens compact cameras, it paved the way for the rest of the X-series lineup with its excellent optics and fantastic usability.
What impressed me the most, perhaps, was the quality of the JPGs that the camera produced – they were lightyears ahead of anything I’d seen with other camera systems.
In this article, I will introduce you to the commonly available Fujifilm JPG film simulations, including the characteristics of each one and when you might like to use them.
I still have an X100 – but this is the latest iteration in the series, the X100F.
Fujifilm history of film
Fujifilm has been a leader in the photographic industry for decades. Not only are they world leaders in optics, but they are also the biggest producer of instant film and cameras left in the market.
In the heyday of film, they were also one of the leading brands for the production of 35mm and 120 films, making film emulsions loved by photographers everywhere. Some of these famous film stocks (Acros and Fuji Pro 400 H) still exist.
Fujifilm took their color science know-how from the film days and created a range of film simulations for their digital cameras that feature a very high level of color accuracy and reproduction.
You can easily choose the Fujifilm film simulations via a button on the back of X-Series camera bodies.
Do all cameras have all Fujifilm JPG film simulations?
No, the Fujifilm JPG film simulations available to your X-Series camera depend on the model and the firmware updates you have applied. Although the number of film simulations has grown over the years with the release of new generations of cameras and sensors, new film simulations don’t always roll out to older model cameras.
For example, it is rumored that the newest film simulation launched with the X-Pro 3 – Classic Negative – will be rolled out to cameras, including the X-T3 and X-T30, very soon via a firmware update.
This is part of Fujifilm’s ongoing improvements they make to their cameras and lenses.
How can I shoot with Fujifilm JPG film simulations?
First of all, you’ll need an X-Series camera body. Next, you need to set it up to shoot JPGs.
When you do this, the default setting to shoot with is the Provia film simulation. This setting will be applied to all the JPGs produced until you change it. You can easily do that via a button on the back of your camera body, where you can cycle through all available options.
It’s fun to change the film simulations to see what different effects they give you. Another reason why I love mirrorless cameras is that you can even see the effect each film simulation will have through the viewfinder and on the LCD screen – very helpful.
Can I change the film simulation after I’ve shot a JPG?
No, once you shoot the JPG with that film simulation, you can’t change it. So if you’re only shooting JPGs, make sure you’ve selected one that will complement your subject, or shoot JPG+RAW.
You can even convert RAW images to JPG with Fujifilm JPG film simulations in-camera, but that’s a topic for another day.
Can I apply a Fujifilm JPG film simulation if I shoot RAW?
Yes, there are a couple of different ways you can do this after you have taken an image. The first is using software such as Adobe Photoshop Lightroom. The second is by applying the simulation to a RAW file in the camera after you’ve taken it. This is something that often surprises X-Series users. Yes, you can actually process your RAW files as different film simulations in-camera.
Introduction to the Fujifilm JPG film simulations
Provia
Provia was the name of Fujifilm’s most popular color transparency (slide) film. With its medium contrast and saturation, this is the most neutral film simulation and is suited to most genres of photography. It’s the default film simulation on X-Series cameras and is also labeled as “standard” in the menu.
Left: Isle of Wight RAW file. Right: Provia JPG. There are some noticeable differences over the RAW file, such as higher contrast and more saturation.
Top: Kids in a filed RAW file. Bottom: Provia JPG.
Velvia
Velvia was the nature photographer’s go-to film back in the film heyday. It’s bold colors brought to life the natural world. Velvia’s high contrast and high saturation make it a winning formula for wildlife and landscapes, though it’s one to avoid for portraits.
Left: Isle of Wight RAW file. Right: Velvia JPG. Velvia is showing its rich colors here, with both the greens and the blues highly saturated.
Top: Kids in a filed RAW file. Bottom: Velvia JPG. Skin tones look too saturated and unnatural, so this is best avoided for portraits.
Astia
This is another simulation named after a slide film, in this case, the film that was very popular among portrait and fashion photographers. Astia is known for its softer colors and contrast, giving a more subdued look overall with beautiful tones. I quite often use this simulation for shooting portraits.
Left: Isle of Wight RAW file. Right: Astia JPG. Great tones and colors, though slightly subdued.
Top: Kids in a filed RAW file. Bottom: Asita JPG. Lovely colors and tones, though they are not over the top.
Classic Chrome
This Fujifilm JPG film simulation is not based on a classic film emulsion. Instead, Fujifilm developed it to emulate the look of classic documentary-style photography.
Classic Chrome has lower color saturation and full-bodied tones, giving it a distinctive look. Skies look different with this simulation, as it removes magenta. Reds and greens also appear quite unique.
Many street photographers seem to use this film simulation if they are shooting color for a raw, edgier look.
Left: Isle of Wight RAW file. Right: Classic Chrome JPG. Look at the difference between the sky and the grass in these shots.
Top: Kids in a filed RAW file. Bottom: Classic Chrome JPG.
Pro Neg Hi
Pro Neg Hi is ideal for portraits with slightly enhanced contrast, especially when contrasted against Pro Neg Standard. Modeled after Fujifilm’s most popular print film for portraits, Fuji Pro 400H, it’s the film simulation I most use for portraits (alongside Astia).
Left: Isle of Wight RAW file. Right: Pro Neg High JPG.
Top: Kids in a filed RAW file. Bottom: Pro Neg Hi JPG. I love the colors, contrast, and tones of this film simulation.
Pro Neg Std
This is another of the Fujifilm JPG film simulations that is ideal for portraits. It simulates NS160, a professional color negative film for studio portraiture. It has softer graduations and skin tones, especially when compared to Pro Neg High.
For best results, use it with creative lighting choices, or you may end up with a flat, boring-looking image.
Left: Isle of Wight RAW file. Right: Pro Neg Standard JPG. The tonality of this image is quite soft compared to others.
Top: Kids in a filed RAW file. Bottom: Pro Neg Std JPG. Out of the box, it produces a flatter file with softer colors and tonality.
Acros
Fujifilm’s classic black and white emulsion brought to life digitally with rich details and excellent sharpness. Fujifilm claims that this film simulation matches the tonal range and even the film grain of its analog offering, which is quite impressive.
You even have the ability with the Acros film simulation to apply yellow, red, and green filters in-camera.
The red filter gives more contrast and a dramatic feel. The yellow filter seems more subtle. The green filters seem to work best when photographing people.
Left: Isle of Wight RAW file. Right: Acros JPG.
Top: Kids in a filed RAW file. Bottom: Acros JPG.
Left: Isle of Wight RAW file. Right: Acros JPG with the red filter. Red filters have long been used in black and white photography to increase contrast and make images look more dramatic.
Left: Isle of Wight RAW file. Right: Acros JPG with the green filter.
Monochrome
This was the original black and white Fujifilm JPG film simulation on X-Series cameras until Acros came along. Many people bypass it completely, choosing to create black and white images in post.
As with Acros, there are three variants for this mode; you can add a red, yellow, or green filter.
Isle of Wight RAW file. Right: Monochrome JPG.
Sepia
Sepia gives your image a reddish-brown look to mimic the feel of a vintage photo. I’m not sure why anyone would use this filter, but each to their own.
Left: Isle of Wight RAW file. Right: Sepia JPG.
Conclusion
I hope you have enjoyed this introduction to the world of Fujifilm JPG film simulations. Fujifilm produces the best straight-out-of-camera JPGs from any camera manufacturer. The ability to choose a Fujifilm JPG film simulation, many based on classic film emulsions, is the icing on the cake.
I’ve loved playing around with different looks to my images over the years. The ability to see through the viewfinder or LCD is incredible.
Which is your favorite of the Fujifilm JPG film simulations? Share with us in the comments.
The post Your Guide to the Fujifilm JPG Film Simulations (with Sample Images) appeared first on Digital Photography School. It was authored by Matt Murray.
Creative Water Photography – A Step-by-Step Guide to Making Water Monsters
22
Jan
The post Creative Water Photography – A Step-by-Step Guide to Making Water Monsters appeared first on Digital Photography School. It was authored by Ramakant Sharda.
Have you ever watched an alien movie and wondered how they created those monsters? You’d need a very powerful computer, animation software, and some special skills to create an animated or moving monster. However, you can easily create a series of still monsters by using water. I’ll show you how some creative water photography can enable you to create your own water monsters. It’s simple to do, with great effect!
So let’s get started!
1. What you need to make water monsters:
To do your creative water photography, you will (obviously) need a camera. You can use any DSLR or Mirrorless camera. In fact, you can use a point-and-shoot camera if it is capable of firing an external flash.
A standard lens, like a 24-70 mm, is good, as you don’t want your splash to go out of the frame. You also don’t want water splashes on your camera.
In addition to a camera, you will need an external flash and a cable or wireless trigger to fire the flash. Then you’ll need a large diffuser. You can use the translucent part of a five-in-one reflector, or you can use a butter paper sheet and paste it on a wooden frame. A reflector is a better choice here, as you don’t need to make a wooden frame, and it also won’t get damaged if some water spills on it.
You’ll need a light stand to affix the flash and a tripod for the camera.
If you have a portable water tub, you can do this shoot in a room. However, if you don’t have one, you’ll have to do it outside.
Also, you’ll need to wait until night, as you can’t do this shoot in daylight.
You’ll also need an assistant to throw the water so you can click the beautiful water monsters.
2. Setup:
The setup is pretty simple.
If you are shooting your water monsters indoors, place your water tub in the room and hang the diffuser behind it.
Set the flash a little bit farther away from the diffuser. If you have a round studio light reflector, use it. It’ll give you a nice, round light effect. If you don’t have one, that’s okay. You can just use the flash.
Fix your camera on the tripod and place it far from the water tub. You don’t want water splashes on your expensive camera, so you’re going to use it on full zoom. If you don’t have a 24-70mm lens, you can use a 100mm lens and place the camera farther.
See the image below to view the setup.
3. Camera and other settings:
Now you have done that, let’s talk about settings.
Place a stick at the center of the water tub and manually focus on it. Don’t forget to set your camera on manual focus after that.
Now you need to finish your camera settings and flash settings. First, we’ll do flash settings.
Change your flash to manual mode and set the power to 1/32. We’re doing this because when the flash is on lower power, it produces the shortest burst of light, which helps to freeze the subject. You can’t go above 1/32 power, as then you’ll start getting motion blur.
Now set the camera to manual mode.
Set your ISO to 100, aperture to f/16, and shutter speed to 1/200 sec or whatever your camera sync speed is. These are the settings I used in all my shots, and they’ll work for you, too.
An aperture of f/16 will give you enough depth of field, and the entire splash will be in focus. Make sure you’re shooting in RAW, too, as this will help in post-processing later.
If you are firing your flash using a radio trigger, set it up. Or if you are using a cable to fire it, attach the cable.
Now your setup is ready, so let’s talk about the workflow and start creating these beautiful water monsters.
Workflow:
Earlier, you placed a stick in the tub of water. Now remove it and replace it with something like a glass so that your assistant knows where the focus point is and throws the water accordingly. Also, tell your assistant about the area where your frame is so they won’t throw the water outside the frame.
Now all you need to do is press the shutter when your assistant throws the water.
They can throw the water in different ways. For example, they can fill both hands with water and throw it upside. Just make sure their hands don’t enter the frame.
Your assistant can use a mug or glass to throw the water, or they can throw it using two or three cups together.
Different methods of throwing water will give you different results.
Even if you use the same method of throwing, you’ll get different pictures every time.
Take at least 100 photos – the more, the better.
Post-processing:
Post-processing is quite simple.
First, select good photos from the pictures you’ve taken. If you have clicked 100 pictures, you’ll get 10-12 good photos.
Now open the RAW files in “Camera Raw” and change the white balance to 3000. It’ll convert your gray picture to a blue tone.
If you’re an advanced photographer and you can set custom white balance settings in your camera, set it to 3000 kelvin before the shoot. Then you won’t need to do it in post-processing.
Now you just need to clean up some extra water droplets, crop if needed, and sharpen it. Your water monsters will be ready.
When you’ve finished editing the photos, check out the other images one more time. You’ll find some images that you can merge and use to make something unique. For example, I made this butterfly using three images.
So, let’s do some creative water photography and make these amazing water monsters!
We’d love to see your results, too, so please sharing them in the comments.
Also, if you run into any problems, just comment on this post, and I’ll help you solve them.
The post Creative Water Photography – A Step-by-Step Guide to Making Water Monsters appeared first on Digital Photography School. It was authored by Ramakant Sharda.
Your first interchangeable lens camera: a beginner’s guide
25
Dec
Just getting started with your first interchangeable lens camera? Don’t be intimidated – we’re here to help.
Articles: Digital Photography Review (dpreview.com)
2019 Holiday Gift Guide for Photographers
05
Dec
The post 2019 Holiday Gift Guide for Photographers appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
We know how difficult it can be to find the perfect gift for anyone at Christmas, let alone a photographer! So, we have done the research and hard work for you, and put together this gift guide for photographers. It has a range of gifts to suit all budgets and all photographers!
We’ve included some pros and cons of each, along with some info on the products, and where applicable, a link to dPS reviews so you can get further insight.
So, take a look, and happy shopping!
Fujifilm X-T3 Mirrorless Camera
A great camera for street photography and portraits
This popular mirrorless camera in the Fujifilm X-Series line of cameras is perfect for those photographers who like to shoot great photos straight-out-of-camera, as well as shoot video.
The Fujifilm X-T3 is the newest Fuji camera to date, using a brand new sensor and processor and longer battery life than it’s predecessor, the X-T2. It also has a tilting screen and 20fps continuous shooting.
Fujifilm also added a slew of video features such as 4K60p, a higher bit rate (400mbps), and a headphone port. All in all, the X-T3 is made to entice today’s hybrid photo and video shooters.
For more information on this great camera, read Suzi Pratt’s review here.
dPS Rating
MIOPS Capsule 360
World’s most versatile and compact motion box ever created!
MIOPS Capsule 360 is a miracle motion box that combines multiple operating modes in a single unit. Your imagination and Capsule 360 together can do anything. There are no limits what you can do with this amazing product.
• Thanks to the unique design of Capsule 360 taking Motion Time-Lapse has never been
so easy.
• You can enjoy 360° Product Photography by using Capsule 360’s special features.
• Capsule360 has the ability to take 360-degree Panorama just in a few minutes
• With One Touch Tracking feature Capsule 360 can track your face or an object with
a single touch on your smartphone
• Capsule 360 offers Cable-Free Automatic Setup and saves you from the cable clutter
You can get high-tech MIOPS products and new features from www.miops.com
Pixelstick Lightpainting LED Tool
Great for light painting tips and tricks
The Pixelstick can change the way you do photography if you let it! Perfect for the photographer who wants to experiment with creative ideas. Great for long exposure photography and for light painting.
The Pixelstick can be used to frame a model, and/or create leading lines towards the subject making it a powerful tool for portrait photographers.
The customization available with the Pixelstick makes it a fantastic choice for product photography. One of the main niche genres is car photography, where the ribbon lines or checkered flag designs can be used.
Read this full review by Simon Bond.
dPS Rating
Lensball
Great for alternative creative photography
Lens ball photography, or also known as crystal ball photography or refraction photography, is a fun and creative way for any photographer to take photos.
Use a lens ball in your landscape photography for a unique perspective on a scene.
See a lens ball in action in this article by Simon Bond.
dPS Rating
Tamron 100-400mm Di VC USD
A great camera for street photography and portraits
Experience heavyweight performance in a compact lens with the Tamron 100-400mm Di VC USD, the ultra-tele that boasts the lightest weight in its class. Dual MPU system provides precision AF for shooting instantaneous movement with the utmost clarity and 4-stop image stabilization. Both combine to provide vivid images with amazing clarity. Close-focusing, moisture resistant construction and fluorine coating round out this impressive telephoto zoom.
Optional accessories include Tap-in Console, 1.4X and 2X, and Arca-Swiss compatible tripod mount. For Canon and Nikon mount for DSLR cameras and mirrorless cameras with the manufacturer’s adapter. $ 699 after $ 100 Holiday Instant Savings thru 1/5/20.
Lensbaby OMNI Creative Filter System
Large, for 62-82mm Filter Thread
The Lensbaby OMNI Creative Filter System is a fantastic set of wands that attach to the front of your lens. When the light shines through the various-shaped wands, it refracts the light to create light streaks, rainbows and colors onto the lens wherever the wands have been positioned.
The great thing about this set is that it attaches to your lens via a its filter system, and each wand is moveable, and can be swapped around.
There are also extra wand that can be added to this via the expansion pack.
See these in action in this review by Anabel DFlux.
dPS Rating
Annie Leibovitz: At Work
A book for any budding portrait photographer
Annie Leibovitz is one of the classic portrait photographers of our time.
This in-depth book includes many of her famous celebrity photo shoots of just about everyone from the Queen of England to Arnold Schwarzenegger and the Rolling Stones.
She also discusses many of the photos themselves and explains what gear she uses to achieve her work.
An inspiring book for photographers of all genres and levels.
Read a review on the book here.
dPS Rating
Neewer Flash Accessory Kit
with Barndoor, Conical Snoot, Mini Reflector, Sphere Diffuser, Beaty Disc, 8x12inches Softbox, Honeycomb, Color Filters, Universal Mount Adpater
This great Universal Strobist set has many accessories so any photographer can experiment with light!
It comes with a universal adapter that you can use with any camera flash that has a max width of 85mm and height of 34-58mm.
The set comes with seven strobist accessories including a softbox, diffuse sphere and mini reflector, honeycomb, conical snoot and barndoors.
The Softbox, Diffuse sphere and Mini Reflector offer a more diffuse light, while the Honeycomb, Conical Snoot and Barndoors make you able to aim the light more directly.
Lens Cleaning Kit
Something every photographer shouldn’t be without!
A lens cleaning kit is a must for every photographer.
It is impossible to keep lenses and sensors completely clean all of the time. Dust and dirt can easily make their way onto the front of the lens and sometimes onto the sensor when changing lenses (especially when out in the elements).
Includes things like a lens brush for sweeping away dust from a camera or lens; air blower for removing dirt from a camera body, lens, mirror, or DSLR sensor and 50 sheets of lens-cleaning tissue paper—safe for all multicoated lenses (no scratches or residue).
So, a lens cleaning kit like this can be a photographer’s savior when out on a shoot!
KUVRD Universal Lens Cap
Fits most camera lenses!
The KUVRD Original Universal Lens Cap prevents water, mud, and the finest dust and sand from entering your lens.
The cap stretches from 60mm to 120mm and can be used as both a front and rear lens cap, for extra lens protection.
The caps are also shock absorbent, meaning bumps to your lens are less of an issue!
They also compress down to fit in your pocket, or wallet when you are using the lens.
Sony Alpha A6400 Mirrorless Camera
APS-C sensor with 16-50mm lens
This Sony Alpha a6400 mirrorless camera, is a great compact system perfect for travel photography and street photography.
It is a 24.2mp APS-C camera with AI assisted autofocus.
It allows for high dynamic range capture, plus interval recording for time-lapse video.
It also has rear LCD screen that can flip up 180-degrees. This is ideal for vloggers or those who want to monitor footage while in front of the camera. However, when in this position, it does cover the hotshoe area, making it difficult to attach a light or microphone.
Access to Sony E-mount range of lenses.
dPS Rating
Thinktank Vision 15 Camera Bag
A stylish and function camera bag for on the go.
ThinkTank’s Vision 15 camera bag is one in a line of stylish camera and computer shoulder bags built for photographers who want a functional bag that looks good walking down the street. It’s designed for someone who wants easy access to their gear and isn’t looking for a backpack.
Inside the spacious main compartment is space enough for a few lenses and speedlights.
While the generous top flap of the bag keeps the elements at bay, a secondary zippered flap will help keep prying hands away.
It has a generously-padded strap and easily fits under the seat of a plane for those photography travel trips.
Read Peter West Carey’s full review here.
dPS Rating
Capture One Pro 12
Imaging editing software, Single-User 3 Seats
Capture One Pro is Phase One’s photo editing software. Designed for professional photographers, it offers top quality color management, file management and editing capabilities (including multi-layer editing).
For the professional photographer who needs superior tethering capabilities, Capture One Pro is the best in its class.
For more information on the true capabilities of this fantastic software, see this article Capture One Pro – Should You Make the Switch by Darina Kopcok.
dPS Rating
Joby GorillaPod 5K Flexible Mini-Tripod with Ball Head
Grip it. Wrap it. Stand it.
Handy travel-size, flexible tripod
This flexible mini-tripod with ball head is an ideal photographer’s companion.
Perfect for traveler’s who need a tripod but don’t want to use too much space in their camera bag or pack.
The Gorillapod’s flexible legs allow you to wrap it around objects such as a tree branch, so that you can give your camera stability, when taking photos or video.
See a video review of the Joby Gorillapod 5k tripod here.
Sekonic L-308X-U Flashmate Light Meter
Great for portrait photographers
Using a light meter like the Sekonic L-308X-U Flashmate, can save any photographer loads of time in getting the correct exposure. Sure, you can do this with lots of trial and error, and looking at the back of your camera screen each time you take a shot. But light meters really save you loads of time and that is time better spent taking the actual photos.
It is a perfect studio photographer’s companion or can be taken on location when shooting portraits.
See the advantages of using a light meter in this article by John McIntire.
Olympus TOUGH TG-6 Camera
The rugged, take-everywhere camera that even the kids can use!
The Olympus Tough TG-6 camera is built so tough that even the kids can use it! But this camera isn’t just for kids – this camera is built for all adventurous photographer-types. It’s also a perfect size for just throwing in your pack or putting in your pocket.
You can use this camera in the water, with it’s dedicated underwater mode. Alternatively, you can use Microscope mode to capture macro shots of bugs in the grass!
Check out this full review by Mat Coker.
dPS Rating
NISI Filters
Great for the avid Landscape Photographer!
Neutral Density (ND) and Graduated Neutral Density (GND) filters are an ideal companion for the avid landscape photographer who wants to use longer shutter speeds to get those soft, dreamy seascapes and waterfall images.
They are also great when shooting in the harsh daylight so that you can tone down highlights. The GND filters are great for balancing the exposure between your landscape and harshly lit skies, allowing you to tone down the skies.
Want to learn more about these filters? See this article by Christian Hoiberg.
Sandisk 256GB Extreme SD
A high-speed, high-capacity extreme SD card
The SanDisk 256GB Extreme SD card has a high-speed transfer rate of 150 mbs per second, making it ideal for photographers who shoot RAW and in continuous shooting mode. It transfers the files quickly, and the big 256GB size means you can fit loads of photos.
The high-speed transfer rate also makes this card great for those shooting video with their cameras, meaning you don’t get lag when shooting and the camera won’t cut out.
The post 2019 Holiday Gift Guide for Photographers appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
2019 buying guide: Best cameras for kids
24
Nov
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Whether you’re looking for a nearly unbreakable camera that your toddler can throw against the wall, or something for an older child who’s keen to learn more about photography, there are several options available that won’t break the bank.
We’ve broken this guide down into four categories:
- It’s okay if it breaks
- Rugged and inexpensive
- Indestructible, with great image quality
- For the budding photographer
Here are our picks for each of those categories:
It’s okay if it breaks: VTech KidiZoom Camera Pix ($ 40)
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| (Yes, it comes in pink too) |
There are a million cameras in the $ 50 and under price range to choose from, and this VTech model is one of the most popular. The Camera Pix has a 2 Megapixel sensor (presumably smaller than that of a smartphone), 4X digital zoom, micro USB port, and both built-in memory and a microSD slot. The camera is rugged to some extent (though VTech doesn’t give any specifics) but is not waterproof. The KidiZoom also powered by four AA batteries – a bargain compared to $ 60 lithium-ion packs found in typical digital cameras.
Kids can take pictures through stereo viewfinders or with the 1.8″ LCD on the rear. In addition to taking stills, the KidiZoom also captures QVGA (that’s 320 x 240) videos for up to 5 minutes.
The KidiZoom has a few other tricks up its sleeve. The camera has an selfie mode, where it takes a photo when it detects faces. It also has four built-in games (!) and tons of special effects.
Overall, the VTech KidiZoom seems like a fun and inexpensive way to get your five-year-old into photography, and if it does break, it’s only $ 40 for a replacement.
Rugged and inexpensive: Nikon Coolpix W150 ($ 150)
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If you want something a little more ‘camera-like’ than the cheap options, then the inexpensive yet rugged Nikon Coolpix W150 may be a good option.
The W150 can survive a drop from 1.8 meters (5.9 feet) and can function up at depths of up to 10m (33ft), so it’ll be alive if you find it at the bottom of the swimming pool. If you take it to the snow park, the camera should keep working at temperatures as low as -10°C (14°F). The camera is also dustproof, so the beach shouldn’t be a problem, either.
The design of the W150 is simple, with simple controls and large shutter release and video buttons. As with all current underwater cameras, it lacks a touchscreen, so there will be a small learning curve for a child used to a smartphone.
Tech specs for the W150 are unremarkable, but then again, that’s not why you’re buying it. The camera has a smartphone-sized 13MP sensor, 30-90mm equivalent lens, 2.7″ LCD and 1080p video capture. It does offer Wi-Fi and Bluetooth, so getting photos onto your phone is easy.
Indestructible, with great image quality: Olympus Tough TG-6 ($ 399)
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If you want a higher quality camera for a child who is more… responsible… with your electronics, then the Olympus TG-6 is a great option. Its rugged credentials are even better than the Nikon, with the ability to go much further underwater or get crushed (within reason). Build quality is excellent, with two locks on both of its doors and dual-paned glass to prevent the lens from fogging up.
The TG-6’s larger sensor and faster lens (which offers a versatile 25-100mm equiv. range) make it a capable point-and-shoot, even in low light. It won’t run circles around best-in-class smartphones in terms of image quality, but it’s the best you’ll find on a waterproof camera.
We could write a whole article about all of the features on the TG-6, but suffice it to say, it can shoot very fast bursts, capture photos that were ‘taken’ before the shutter release is fully pressed, take some truly impressive long exposures and records 4K video. If your youngster enjoys hiking, the camera’s ability to record the location, elevation and temperature for each shot make reviewing images more fun than a typical camera or phone.
For the budding photographer: Canon PowerShot G9 X II ($ 429)
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If you have an older child who is developing a keen eye for photography and want something they can grow up with, we recommend Canon’s PowerShot G9 X II, which can be had for under $ 450. This camera is pocketable, produces very good image quality from its 1″ sensor and has a touch-based interface that smartphone users will quickly pick up.
The stabilized lens offers a 28-84mm equivalent focal range which, while not as versatile as more expensive enthusiast compacts, is more than enough for a pre-teen. Beginners can set the mode dial to the Smart Auto mode and the camera does the rest, like selecting the right scene mode for the situation. The are plenty of special effects modes, with ‘background defocus’ being one example, and some fun star modes that are easy to set up and enjoy. Transferring photos to a smartphone is a cinch using the camera’s Wi-Fi and Bluetooth.
As your child grows, the G9 X II will be ready, offering manual exposure controls, advanced AF modes and Raw support, which opens the door to using more advanced cameras.
Articles: Digital Photography Review (dpreview.com)
Create Awesome Reflections in Photoshop with Ease (Step-by-Step Guide)
18
Nov
The post Create Awesome Reflections in Photoshop with Ease (Step-by-Step Guide) appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
Attractive reflections can be challenging to capture naturally in your photographs. Sometimes it’s easier to create reflections in Photoshop. You will have more control over how the photo looks and you can avoid the difficulties that photographing reflections can bring.
Often you can’t find just the right place to stand to catch the best reflection. Sometimes the light is wrong and a natural reflection will look too dark. Choosing to make reflections in Photoshop gives you much more flexibility to get the look you want.
It’s really not that difficult to do. In this article, I’ll walk you through a series of steps you can use to make a mirror image in Photoshop.
© Kevin Landwer-Johan
Step 1: Selecting your photo
When making reflections in Photoshop, it’s important to start out by choosing a photo that’s suitable. Not every photo will look good or natural when you make a mirror image of it.
When you’re looking for a photo to use with this technique, think about how it will look. You ideally want to use a photo where the main subject has a distinct line along where the reflection will appear.
Open your photo in Photoshop. You may need to crop the bottom of the photo to create a clean line where the reflection can be placed.
Step 2: Adjust the canvas size
You need to adjust the canvas size to make room for the reflection you will create.
Go to the top menu and select Image->Canvas Size. In the pop-up that appears in the box next to the Height option, click the drop-down and choose Percent. Make the Height percentage 200.
Click the top center of the Anchor options grid. This will force the new canvas space you are creating to appear underneath your photo.
Click OK.
Step 3: Duplicate the layer
In the Layers panel, unlock the base layer. To do this, click on the padlock icon. Now you can duplicate this layer by going to the top menu and selecting Layer->New->Layer Via Copy.
Convert both the layers to Smart Objects by right-clicking on each of them and selecting Convert To Smart Object. Now rename both layers to make it easier to keep track of which one is which.
Step 4: Position the new layer
Drag the new layer to the space you created under your main image.
Now you need to flip the lower layer. This will be your reflection. From the top menu select Edit->Transform->Flip Vertical and press Enter.
Step 5: Add blur to the reflection layer
With your reflection layer selected, from the top menu select Filter->Blur->Motion Blur. Set the Angle to 90-degrees and use the Distance slider to add a suitable amount of blur. How much you add is up to you and will vary depending on the resolution of the photo you are working with. In my example, I have set it to 30.
You may need to reposition your reflection layer by nudging it up slightly if a gap has appeared between your two layers.
Step 6: Make a new file
Duplicate your file by going to the top menu and selecting Image->Duplicate. Crop the image so you are left only with the reflection.
Delete one layer so you are left with a blank canvas. Resize the canvas to 30%, otherwise, it will be too big to manage easily. Select the paint bucket and fill the image with black.
This file you have created will be added to the reflection layer to make it look more realistic like water.
Step 7: Add blur and noise for texture
From the top menu select Filter->Noise->Add Noise. Make the amount 350% and check the boxes Uniform and Monochromatic. Click OK.
Now add some blur. Select Filter->Blur->Gaussian Blur from the top menu and set the Radius to 1.5 pixels and click OK.
Step 8: Emboss your texture
In the Channels panel click on the Red channel.
Next, go to the top menu again and select Filter->Stylize->Emboss. Set the Angle to 90, the Height to 5, and the Amount to 500. Of course, you can experiment with any of these amounts. Click OK.
Now select the Green channel and Filter->Stylize->Emboss from the top menu. Set the Angle to 0, the Height to 5, and the Amount to 500. Click OK.
Turn on all the channels by clicking RGB. Go back to your Layers Panel, right-click the layer and Convert To Smart Object.
Step 9: Stretch the perspective of the distortion
Select Edit->Free Transform from the top menu. Right-click inside the image and select Perspective. Make sure you are zoomed out a long way so your image is small in the center of your monitor.
Click on one of the bottom corners of the frame and drag it out horizontally. This will stretch and distort the lower part of the texture. Don’t worry if it looks weird, once you incorporate it into your reflection it will make it look more natural.
Zoom back to 100%. Save this image as a .PSD where you can find it easily and name it something recognizable.
Step 10: Make an adjustment layer on your main image
Click on the reflection layer on your main image and duplicate it by pressing Ctrl (Cmd)+j on your keyboard. Name it “Reflection Copy.” With the new layer selected (which should be above the other reflection layer), from the top menu, choose Filter->Distort->Displace. Set the vertical and horizontal scales to about 10.
You may need to alter these if it does not look good, depending on your image size and resolution. Click OK.
From the window that opens, find and select the distortion image you just created and saved. This will use the texture image as a displacement layer. If the ripple effect is too large or too small, undo that step. Redo the step again, but this time choose a higher or lower number for the displacement scale.
Experiment with this until you are satisfied with the way it looks. It’s entirely up to your taste.
Step 11: Adjust the reflection
With your Reflection Copy layer selected, click on the layer mask icon, which is at the bottom of the Layers Panel. Select the Brush tool with the color set to Black and a large brush size and Hardness of 0%.
From the options panel above your image, set the brush opacity to 20%. Select your layer mask, not the main reflection layer. Paint from side to side over the top half of your reflection layer, where it meets the top layer until it looks natural.
What you are doing is erasing 20% of the distortion each time you paint. You want to make the reflection look smoother in what appears to be the distance.
Step 12: Merge the reflection layers
Select both the reflection layers in the Layers Panel. Right-click on one of them and select Merge Layers. Make sure your main image is not selected. You should now have one reflection layer and your main layer.
Step 13: Darken the reflection
With the reflection layer selected, go to your top menu and choose Image->Adjustments->Curves. Click in the middle of the curves adjustment line and drag it down to darken the reflection. Adjust it until it looks natural. A reflection in water is typically darker than the scene it’s reflecting.
Conclusion
Follow through these steps a few times and experiment with the variables. There is no right or wrong way to do this. Your personal preference and the photos you choose will determine the outcome.
You will find reflections in Photoshop look better on some images than on others.
Try out this technique for making reflections in Photoshop, and share your images with us in the comments below!
The post Create Awesome Reflections in Photoshop with Ease (Step-by-Step Guide) appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
A Quick Guide to Amazing Bird Photography Compositions
16
Nov
The post A Quick Guide to Amazing Bird Photography Compositions appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Do you want to capture amazing photos of birds? If so, you have to master bird photography compositions.
Composition refers to the arrangement of elements within the photo. And it’s often the difference between a creative, compelling image, and an image that just falls flat.
In this article, I’m going to share with you everything you need to know about bird photography composition. I’m going to give you several tips that ensure you capture beautiful bird photography compositions, without fail.
Sound good?
Let’s dive right in.
The composition basics: Capturing a gorgeous bird photo
When you take a bird photo, everything in the frame matters.
The bird. The position of the bird. The position of the bird’s head. The background. Any elements behind the bird. Any elements in front of the bird.
It’s all important.
Because the key to a gorgeous bird photography compositions is keeping the shot focused on your main subject.
You want to make sure that the bird stands out in the frame. You want to make sure everything else in the photo emphasizes and enhances the bird.
So how do you do that?
A few simple ways, starting with:
Simplify the entire composition to make the bird stand out
If your composition is chaotic, then the viewer is going to get lost.
And that’s absolutely not what you want.
Instead, you should aim to simplify the composition as much as possible. The best compositions tend to include a bird and a background. That’s it.
While it’s possible to create beautiful shots by including additional birds or interesting features (e.g., shells, flowers), I recommend avoiding that as much as possible. These mess up compositions more often than they enhance them.
Also, in the interest of simplicity: If there’s anything in the frame that’s distracting, get rid of it. So make sure there are no branches behind the bird. Make sure there’s nothing in the background that dominates the frame or draws the eye.
That’s how you’ll keep your bird photography compositions beautiful.
And speaking of backgrounds:
Aim for a uniform, simple background that makes the bird pop
If you want a beautiful bird photography compositions, then you need a beautiful background.
What does this involve?
First, the best bird photography backgrounds are simple. They’re also uniform.
Like this:
Notice how the background is a nice uniform color.
It keeps the attention on the bird. It doesn’t distract.
To create a background like this, you want to start by ensuring a large separation between the bird and the background. One trick is to get down low, on the bird’s level; this will cause the ground behind the bird to fall away, creating a more distant background.
You should also make sure you use a decently wide aperture, such as f/5.6 or f/6.3 (the particulars depend on the size of your bird, because you don’t want to accidentally make parts of the bird soft!).
Finally, you should ensure that the background doesn’t include colorful elements that catch the eye. Before you take a shot, look behind your bird, and ask yourself: Will anything in the background dominate the frame? Will anything pull the viewer away from the bird?
If the answer is “Yes,” then you should consider moving slightly to the left or right so that you’re no longer stuck with a distracting background.
Use the rule of thirds to position the bird’s eye
Now that you know how to capture beautiful backgrounds, it’s time to look at your main subject and how to position it.
Generally speaking, you’ll have a single bird in your photos. And you need to position this bird carefully.
You don’t want to put it smack-dab in the middle of the frame. That’s a recipe for a boring, static composition.
Instead, I recommend you place the bird so that its eye falls along a rule of thirds power point.
What is the rule of thirds power points?
They’re simply points that are a third of the way into the frame, both vertically and horizontally.
The eye in this photo, for instance, falls along a power point:
It’s a third of the way down, and a third of the way from the left.
Now, the rule of thirds is misnamed; it’s a guideline, not a hard-and-fast rule. But it is a great way to position your bird and will ensure that the shot feels a lot more interesting.
So use the rule of thirds whenever you can to position your bird within the frame.
Point the bird into the frame to add movement
I’ve talked about positioning your main subject using the rule of thirds, but there’s another aspect to positioning that you should always, always consider:
The direction the bird is pointing.
You see, most bird photos have some empty space in the frame.
And when they do…
…you want to point the bird into the empty space, rather than away from it.
You see, by making sure the bird is looking into the empty space, it adds a sense of completeness and a sense of motion to the frame. The viewer’s eye follows the birds line of sight, and everything feels satisfying.
Whereas if you point the bird out of the frame, the whole shot feels tense. The viewer wants to know what’s outside the frame, with no resolution in sight.
That’s why bird photographers love to point the bird into the frame. It’s far more satisfying, and can turn the shot into something powerful.
Capture the bird in a creative pose for increased interest
Now, when it comes to bird photography, you can capture birds in a normal standing pose.
And that’ll get you some nice photos.
But sometimes…
This isn’t enough.
If you want to create truly creative bird photography, you need to go beyond the simple standing pose. And capture the bird doing something interesting.
What counts as interesting?
For one, preening birds look really interesting. They appear wonderfully tranquil as they clean their feathers.
And birds that are sleeping also give off a sense of peace that I love.
You can also go for action shots: Birds feeding, for instance, can create a lot of interest. You can capture photos of birds that are about to catch food, are currently catching food, or have just caught food. Think of a bird with a huge fish in its mouth.
It’s guaranteed to add interest.
Cool, right?
You can also go for shots of birds fighting or, as is a common bird photography practice, shots of birds flying. Photographing birds in flight can be a challenge, but a really rewarding one.
So whenever you’re able, don’t just take a standard bird photo. Go beyond this.
Make something unique!
A quick guide to amazing bird photography compositions: Conclusion
You should now have a sense of the best ways to capture beautiful bird photography compositions.
And remember:
Getting amazing compositions isn’t hard. You just have to use the tips that I’ve given you, and you’ll be taking stunning photos in no time.
Have other tips for gorgeous bird photography compositions? Share them in the comments!
The post A Quick Guide to Amazing Bird Photography Compositions appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Your Posing Guide for Maternity Sessions
04
Nov
The post Your Posing Guide for Maternity Sessions appeared first on Digital Photography School. It was authored by Jackie Lamas.
Posing can feel a little repetitive after a few shots during maternity photo sessions and if this is how you feel, read the following posing guide for maternity sessions, so that you can get more ideas for your next shoot!
Interacting with the belly is a great pose for maternity photos.
Basic posing for maternity
Basic posing for maternity sessions is centered around the baby bump and the mama-to-be, specifically. You can use very basic posing to build from and add more variety to the poses. However, these basic poses are perfect for any session and can work well in any situation or location.
At 45-degrees from the camera is the best way to highlight the bump. Notice the hand placing to accentuate the silhouette.
In order to flatter the baby bump the best, turn your client at least 45-degrees from the camera to either side. Ask which side is more natural to your client, so they feel more stable and at ease.
After you have turned your client, give her some shape by adding lines to her body. This creates more flow and adds some curves to break up the body. To do this, have your client pop out the knee that is closest to the camera. This helps guide the eye up from her leg to the bump, then ultimately resting on her face.
The knee closest to the camera is best for giving shape to the body, creating a natural leading line.
Finally, use her hands to cradle the bump, further adding emphasis to it. You can pose hands in a variety of ways:
- Place one on top of the bump and one under
- Both under
- One on the side and one under
- Only one hand on the bump
If your client is wearing a long, flowy dress, pose her hand under the belly, so that the bump is more prominent. With a flowy or loose dress, it can be difficult to fully see the bump’s shape if it’s not gathered underneath.
Same hand position in two different posed shots.
Using this basic set up is easy to build upon and add partners or other siblings to the mix. Posing the mama first is helpful as well, so that she doesn’t have to move around too much.
One great tip is to avoid having your clients look directly down at her belly. This can create an unflattering photo. Instead, have her look down with her eyes keeping her chin slightly up. Have her look down as if is she is trying to look past her belly and at her feet.
Posing with partners
Next in your posing guide for maternity sessions, is posing with partners. Posing with partners makes any maternity session a little more intimate.
Pose the mama first and have her partner fit in. This makes it easier to build poses and change it up when you want variety without tiring the mama out.
Using props can help with posing and highlighting certain details of the session.
Fit the partner in slightly behind your client and have their arms holding the baby bump. The partner can place their hand closest to the photographer under the belly. This might require the partner to come out a bit from behind. That’s okay. If they look comfortable in the pose, it’ll look better in the final image.
With the hands farthest from the camera, have the partner put their hand on the arm close to the shoulder. The mama can place her other hand on top of her bump.
Another great pose with the partner is to turn the partner away from your client slightly so they’re facing opposite each other with their shoulders touching.
Here, ask them to hold hands and have the mama lean into her partner. With her other hand, have her place it under the bump and pop one knee out to give her body a curve.
The bump isn’t the only focus. Try posing the partner caressing and cradling the bump by kneeling and getting close. Here you can ask them to give the bump gentle kisses. Talk to the baby, or simply close their eyes and enjoy.
In this pose, have mama look away and get a close shot of the moment. This can eliminate double chins or unflattering poses.
Posing with siblings
The next point in your posing guide for maternity sessions is working with children.
Working with children during a maternity session doesn’t need to get out of control. It’s best to start with the complete family, move onto shots with the mama and siblings, then some creative shots of everyone. Then, finally, let them go and play.
Allow children to cuddle and get close.
Getting photos of the siblings first can make the whole session go smoother in general. Again, begin by posing mama first. If they are in the session, place the partner next. Then place the children, or child, next to the parents.
For creative posing, if the children are 5 years or younger, you can have the parents hold them. Then get close-up shots of the family interacting.
Have them hold hands and walk along a path while they talk and interact with each other. These poses are more authentic and help children to be more active in the photos rather than forced to pose.
Switch between natural posing and posed
What is natural posing? It is when you give your clients an activity to do and allow them to enjoy the moment. For example, you can ask your clients to walk along the shore while they look at each other and enjoy the beach views.
Alternatively, it can be having the partner kneel down to the level of the belly and have them talk to the baby. Capture these moments from a bit of a distance so that your clients feel that they can enjoy the intimate moments.
Posed is when you direct your clients to stand, sit, or pose how you want for the final image. This can feel stiff after a while, so mixing natural poses with posed ones can offer a lot of variety in the final gallery.
In conclusion
Posing for maternity photos doesn’t have to be just posed, you can mix in a bit of the excitement and natural expressions adding to a variety of poses to build from.
I hope your posing guide for maternity sessions helps you with your next shoot. Do you have any posing ideas that work for maternity photos? Post in the comments below!
The post Your Posing Guide for Maternity Sessions appeared first on Digital Photography School. It was authored by Jackie Lamas.
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