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Posts Tagged ‘mode’

iPhone 11’s Portrait Mode sets a high bar for the Pixel 4

12 Oct
Taken with iPhone 11 ISO 500 | 1/30 sec | F1.8

The bokeh-imitation effect that’s all over your Instagram feed is a few generations old, but it’s still a relatively young technology. Portrait Mode, as Apple calls it, is a computational feature that mimics the shallow depth of field closely associated with professional portrait photography. The latest iteration in the iPhone 11 is a great leap forward and, when compared with Google’s Pixel 3, shows that the search-engine giant is going to have to do something pretty special with the forthcoming Pixel 4.

Just to make sure you’re caught up – phone sensors and the lenses they are coupled with are quite small, and inherently limited in their ability to create a blurry background behind a subject. Hence, portrait mode was born (Portrait Mode is Apple’s proprietary name, but for the sake of simplicity I’ll use it throughout this article to refer to all such modes).

Compared side-by-side with results from the iPhone 11, the Pixel 3 has been surpassed in many respects

Like so many first-generation technologies, portrait mode was a bit dodgy at first – subjects poorly separated from their backgrounds and results that were decent but not quite convincing. But no matter where you stand on its current state from “It’s so terrible it’s an insult to photographers” to “Eh, it’s passable,” there’s no denying that it has steadily improved with each generation.

Apple, like most manufacturers, introduced Portrait Mode when it brought dual cameras to its devices. However, Google chose to offer it with a single camera, relying on dual pixel depth data, machine learning, and up-sampling to create that fake bokeh look. The results looked fine until, well, about now.

Compared side-by-side with results from the iPhone 11, the Pixel 3 has been surpassed in many respects. Here are the areas in which the iPhone 11 pulls clearly ahead of the Pixel – and where Google needs to do some catching up in the Pixel 4.

The nitty gritty details

Google achieves its portrait mode by digitally zooming in to mimic a longer focal length and creating a depth map by using dual pixels along with a learning-based algorithm to judge distance to a subject and separate it from its background, up-sampling the final result to a full 12MP resolution. Apple (and Samsung, Huawei, among others) instead use their telephoto camera, calculating depth with the help of the perspective offset between the telephoto and wide cameras – no cropping or up-sampling needed.

The images below demonstrate the difference – note that to match the subject’s size in the frame using the two different focal lengths, the 3a image was taken from about a meter farther back than the iPhone 11.

Of course the vast majority of portrait mode images will be viewed on a phone or computer screen, where the difference in detail is much harder to spot. Still, looking at the images above at even a 50% crop shows a vast difference in the level of detail captured, and all things being equal we’d much rather have more detail than less.

Backlit subjects

We’ve previously noted the Pixel 3’s fantastic ability to render high-contrast scenes, but one place this falls flat is with backlit portrait subjects. The camera’s tendency to preserve highlight detail and push up shadows is normally what we’d prefer, but it doesn’t work well when the shadows are your main subject.

Pixel 3a iPhone 11

The resulting image shows that the Pixel does a poor job of rendering the cat’s orange fur, giving him an overall ‘crunchy’ look in comparison to the more pleasing rendering by the iPhone. In our testing, the Pixel 3 has consistently shown this tendency to expose for highlights, even when it might do better to choose an exposure better suited to your human or feline subject, at the cost of highlight detail. Even tapping the subject’s face doesn’t adjust the exposure as much as we’d like.

Skin tones

The most sophisticated depth mapping in the world won’t save an image from bad-looking skin tones, and this is one area where Google really needs to catch up. The subject below is lit by window light that’s much cooler than the yellow lights of the kitchen behind him. It’s a tricky situation for sure, but the iPhone has clearly made the right call to warm up the subject’s skin tone rather than preserve the cool cast of the window light.

Pixel 3a iPhone 11

To be fair, both of these phones are susceptible to producing noticeably different colors based on slight shifts in framing, or using a different camera mode like Night Sight. But over the course of much use, we’ve seen that the Pixel 3’s standard camera mode renders skin tones particularly poorly by comparison.

Apple’s face smoothing and skin tone rendering has a tendency to go too far in some situations, and there are times when we prefer the more faithful color rendering of the Pixel. It’s also pretty easy to correct the Pixel’s skin tone rendering in the phone’s own Photos app, but we’re betting that most people don’t want to (and won’t) take the time to color correct every portrait that they take.

Focal length flexibility for portrait mode

Taken with iPhone 11 | ISO 200 | 1/60 sec | F1.8

Apple’s XR introduced wide-angle portrait mode to the iPhone, but the 11 and 11 Pro improve on it with more accurate depth maps thanks to the availability of the ultra-wide lens. Thus, the 11 offers a very good wide Portrait mode via its standard lens, and the 11 Pro offers both telephoto and wide portrait options.

Whether you prefer the look of a telephoto or wide portrait is of course a personal preference, and I tend to prefer the wide portrait mode on the iPhone 11. I like an across-the-table environmental portrait, which usually requires backing up if I’m using the telephoto lens or the crop imposed by the Pixel 3.

Whether or not you like the crop, it being forced on you makes it less flexible and, in my book, I’d rather have that wide-angle – and I’m sure I’m not alone.

Your move, Google

To be fair, there are things we prefer about the Pixel 3’s portrait mode. We find it’s much less prone to obvious errors in cutting around human subjects than the iPhone 11. I also far prefer using Google Photos to Apple’s iCloud, so the seamless integration with my photo archive is a big plus.

Healthy competition between two big tech companies keeps pushing phone camera technology forward at a rapid pace

We can also say with some certainty based on leaks and rumors that the Pixel 4 will address some of these shortcomings. We know that the device will offer more cameras, which will likely improve portrait mode. Whether we’ll see improvements to skin tones or better handling of backlit subjects is less certain, though encouragingly, leaked photos do show better rendering of skin tones. All will be revealed soon, but one thing is for sure – healthy competition between two big tech companies keeps pushing phone camera technology forward at a rapid pace, and that’s nothing but good news for the photo-taking public.

Articles: Digital Photography Review (dpreview.com)

 
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Instagram updates iOS app with support for iOS 13’s native Dark Mode UI

09 Oct

Instagram is the latest app to add support for the newly introduced Dark Mode in iOS 13. The redesign features white and gray text on a black background, as well as simple black icons outlined in white. The brightest elements in the new UI are avatars and the content shared by users.

In addition to reducing eye strain, the new Dark Mode support will reduce battery drain on devices that feature OLED displays. Users are not able to manually turn this mode off or on in the app, however; it is tied to the iOS 13 settings, meaning Dark Mode must be enabled on the user’s phone. The update is rolling out on Instagram for iOS now.

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The latest iOS 13 developer beta gives us a sneak peek at Apple’s new Deep Fusion mode

05 Oct

Earlier this week, Apple released the first developer beta version of iOS 13 with support for its Deep Fusion technology built-in. Although there’s still plenty to learn about the feature, multiple developers have already taken the camera tech for a spin and shared their thoughts (and results) around the web.

To refresh, below is a brief explainer on what Deep Fusion is from our initial rundown on the feature:

‘Deep Fusion captures up to 9 frames and fuses them into a higher resolution 24MP image. Four short and four secondary frames are constantly buffered in memory, throwing away older frames to make room for newer ones […] After you press the shutter, one long exposure is taken (ostensibly to reduce noise), and subsequently all 9 frames are combined – ‘fused’ – presumably using a super resolution technique with tile-based alignment (described in the previous slide) to produce a blur and ghosting-free high resolution image.’

Although the tests are far from conclusive, we’ve rounded up a few sample images and comparisons shared by Twitter users from around the world. From the commentary shared by those who have tested the feature and from a brief analysis with our own eyes, Deep Fusion appears to work as advertised, bringing out more detail and clarity in images.

In addition to the above comparison, photographer Tyler Stalman also compared how Deep Fusion compares to the Smart HDR feature.

As noted by Halide co-founder Sebastiaan de With, it seems as though the image files captured with Deep Fusion are roughly twice the size of a standard photo.

Much remains to be seen about what Deep Fusion is actually capable of and how third-party developers can make the most of the technology, but it looks promising. There seems to be some confusion as well regarding whether Deep Fusion will work with Night Mode, but according to Apple guru John Gruber, the two are mutually exclusive, with Deep Fusion being applied to scenes between 600-10 lux while Night Mode kicks in at 10 or fewer lux.

We’ll know more for sure when we have a chance to test the new feature ourselves.

Articles: Digital Photography Review (dpreview.com)

 
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The iPhone 11 Pro Features a New Triple Lens and Night Mode

13 Sep

The post The iPhone 11 Pro Features a New Triple Lens and Night Mode appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

The iPhone 11 Pro Features a New Triple Lens and Night Mode

Apple has just announced three new iPhones: the iPhone 11, the iPhone 11 Pro, and the iPhone 11 Pro Max.

And, as usual, these iPhones come with new cameras and new camera technology.

But will these new smartphones be enticing for photographers? And if you’re looking to purchase a new smartphone, should you grab an iPhone 11 Pro?

Read on to find out.

The iPhone 11 Pro Camera

First things first:

While Apple has announced three new iPhones, the iPhone 11 Pro and the iPhone 11 Max are basically identical, save for the screen size. Hence, both the 11 Pro and the 11 Pro Max have the same camera specs:

Three cameras.

An improved front-facing camera.

Deep Fusion technology.

Let’s take a closer look:

iPhone 11 Pro: a three-camera setup

The three-camera design is Apple’s first foray beyond their (now standard) 2-camera setup. The iPhone 11 Pro boasts a telephoto lens (52mm equivalent), a wide-angle lens (26mm equivalent), and an ultra-wide-angle lens (13mm equivalent). The new camera (the ultra-wide-angle) should make it possible to capture sweeping landscape shots, or simply to gain a wider field of view when doing group portraits and event photography.

The iPhone 11 Pro Features a New Triple Lens and Night Mode

While the wide and telephoto lenses incorporate optical image stabilization, the ultra-wide-angle lens does not. This shouldn’t be a huge problem, because camera shake is less apparent in wider lenses. But it’s nice to have a bit of image stabilization, especially for night shots.

And speaking of night photography:

Apple has finally added a Night Mode to the smartphone camera lineup. This will supposedly increase detail in night photos, making it possible to produce less noisy images in near darkness. Given the poor performance of iPhones at night, this is a feature that Apple phones have sorely needed.

The iPhone 11 Pro Features a New Triple Lens and Night Mode

Unfortunately, we’ll have to wait and see whether the iPhone 11 Pro’s regular shooting mode will have improved low light capabilities. I’m not holding my breath, however. The iPhone XS’s low light performance is dismal in low light compared to competitors such as the Google Pixel 3, and there are no indications of a significantly improved sensor on the iPhone 11 Pro.

While the iPhone 11 Pro rear cameras all sit at 12 megapixels, the front-facing camera will see an upgrade from 8 megapixels (in the XS) to 12 megapixels. The lens has also been widened. I don’t recommend using the front-facing camera for serious photography, but it’ll be nice to take some higher resolution selfies and wider selfie-group shots.

The iPhone 11

The iPhone 11 is the successor to Apple’s cheaper iPhone XR.

Fortunately, it offers a notable camera upgrade: from a single wide-angle lens, the iPhone 11 now features both a wide-angle and ultra-wide-angle lens setup.

It also includes Night Mode, which will make shooting in low light (hopefully) easier.

Deep Fusion technology

The most intriguing aspect of the new iPhone cameras is the promise of a Deep Fusion technology. This should work on all the new iPhones, including the iPhone 11.

While this feature won’t be rolled out until after the iPhones are released (in a software update), Apple claims that this new technology will allow your iPhone to capture nine images at once, process them, and create a final image that’s optimized for detail, noise, and dynamic range.

If the feature is as impressive as Apple claims, then we have a lot to look forward to.

The iPhone 11 Pro: Should you purchase it?

If you’re a serious smartphone photographer, you’re going to want the iPhone 11 Pro over the iPhone 11. No question. It offers the additional telephoto camera, which you’ll appreciate if you ever want to shoot portraits or street photos.

The iPhone 11 Pro Features a New Triple Lens and Night Mode

But how does the iPhone 11 Pro stack up against its competition?

Personally, I would wait to grab the iPhone 11 Pro until you see what Google comes out with this fall. The iPhone 11 Pro, with its triple cameras and promise of Deep Fusion technology, is appealing. But Apple is currently behind Google in terms of low-light capabilities. And you don’t want to buy a new smartphone, only to wish you had waited just a bit longer for the Pixel 4.

The iPhone 11, the iPhone 11 Pro, and the iPhone 11 Pro Max are available for preorder starting this Friday, September 13th.

What do you think of Apple’s new smartphone cameras? Will you be purchasing an iPhone 11 or an iPhone 11 Pro, or will you wait to see the Google Pixel 4? Share your thoughts in the comments!

The post The iPhone 11 Pro Features a New Triple Lens and Night Mode appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Fujifilm updates X-T3 firmware to fix an issue that can occur when shooting in ‘S’ drive mode

13 Sep

Fujifilm has released a small firmware update for its X-T3 mirrorless camera that fixes a specific ‘phenomenon’ that can require you to turn your camera off and back on again.

Firmware version 3.01 (previously version 3.00) addresses an issue wherein a message reading ‘turn off the camera and turn on again’ can appear when shooting in the ’S’ drive mode while repeatedly taking photos within a short timeframe.

Aside from that, Fujifilm doesn’t mention any other fixes in this update, even basic bug fixes.

You can find information on how to install the firmware and download the update on Fujifilm’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Leaked promo video hints at Google Pixel 4 astrophotography mode

10 Sep

Google’s Pixel devices are usually cutting edge in terms of computational photography and the current Pixel 3 device comes with an entire range of computational imaging features, including the multi-frame-stacking Night Sight low light mode.

Now it looks like Google is planning to take things one step further with the upcoming Pixel 4 generation and offer some kind of astrophotography feature.

A fuzzy screenshot of the leaked promotional video showing off a dedicated camera mode for capturing stars.

Pro Android has managed to get hold of what appears to be an (as yet) unreleased Google Pixel 4 promotional video. The clip highlights several software features of the still unreleased device, including a Night Sight-like astrophotography mode. Unfortunately, no technical detail is provided but it is fair to assume to mode will use some combination of frame-layering techniques and artificial intelligence to create well-exposed noise-free images of the night sky.

Huawei’s current flagship P30 Pro already features a multi-frame star trail mode which is capable of achieving pretty attractive results in the right circumstances. We’ll have to wait until October, when the Pixel 4 is expected to be launched, to find out if Google’s solution is capable of improving on the Huawei feature.

Articles: Digital Photography Review (dpreview.com)

 
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5 Photos to Take with Auto Mode

15 Jul

The post 5 Photos to Take with Auto Mode appeared first on Digital Photography School. It was authored by Mat Coker.

Were you disappointed when you bought a fancy camera and it didn’t take good pictures for you? It happens to a lot of people.

But even when you know nothing about how your camera works, it’s possible to take a good photo on Auto Mode.

Auto Mode isn’t the place to stay, so once you get the hang of it, you can move on to aperture mode, shutter mode, and manual mode. You can also learn about exposure compensation, metering and all sorts of other fun things!

But first, let me show you how to take 5 different photos on Auto and then how to put the finishing touches on them using Lightroom.

  • Portrait with bokeh
  • Golden hour nature photo
  • Silhouette
  • Freeze a splash
  • Food photo

Portrait with bokeh

Auto mode portrait with bokeh

He is standing about 20 feet away from the tree in the background and I zoomed in to 140mm.

It’s actually pretty easy to take a portrait with bokeh (out of focus background).

I’m assuming that you have an 18-55mm kit lens, but maybe you even have a telephoto lens that zooms to 200mm or 300mm.

You’ve got your camera on auto mode. To achieve an out-of-focus background, bring your subject away from the background. Zoom your lens in all the way because this increases the bokeh effect.

It’s really that simple. The soft, overcast sky made a good light source for this photo. The photo would be even better if his expression were more authentic and there were catchlights in his eyes.

Golden Hour nature photo

Many people like to photograph flowers and nature, but they choose the worst time of day to do it. The harsh afternoon light is not always the best time to photograph a flower. The light is intense, the shadows are harsh, and you won’t likely be impressed with your photo.

Try taking nature photos during golden hour instead. The light will look much more pleasing in your photos. Even on Auto Mode, you’ll likely be happy with how some of your photos turn out.

These are all unedited Auto Mode photos.

Golden hour flower photo on auto mode

This photo was taken about an hour before sunset. The sun is behind the flower and you can see how the warm light causes this blossom to glow.

 

Golden hour nature photo

Auto mode lens flare

Freeze a splash

You’ll likely end up with blurry photos on Auto Mode if the light is dim. That is because you need lots of light if you want to freeze the action. It’s fun and easy to freeze water splashes when you’re outdoors in bright light.

That is the key to freezing motion on auto mode; lots of light.

Freezing a water splash

I had my kids ride through mud puddles so that I could get a shot of the water spraying up. The bright outdoor light allowed the camera to have a quick shutter speed and freeze the movement.

Silhouette

Let’s start with accidental silhouette photos. Your eye sees something pretty but the photo turns out like this:

Silhouette on auto mode

This birdhouse looked really cool, so I snapped a picture. Unfortunately, it turned out as a silhouette. That’s not what I wanted.

If the background is really bright, you’ll likely end up with a silhouette. Had I wanted this birdhouse to look brighter, I should have moved to the other side where the light was actually hitting it.

But let’s suppose you want a silhouette photo. How do you do it? It’s pretty easy to get a silhouette photo on Auto Mode. Just make sure the background is really bright and that you’re standing on the shady side of the object.

Silhouette photo on Auto Mode

This silhouette photo was intentional. I put the camera on Auto and knew that it would be a silhouette because of the bright sky in the background. I chose to make this a silhouette because I like how the pattern in the leaves and the clouds play off each other.

Food photo

Many bloggers purchase an expensive camera and are disappointed with the results of their photography. Let’s consider somebody who blogs about food but only knows how to use Auto Mode. Is it possible to take a decent food photo on Auto? Yes.

The key to a good food photo is light. Normally, you want the light to come from beside or behind the food in order to bring out the texture. A window is a great light source.

It can be a little tricky and you will likely want to do a basic edit of the photo (particularly exposure and clarity).

Food photography on auto mode

This is an unedited photo taken on auto mode. You can see that it is warm light coming from the side. I placed the cookies next to a window with late day, soft sunlight coming in.

 

Auto mode food photography

I set this sugar-topped muffin next to a window, hoping that the backlight would bring out the texture. Unfortunately, the photo is underexposed. The plate and the window sill are bright white and caused the camera to create a darker exposure. It’s almost a silhouette.

 

Edited food photo

You can see that with some simple brightening in Lightroom the photo looks a lot better.

 

Food photo

It’s a lot better to understand how your camera works so that you don’t have to rely on Auto Mode. But until then, do the best you can with side or backlight and then use a program like Lightroom to put the finishing touches on your photo.

Adding finishing touches using Lightroom

I use Lightroom to edit my photos, but just about any editing program will work fine.

There are two ways to think about editing. The first is fixing a photo that didn’t turn out right. Hopefully, you can avoid this approach as much as possible. If you find yourself having to fix the same sort of mistake over and over (say underexposed or misfocused photos), then you know it’s time to learn to get it right in-camera.

But if your photos are turning out nicely, then you can think of editing as putting the finishing touches on your photo. I’ll show you how I do that.

 

Lightroom portrait edit

You can see that I didn’t do a whole lot to edit this photo. I added some warmth, brought up the exposure, and decreased the blacks to add a little contrast. Very simple finishing touches.

 

Lightroom edit

I was a little heavy-handed with adjustments to this photo. First, I increased the overall exposure but then decreased the highlights because some parts of the photo had become too bright. The shadows were also increased, allowing for more detail to be seen. The clarity is increased to see the water droplets more clearly.

When to move off Auto

Keep track of the problems that you keep running into. These problems are clues about when to move away from Auto Mode and what settings you need to begin learning about. Don’t try to learn everything – just what you need to know to overcome problems you’ve been facing.

You’ll want to explore:

  • ISO
  • Aperture
  • Shutter speed
  • Metering
  • Exposure compensation
  • Manual mode

These are all dull-sounding words, but when you explore and learn the concepts, you’ll overcome challenges and have far more creative control over what you’re doing.

Keep pursuing creative elements and technical knowledge, and you will grow over time.

 

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The post 5 Photos to Take with Auto Mode appeared first on Digital Photography School. It was authored by Mat Coker.


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5 Reasons to Consider Aperture Priority Over Manual Mode

13 Jun

The post 5 Reasons to Consider Aperture Priority Over Manual Mode appeared first on Digital Photography School. It was authored by John McIntire.

Choosing aperture priority mode in difficult lighting situations can free your mind up to deal with the things that matter most to the photo, like timing, rather than messing around with the dials to get the same result.

There’s a lot to be said for the manual exposure mode on your camera. When you’re starting out, learning how to shoot in manual will help you to learn the relationship between shutter speed and aperture. This ensures that you learn what the camera is doing every time you make an exposure. It also builds the basis for you to take what you learn about exposure and correct for the camera’s inability to cope with extreme exposure situations as well as to make creative choices for your images.

After you’ve learned the ins and outs of manual mode, however, there are a few reasons why you might want to forego your hard-learned manual skills for Aperture Priority mode. This article outlines five of these reasons and details what Aperture Priority mode might offer you and your photography in some situations.

1. Aperture priority does the same job as manual mode

In manual mode, the meter in your camera is taking a reading based on your set ISO (provided you’re not using auto ISO). The chances are likely that you’ve picked a deliberate aperture setting before you even lifted the camera up. To get your exposure, you now have to alter the shutter speed so that the indicator on your camera lines up with what the meter dictates is a correct exposure.

Aperture priority does the exact same thing, except that the camera sets up the shutter speed for you.

In instances where you are trusting your camera’s light meter (let’s be honest, that’s most of the time), this will result in the same exposure every single time whether you are shooting in manual mode or aperture priority mode.

What aperture priority mode does is remove the need for you to set the shutter speed yourself. It frees you to concentrate on things like composition without having to constantly keep an eye on the meter.

Exposing for the meter in manual mode resulted in an exposure of f/11 at 1/50th of a second.

Exposing the scene in aperture priority mode just a second later resulted in the exact same exposure. f/11 at 1/50th of a second.

In situations where you need to compensate for dark or light subjects, aperture priority mode still gives you full manual control of the exposure through exposure compensation. Are you taking photos of a dark subject like a black dog? Dial in -1 stop of exposure compensation just one time and keep shooting without having to constantly adjust your settings to get to the same result. Are you taking photos of a fluffy white dog? Same again. This time, add +1 stop of exposure compensation and away you go.

Dark subjects will require you to underexpose them. In Aperture priority mode, this is easily done with exposure compensation. Once you dial in exposure compensation, you are set to go until it has to be changed again. With light-toned subjects, you will have to overexpose them to maintain the correct exposure.

High contrast subjects, like this sheep’s white face lit directly by the setting sun, will also have to be underexposed by at least a few stops.

The only difference between aperture priority mode and manual mode in these circumstances is that you will be spending more time focusing on the creation of the photos than you will be on the dials on your camera.

To be clear, I am not advocating for not learning how to use manual mode. For the best results, it is important for you to understand how your camera works in relation to exposure. Using manual mode is the best and fastest way to do that. So, please, don’t skip over manual altogether. However, once you have it down, using other modes alongside your knowledge of exposure and how it works will help you and your photos in the long run.

2. Speed

The backlighting in this image created an extremely high contrast situation. By dialing in -3 stops of exposure compensation, I was able to ensure that the issues were dealt with in a series of images with one turn of the dial.

As mentioned, using aperture priority reduces the amount of time you have to spend watching the camera’s meter. Because the camera is now setting the shutter speed for you, the only thing you have to worry about in most situations is exposure compensation. Once you set your camera to aperture priority mode, it takes only one finger (on all modern cameras that I’ve used) to adjust the exposure compensation settings.

Need to underexpose by a stop? Just turn the one (relevant) dial three clicks. Done.

The only other thing you might have to worry about is if you have the need, or want, to change your ISO. But that is going to be more uncommon.

3. Aperture priority still gives full manual control

At the risk of repeating myself, but I feel this point really needs to be driven home. Aperture priority mode gives you full manual control over your exposure. It is not automatic, or an auto mode, in any way more than it allows the camera to set the shutter speed based on the meter you are already using.  At any time while in aperture priority mode, you will still have full manual input on what exposure the camera is recording. You just have less physical steps to go through before you get there.

4. Helps to create a constant exposure in changing lighting conditions

One scenario in which aperture priority mode really shines is in changing lighting conditions. For example, if you’re out on a windy and cloudy day, the light levels can constantly shift. In aperture priority mode, your camera changes the shutter speed for correct exposure (already taking into account any exposure compensation that you might have set). Thus, helping you to achieve a consistent look for all of the images in a sequence. This is most useful in terms of shooting a sequence of images to later stitch into a panorama.

When creating a sequence of images for a panorama, aperture priority can help to ensure a consistent exposure throughout the frames.

If you were shooting this sequence in manual mode, it would require you to be constantly looking at the meter and changing your shutter speed settings as required. This isn’t a big deal, but using aperture priority mode allows you to get the same results without constant fetter over the settings.

At sunset, the light rapidly changes. Add a moving subject to that high contrast scene and you have an exposure nightmare. Aperture priority can help to maintain a fairly consistent exposure between frames.

This isn’t perfect, and extreme shifts in lighting can have drastic effects on your images and your exposure. You will still have to pay attention to the details to ensure nothing is going wrong. On normal days, however, it will work just fine.

5. TTL and HSS enabled flashes

Using aperture priority with TTL and HSS enabled flashes might just be the perfect match.

When you are using a flash with TTL (through the lens metering) and HSS (High-Speed Sync) enabled, the chances are that you are going to be working with a fixed aperture anyway.

Remember, shutter speed does not affect flash exposure, only ambient exposure. Aperture priority mode will give you the freedom to set your desired aperture and then let the camera do what it needs to match the meter.

Not only will you still have full control over the exposure compensation for the ambient, but you will also have full control over exposure compensation with the flash unit.

Again, this allows you to get the exposure where you want it one time, and then you are free to concentrate on the actual photos.

That’s it

Aperture priority can be a fantastic tool for any photographer. At the end of the day, it does the exact same thing that manual mode does. It just takes away some physical steps that you have to go through in manual mode to set the exposure.

That said, like just about everything else in photography, it is not perfect, and it won’t always be a solution.

If you take only one thing away from this article, let it be this: shooting only in manual mode does not make you a better photographer. Aperture priority and shutter priority modes do the exact same thing, just in a different way. Use whichever works for the situation you’re in.

Do you use Aperture or Shutter Priority? Share with us your thoughts in the comments below.

 

5 Reasons to Consider Aperture Priority Over Manual Mode

The post 5 Reasons to Consider Aperture Priority Over Manual Mode appeared first on Digital Photography School. It was authored by John McIntire.


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Panasonic Lumix S1/S1R studio scenes with high-res mode published

24 Apr

We’ve been working through our full review of Panasonic’s high-megapixel, full-frame flagship, the Lumix S1R and its lower-resolution S1 sibling, and have published our studio test scene images from them – including the 187MP high-res mode. It’s, well, quite something. Take a look for yourself and prepare to get well acquainted with every detail of our studio test scene.

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Panasonic Lumix S1R studio scene with high-res mode published

23 Apr

We’ve been working through our full review of Panasonic’s high-megapixel, full-frame flagship, the Lumix S1R, and have published our studio test scene images from it – including the 187MP high-res mode. It’s, well, quite something. Take a look for yourself and prepare to get well acquainted with every detail of our studio test scene.

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Articles: Digital Photography Review (dpreview.com)

 
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