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The Real Reason You Need to Print Your Photos

19 Apr

The post The Real Reason You Need to Print Your Photos appeared first on Digital Photography School. It was authored by Mat Coker.

Each creative pursuit has its own fulfillment. It is that moment when we can stop and see that our finished creation. A play is written and performed – a score is composed and played by musicians – poems written and then read out loud. The fulfillment of our creative pursuit as photographers is a printed photograph.

When you print a photograph, it becomes physical. A print is the embodiment of the digital file. As a print, it becomes part of our daily physical existence. As a constant part of our life the print comes to play a role in our life, perhaps effecting us in ways we didn’t expect.

Making small prints

A few prints that I stumbled across from my childhood. Each time I come across these memories, I’m reminded of my place in my family as a son, a grandson, and now a father myself.

Coming to life

When something lives in the digital world, it is easily scrolled past, or swiped away and forgotten forever. Digital photos live a ghostly existence.

We experience digital photos like a dream. Just as a dream vanishes when we wake up, a digital photo vanishes as we scroll past it or close the file. But as a print, your photograph becomes part of the real world and a part of your life.

One day I saw one of my digital images – a headshot – on a huge billboard. I was so surprised I had to circle the block just to see it again! I had seen that same image on the internet many times, but to see it in the real world brought on emotions that had never arisen when viewing the photo online.

Yes, “an image is an image” whether it is digital or printed. But a printed image has a different existence – a bodily existence – and becomes part of your world as something physical rather than ghostly or dreamlike.

Printing photo books

Before setting out for the East Coast, I knew that I wanted to make a photo book after the trip. Part of the fun was anticipating the project, then living the adventure as we traveled. But the creative experience was not complete until I had finished the book. A lot of the fun was selecting the paper, the lay-flat style and the dimensions.

Daily life

Consider the difference in the way we normally experience digital and print photographs.

A print is displayed somewhere and might remain for a very long time. However, a digital photo is at your mercy – only viewed on your whim and dismissed almost immediately. If you do not wish to see them, they are gone. A digital photo is not ever-present as a print is. Digital photos count on you to come looking for them.

A digital photo is given a physical existence when printed. When it is displayed at home or in our studio, it becomes part of our daily life.

Display your prints

Most people are quite tactile – collecting books, rocks, and small keepsakes. Our family often brings home a jar of dirt from the new lands we visit.

Inspired and called

When printed, our photographs are ever-present reminders of what is important in life.

Unlike the fleeting excitement that digital photos bring as we scroll past them, the inspiration of a printed photograph is always there to view.

When you’re bored of the flow of digital photos, you shut them off. However, you don’t turn off a print; it is there whether or not you wish to see it at that moment. This is important because when we choose our prints carefully, they can be sources of encouragement when we need it most.

An ever-changing sea of digital images is part of your daily landscape. Images pound you like waves, only to disappear once they’ve made contact. They exhaust you as they hit all day long. You live in a chaotic world where you are most likely to forget what is important in life.

You should print photos that inspire you and call you to a good life. The portraits you hang can remind you of who is important in life. Even the landscape you print can calm and inspire you in tough moments.

Print and frame your digital photos

In my son’s room, there is a picture of him and my grandmother together. It has been there for years. It’s also on my computer. I can tell you the exact folder it’s in, but I haven’t seen the digital file since I made the print. I made the print for my grandmother and received it back when she died. It once reminded her of the joy of her great grandchildren and now it reminds me of the joy of my grandparents.

A stronger experience

While I can hardly recall any of the images I just scrolled through online, I can still remember some of the images in the photography magazines I read as a kid.

When I knew a new issue of Photo Life was due out, I’d check the mailbox every day until it came. I knew the feel of it when I reached into the mailbox. The cover photo would strike me first, then the smell of the brand new magazine. I suppose I did all but taste those photographs!

Imagine the life of those photos. The photographers would conceive their ideas and work away until they had their collection of images. The photographs were developed, culled, and selected by an editor. Once printed, the magazine was shipped around the world. Finally, it would get carried by post for photography lovers to grab from the mailbox or snatch from a newsstand. We’d carry them with us, reread them, and add them to our collection of back issues.

Print versus digital photos

You can close a photo book and put it away, much like swiping away a photo. But a book is placed on the shelf, while a digital photo is swiped away and obliterated into 1’s and 0’s.

The digital world is a gift

Digital photos are important – just as imagination, thoughts and dreams are. But dreams disappear, thoughts are forgotten, and imagination begs to come to life in the real world.

There are many gifts that the digital world has given us. Perhaps most of all the digital world gives us a place to play and experiment before we decide which photos to make real. We have transcended many of the limits of film (although many of those limits may have been healthy for our creativity).

Even though our creative activity is not complete until we have made a print, we don’t need to print all of our digital photos – only the ones that deserve to rise up and become worthy of embodiment.

Create something that becomes real

While there is joy in taking photos and viewing them digitally, our satisfaction is not properly realized until we have printed our photos. A photo that isn’t printed is like a script that is never performed, or a musical composition that is never played. There is still value in the digital photo, just as there is value in a script or musical composition. But the value is mainly the hope that one day the digital photo will be printed and share a bodily life with us – to inspire us, cheer us, and remind us.

The post The Real Reason You Need to Print Your Photos appeared first on Digital Photography School. It was authored by Mat Coker.


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What you need to know about Canon’s EOS Rebel SL3 (250D)

10 Apr

Introduction

The Canon EOS SL2 (also known as the 200D and Kiss X9) is one of the company’s most best-selling DSLRs. And it’s not surprising, as the SL2 was a low-priced, competent camera that you could slip into a purse or small bag.

The new SL3 (250D, Kiss X10) isn’t a dramatic departure from the SL2: it’s still small. inexpensive and mostly up-to-date in terms of features. It borrows many features from Canon’s EOS M50 mirrorless camera, including the DIGIC 8 processor and rather disappointing 4K video capabilities. But more on that later.

The Rebel SL3 will be available at the end of April for $ 599 body-only or $ 749 bundled with the EF-S 18-55mm F4-5.6mm IS STM lens. We’re featuring the white version in this article, because we think it looks snazzy.

Just a bit lighter

The SL3 is the same size and nearly the same weight as the SL2 (above right). Canon managed to shave 4 grams off of the weight (though only 2g off of the black one), so you won’t have to buy a new camera bag.

As you can see, changes to the design are very subtle. There’s a bit of an indent under the Canon logo on the SL3, and the often-irritating redeye reduction lamp (which also serves as a visual countdown for the self-timer) has been removed. Unlike its predecessor, the SL3 can’t use its flash as an AF-assist lamp, though it can use the infrared target if you buy an external flash.

The SL3 uses the same 24MP APS-C CMOS sensor and elderly 9-point autofocus system as the SL2 (when shooting through the viewfinder). In live view, the SL3 also has Dual Pixel AF, covering 88% of the frame horizontally and 100% vertically. The SL3 is Canon’s first DSLR to feature Eye AF in live view, as well.

Up top

There are a couple of cosmetic and feature differences between the SL3 and its predecessor on its top plate. The main differences are the removal of the Wi-Fi button and a reduction in the number of items on the mode dial.

Like the EOS M50, the SL3 has a Scene Intelligent Auto mode that will pick a scene mode for you, and provide easy-to-understand visual guides to adjusting things like aperture (‘background blur’), exposure compensation (‘brightness’) and white balance (‘color tone’). A feature guide offers brief description of each and every menu item when it’s selected.

Rear view

No need to show the SL3 and SL2 side-by-side here, as they look exactly the same.

The SL3 has a fully articulating touchscreen display with 1.04 million dots and a well-designed UI. The optical viewfinder is, as you’d expect, quite small, with an unremarkable magnification of 0.54x (in 35mm terms). You can see about 95% of the scene when looking through it, which isn’t ideal for precise composition.

For those wondering, that’s not a dial around the Q/Set button – it’s just a 4-way directional pad. The SL3 has one control dial and it’s on the top.

Selfies, of course

Sure, the SL3’s fully articulating LCD is great for video and waist-level/overhead shooting, but let’s face it: on the SL3, it’s mostly for selfies. If you need further evidence, look no further than the new ‘Smooth Skin’ setting, which gives you five levels of skin smoothness to choose from.

On the port side…

First, isn’t that silver kit lens a nice match for the white SL3? It’s worth pointing out that this is the F4-5.6 version of the 18-55mm lens, not the F3.5-5.6, so you’re losing about 1/3-stop of light compared to Canon’s older, larger kit zoom.

Under the gray plastic cover are sockets for a 3.5mm external mic – a nice touch on a cheaper camera – and the RC-6 wired remote. The SL3 is also compatible with the BR-E1 wireless Bluetooth remote.

And on your right…

On the opposite side of the SL3 are the other two ports, for HDMI and USB 2.0. As far as we know, the camera cannot be charged over USB, but we’ll double-check that as soon as we can.

The gray patch at the bottom is a rubber cover. It conceals a channel through which you feed the cable for the optional DR-E18 DC coupler which, when attached to the required AC adapter, will set you back $ 150. (Much cheaper third-party options exist if you want to operate the camera using wall power.)

Speaking of batteries, Canon pulled off some tricks to increase the CIPA-rated battery life from 650 shots on the SL2 to 1070 on the SL3. Live view battery life is in the middling 300 shot-per-charge range.

4K, with a catch

The good news is that the EOS Rebel SL3 can capture 4K video at 23.98p (or 25p in PAL regions) with a maximum bit rate of 120Mbps.

The bad news is that, like the EOS M50 with which it shares so much, the SL3 has an enormous 2.64x crop, relative to full frame, so the wide end of your 18-55mm is equivalent to 47mm in full-frame terms. So much for wide-angle shooting! In addition, Dual Pixel AF is not available in movie mode, leaving you with regular contrast detection.

Both of these limitations are a shame, given that the small body and fully articulating LCD on the SL3 should make a nice camera for vlogging.

That’s all for our brief tour of the EOS Rebel SL3 / 250D / Kiss X10. We should be getting our hands on one soon, so look for sample photos and impressions in the not-too-distant future.

Articles: Digital Photography Review (dpreview.com)

 
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When Do You Need to Obtain a Model or Property Release?

07 Apr

The post When Do You Need to Obtain a Model or Property Release? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Model and property releases are necessary when you want to use your photographs commercially. This also applies if you plan to upload your photos to a stock agency who will license them for commercial use. These rules apply only to photos that contain recognizable people or material which is copyrighted.

Market Scene When do you need to obtain a model or property release?

I have a model release for this photo so I can sell it commercially or on stock photography websites under a commercial license. © Kevin Landwer-Johan

If someone can recognize themselves in a photo, it needs a model release. Even if your photo of a person is a silhouette, it needs a model release for commercial use. Anything showing a company logo, branding, photograph or artwork needs to be accompanied by an appropriate property release if using it commercially.

Release requirements vary from country to country, even from state to state. You need to do due diligence to be sure. This article covers the broader issues of model and property releases and should not be considered in any way as legal advice.

What are model and property releases?

These documents are written, signed agreements between the photographer and the people or property in a photograph.

If you have a photograph of any group of recognizable people you want to upload to a stock photo website to sell commercially, every person in the photo must individually sign a model release.

When do you need to obtain a model or property release? Commuters

This photo could be used commercially without a license because no one in the photo is recognizable. © Kevin Landwer-Johan

Photographs of things like cars, storefronts, and even some buttons require the signature of the copyright owner or a property release to use them commercially. There are also many other situations where property releases are required.

France’s famous Eiffel Tower does not require a property release during the day. However, if you photograph this iconic landmark at night, a release to use it commercially is necessary. The lighting design that illuminates the tower at night is subject to copyright. Many other public structures are subject to copyright laws, as are any privately owned buildings. So do your homework before you embark on a commercial photography job.

When do you need to obtain a model or property release? Merlion Park, Singapore

A property release would be required to use this image commercially. ©Kevin Landwer-Johan

How can you know if you need a Property Release?

Research is easy these days. Jump online and do a quick, specific search and you will find your answer. It’s best to do this early on in your planning because if a release is required, this will have a significant impact.

Many times you will not be granted a property release. I can’t imagine any company would even pay attention to requests for general releases of their intellectual property.

In some situations, you’ll need permission even to photograph. When you are on public property, in most countries, there are no restrictions on what you can photograph. Restrictions only come into play if you want to publish your photos.

Photographing on private property, and in some public spaces such as museums and galleries, you need to seek consent.

Err on the side of caution. Commercial use of photos containing physical or intellectual property without an appropriate release can be very expensive if you get sued.

When do you need to obtain a model or property release? Jet Ski on the Beach

This photo can be sold commercially because there is no visible branding on the jet-ski. © Kevin Landwer-Johan

Is it difficult to obtain a Model Release?

Sometimes yes, sometimes no.

When photographing friends, family or hired models, it can be quite easy to get them to sign a model release. Careful communication is essential, and it pays to obtain model releases before you start photographing.

When do you need to obtain a model or property release? Song Khran Fun - Thai New year

I have model releases for the two recognizable people in this photo, so it can be sold commercially. © Kevin Landwer-Johan

Explain to the people you are going to photograph what you plan to do with the photos and ask if they have any objections. If not, have them sign a release form there and then.

Many people are happy to comply. You can offer them something in return for their services. Many times digital copies of their photos are sufficient. If I am working with models, I always require them to sign a model release prior to commencing the photography session.

Minors cannot sign a release form themselves. If you’re photographing anyone under the age of 18, you must have a parent or legal guardian sign the release for them.

When do you need to obtain a model or property release? Songkran Party in Chiang Mai

It would be impossible to use this photo commercially because there are so many people and so much company branding in it. © Kevin Landwer-Johan

At times when photographing groups of people, I have had one or two who do not wish to sign a release. This is problematic as it limits the whole photo session. I have ended up excluding these people from most of the photos because potential use of them is very limited.

If you frequently photograph the same models, it’s best practice to have them sign a new release form each time you work with them. Having a signed model release that’s months or even a few days old can cause problems. Most stock photo agencies require releases for photos made on different days.

A witness also needs to sign the model release at the time the person you are photographing adds their signature. Improperly filled out release forms will be rejected.

When do you need to obtain a model or property release? Attractive Young Photographer

© Kevin Landwer-Johan

Once I even had a model release rejected by a stock agency because the form was in the wrong language. I had photographed this young woman in Thailand and had her fill out my standard model release form. She is a French citizen living in France. Because the address she gave showed that she lives in Paris, the release form had to be in the French language. Thankfully I was able to email her a copy in French which she signed, had someone witness and sent it back.

Conclusion

Obtaining model and property releases may seem like a big hassle if you are not used to the process. It is a necessary part of being a professional photographer, or even a keen amateur who wants to license photos for commercial usage.

You must be well organized. You need to communicate clearly your intentions and that you require a model release before you begin photographing. Don’t be lax and wait until later – later may be too late.

Property releases are generally much more difficult to come by unless you own the property.

Be bold. If you don’t ask, you won’t get it. Be methodical. Build release acquisition into your workflow. Keep good records, even photograph the person holding their signed release form. Once you have gathered a few signed releases the whole process will seem less daunting.

The post When Do You Need to Obtain a Model or Property Release? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Panasonic Lumix DC-G95/G90: What you need to know

05 Apr

Meet the Panasonic Lumix DC-G95 (G90)

The Panasonic Lumix DC-G95 – which will be known as the G90 outside of North America – is a modest step up from the G85 that was introduced in the fall of 2016. It’s received some cosmetic updates inspired by the high-end Lumix G9, a few new video features and, of course, a higher resolution sensor.

The G95 will be available in May for $ 1199, which includes a Lumix G 12-60mm F3.5-5.6 ASPH Power OIS lens.

More pixels (of course)

It shouldn’t be a huge surprise that the G95 has a higher resolutions sensor than the G85. The new 20MP LiveMOS sensor is very similar to the one found on the enthusiast-grade G9. That’s a good thing, as we found that image quality on that camera was very good, though best-in-class APS-C cameras will produce better results.

As with the G85 that came before it, the G95 has 5-axis in-body image stabilization. The camera’s Dual IS 2 feature combines in-body and lens-based stabilization (with compatible lenses) to reduce shake by up to five stops.

The G95 continues to use Panasonic’s Depth from Defocus AF system. Panasonic says that the system has been improved on the G95, without getting in to specifics.

Refined design

Panasonic tells us that some users of the G85 thought it was too small, while others thought that the G9 was too big. Enter the G95, which sits right in the middle. The G95 has a beefier grip that makes it more comfortable to hold, and the extra space allowed Panasonic to add dedicated buttons for white balance, ISO and exposure compensation. The two control dials shown above are joined by a third on the rear of the camera.

LCD

The only thing new about the G95’s LCD is the resolution, which has increased from 1.04M dots on the G85 to 1.24M dots here. As you can see, it’s a fully articulating screen, ideal for vlogging and low/high-angle shooting.

Panasonic’s touch interface remains one of the better implementations on the market. It does everything you’d expect, which includes being capable of moving the AF point when your eye is to the finder.

Electronic viewfinder

The G95’s EVF has the same specs as the one on the G85. The OLED panel has 2.36 million dots, an equivalent magnification of 0.74x and an eyepoint of 20mm. Panasonic has changed the material used to make the eyecup and tweaked the shape, as well.

Built-in flash

As with the G85, the G95 has a built-in pop-up flash. One thing has changed, though, and that’s the X-Sync speed. The top speed on the G85 was 1/160 sec, and it’s 1/200 sec here.

Ports, ports and more ports

Videophiles will be pleased to see that Panasonic added a 3.5mm headphone socket to the G95. The input for the external mic was move upward, keeping it out of the way of the rotating LCD.

We were hoping to see a USB-C socket on the G95, but alas, it’s still micro-USB. The camera can be charged over USB, including from a portable power bank. It can also be directly powered over USB, so long as you have a battery in the camera.

Over on the other side of the camera is a single SD card slot, which supports high-speed UHS-II media.

Battery and battery grip

The G95 uses the familiar DMW-BLC12 8.7Wh lithium-ion battery. Battery life is rated at a so-so 290 shots per charge (per the CIPA standard), regardless of whether you’re using the LCD or EVF. A ‘Power Save LVF’ mode increases that number to 900 images per charge.

If you need more juice, or just want a more substantial grip, you can screw the DMW-BGG1 battery grip ($ 350) to the bottom of the camera. The grip holds an additional battery (which is included) for double the battery life. The grip has two control dials, the shutter release and an AE/AF lock button.

Welcome, V-LogL

The DC-G95 is the first Panasonic camera that doesn’t say ‘GH’ on the front to have the V-LogL gamma curve built in. For those who want a flat tone curve ideal for color grading, the G95 has it, though it is only 8-bit, which limits how far you can then push it. As with the G85, the G95 captures UHD 4K video at 30p and 24p, with a bit rate of 100Mbps.

The G95 also has a new high speed video mode, which can capture Full HD footage at up to 120 fps.

While that’s nice and all, overall the G95 is a step down in terms of video compared to its predecessor. That’s because the camera isn’t using the full width of the sensor, resulting in a substantial 1.25x crop, severely limiting wide-angle videography.

In fact, the camera uses a chunk of its sensor little larger than a 1″-type chip, which is likely to make a major dent in the quality of the footage, especially when shooting Log or working in lower light.

Articles: Digital Photography Review (dpreview.com)

 
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What You Need to Know About Using Manual Mode on Your External Flash

27 Mar

The post What You Need to Know About Using Manual Mode on Your External Flash appeared first on Digital Photography School. It was authored by Jackie Lamas.

When you’re getting started in flash photography, it can seem like your flash has a mind of its own. You’ll be surprised to know that in a way it does. However, switching to manual mode can give you the control you really want.

1 - Using Manual Mode on Your External Flash

Using flash in manual mode lets you set the amount of light that you want to fire from your flash to light your subject.

What is manual mode?

External flashes are default set to the ETTL setting. This setting lets the flash meter the light and then give what it thinks is the correct output of light. ETTL is rather inconvenient since each photo you take will have a different output because the flash is constantly metering before each frame, causing a lot of inconsistency from photo to photo.

2 - Using Manual Mode on Your External Flash

Refer to your manual to find out how to change your flash from ETTL to Manual. On Canon, you push the MODE button until you cycle through to M which is manual.

Manual mode is where you take control of the power output of the flash and therefore get more consistently lit photos. For example, if you are in one spot photographing a portrait and don’t need to adjust for ambient light changes constantly, then you can set your flash at 1/4 power and leave it there until you move or want something different.

3 - Using Manual Mode on Your External Flash

When competing with the sun, full power or half power is your best bet.

In manual mode, you override the flash’s metering and have full control. It also allows you to control taking photos at shutter speeds of more than 1/200th of a second, which is the fastest shutter speed in ETTL.

4 - Using Manual Mode on Your External Flash

On this particular flash, hitting the button with the “H” on it will allow you to use a shutter speed faster than 1/200 of a second. Refer to your flash manual to find this option.

You can use manual mode in both outdoor and indoor settings. Practicing using your flash in manual gets easier over time, and eventually, you’ll be able to select the correct output for the ambient light or the effect that you want to achieve.

Manual mode is also really helpful when you ‘slave’ more than one flash. Slaving is when you sync more than one flash so that they go off at the same time. In manual mode, each flash can be set to a different power output so you can choose which is your key light and which is your fill – giving your photos more depth and contrast.

5 - Using Manual Mode on Your External Flash

For these photos, two flashes were used to light the couple and keep the ambient in the background.

Metering output for flash in manual mode

Your camera meters ambient light, however, it does not do the same for flash output. Don’t worry though, with practice and a bit of trial and error, you will get to know your flash and when to use full power or half power, for example.

6 - Using Manual Mode on Your External Flash

Now you’re probably wondering what full power even means. An external flash has power output levels which are read in fractions. Full power output means that the flash is giving everything it has got and this is transcribed as 1/1. From there it can go to 1/64 of its power output.

There is no right way to begin practicing, however, it’s best to meter for the ambient light that you want to achieve in-camera. For example, if you’re photographing a family during sunset, meter for the sunset. Once you have that settled, put your flash in manual mode and begin with a power output of 1/4 power.

7 - Using Manual Mode on Your External Flash

No flash was used for this portrait.

 

8 - Using Manual Mode on Your External Flash

Same family, location, ambient light and used flash at 1/8 power.

From there, adjust the power of the flash until you get the desired result. This way, you’re guaranteed to have the ambient light metered correctly and use the flash to fill in the light where you want it – in this case, on the family.

You can use your flash on your camera or off-camera in manual mode. Using it off-camera will give you a more angled direction of light and may inspire some creative lighting. On camera, be careful of the power output and angle you have your flash. Outdoors, you’ll probably want to point the flash at your subjects. Indoors, however, you might want to bounce the light off of a ceiling or adjacent wall.

9 - Using Manual Mode on Your External Flash

If you’re using a modifier like a flash diffuser, be aware that the light output will be different than using the flash without a diffuser. The power needed to light your subject also depends on the distance at which the flash is from your subject. When your flash is closer to your subject, it requires less power because the light is closer.

10 - Using Manual Mode on Your External Flash

If you are at a distance, then you’ll need to up the power on the flash in order for it to reach your subject at all. This can be especially tricky outdoors so make sure you are checking your photos after taking some test shots.

When to use your flash in manual mode

You should strive at getting comfortable using your flash in manual mode every time you need to use flash. This can really help you to get consistent photos when you’re not moving around or when the ambient light isn’t changing.

11 - Using Manual Mode on Your External Flash

The left photo is with flash and the right is without flash. Note the blue of the ocean and the sky with the flash versus without flash.

The best times to use flash are when you want to pop some light onto your subject when you’re competing with the sun outdoors, or when you want to control and create light in a studio, to fill in shadows, during sunset or low light, and for indoor settings.

For example, when you are photographing family portrait sessions outdoors with the sunset, you may need to use the flash to fill in light so that you can get the beautiful sunset and not have your subjects in the dark.

12 - Using Manual Mode on Your External Flash

Left without flash and right with flash.

Another example is when you are in an indoor setting, like a bride getting ready and you can bounce your flash off the ceiling to add some light into the room.

Using your flash in a studio setting can be a little more tricky since flashes don’t come with modeling lights. If you’re photographing in a dark room, using a flashlight to focus your camera first can be a big help. Some flashes have a fluttering effect to help with focusing, check your manual to turn this function on.

13 - Using Manual Mode on Your External Flash

One flash used for both photos. The left has the flash in front of the couple and the second has the flash behind the couple.

Using more than one flash at different power output levels can also create stunning photos with lots of depth, much like real studio strobe flashes but with more portability and less expensive.

To do this, you’ll need transmitters or some flashes also come with built-in sync transmitters. This means that when one flash sees another go off, it also goes off.

Other important factors when shooting with flash in manual mode

A few things to keep in mind when you’re photographing subjects with flash in manual mode include the batteries, shutter speed, ambient light metering, and high-speed sync.

14 - Using Manual Mode on Your External Flash

Using flash to fill the couple in and capture the sunset.

When you’re photographing at 1/4 power or more, you’ll go through batteries much quicker. A battery pack especially made for flash and professional cameras can come in handy especially if you’re going to be using flash for a long period of time. It can also make recycling the flash much faster.

What is flash recycling? It’s the amount of time that it takes the flash to recycle and be ready to flash again. The more power you set the flash at, the more time it takes to recycle. For example, a flash at 1/2 power takes longer to get ready to fire again than a flash powered at 1/16.

15 - Using Manual Mode on Your External Flash

Using flash at an angle to light your subject creatively.

The flash also takes much longer to recycle when the batteries begin to drain and lose charge. Have at least three or more sets of batteries at the ready in case this begins to happen.

When you’re using a flash in ETTL, the fastest shutter speed that you can use is 1/200th, on some, it can go up to 1/250th of a second. This isn’t too fast if you’re photographing in outdoor light or competing with the sun. Many flashes have the ability for high sync speeds when you’re using the flash in manual mode.

16 - Using Manual Mode on Your External Flash

Using flash indoors bounced off the ceiling at about 1/16 power.

The distance of the flash to your subject can also affect where to set the power on your flash in manual mode. The further away your flash is from your subject, the more power you’ll need in order for the light to reach your subject. The closer you are, the less power you’ll need. Of course, this depends on where you are photographing your subject and if ambient light is a factor.

Practice makes perfect

Using flash can seem really intimidating. However, controlling your flash by using it in manual mode can be just the right move for you to get comfortable using a flash. Practice makes perfect and the more you practice with your flash, the more you’ll understand how to power it in certain lighting situations.

17 - Using Manual Mode on Your External Flash

Flash used at 1/16 power to fill in light and get catchlights in eyes.

Unfortunately, cameras don’t record flash settings in the metadata of your images. It only records if the flash fired or not. This isn’t helpful when you’re trying to practice flash in manual mode.

Carry around a small notebook and record your settings in your camera for each image that you take. This way, you can remember what your flash settings were in that particular set up and light for future reference.

18 - Using Manual Mode on Your External Flash

Using flash at a 45-degree angle toward the subject off camera helps fill in the light.

As time goes on, you’ll be more comfortable setting, testing, and using your flash in manual mode.

In conclusion

19 - Using Manual Mode on Your External Flash

Using flash at 1/2 power indoors off-camera, on a flash pole high and pointed directly at the subject. This imitates the light of the sun for these indoor photos.

If you feel like using your flash sometimes gives your images an inconsistent look, try using your flash in manual mode. Manual mode lets you be in full control of how much light you want the flash to fire giving you more consistent exposures and taking out the guesswork of the flash itself.

Try it out and let us know if these tips helped you out!

The post What You Need to Know About Using Manual Mode on Your External Flash appeared first on Digital Photography School. It was authored by Jackie Lamas.


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Portrait Photographers: Do You Really Need a 70-200mm Lens?

26 Mar

The post Portrait Photographers: Do You Really Need a 70-200mm Lens? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

For many portrait photographers, the 70-200mm f/2.8 lens is considered the key to great results. This lens seems like it covers all the bases that any portrait photographer would want: wide aperture, a range of good focal lengths, and excellent build quality. It’s the cornerstone of many portrait photography workflows – and with good reason too – but it also comes with a hefty price tag (nikon, canon, sony). The question, then, for many amateur and semi-professional portrait photographers becomes: do you really need a lens like this to get good portraits? The answer might surprise you.

Nikon D7100, 50mm f/1.8 lens. Shot at f/2.4, 1/3000th second.

Whenever you are thinking about buying new gear, it’s wise to perform a needs assessment. This can help you figure out exactly what you can do with your current camera equipment, what you want to do, and whether a new purchase is required to bridge that gap. You can do this using a variety of methods, but a good way to start is to ask yourself some simple questions such as:

  • What camera lenses do I currently have?
  • What kind of portraits do I want to take?
  • Do I know how to use my lenses to get those portraits?
  • If not, can I learn to use my lenses differently instead of buying new gear?
  • In what ways are my current lenses limiting my portraits?
  • What lens would be best for the portraits I would like to be able to take?

Nikon D7100, 35mm f/1.8 lens. Shot at f/3.3, 1/90th second.

Perhaps your current lenses are lacking in specific areas such as the ability to shoot in lower light, overall sharpness, or autofocus speed. In that case, it might be a good idea to look at upgrading your gear. However, it is also entirely possible that the lenses you have are just fine for portraits and you don’t need new lenses at all.

If you do decide to drop some cash on a new lens, you might think that a 70-200mm f/2.8 lens is the be-all, end-all, ultimate goal to start saving for. Also, in many respects, you wouldn’t necessarily be wrong. However, you can get outstanding results with other lenses too and save a massive amount of money in the process. Here are some other lenses worth considering that produce excellent portraits for a lot less money.

Note: While I mostly mention Nikon and Canon lenses throughout this article, you can also get the same types of lenses for other systems like Sony, Olympus, Fuji, Panasonic, Pentax, and more.

The Power of the 50mm Prime

One of the most amazing lenses you can get for portraits is a humble 50mm f/1.8. The Nikon version is around $ 200 and the Canon retails for about $ 125, and there are plenty of third-party options available as well.

These little workhorses, sometimes called the Nifty Fifty or Fantastic Plastic due to the nature of their construction, can produce absolutely breathtaking results. In some ways, they are actually better than a two-thousand-dollar 70-200mm f/2.8 pro-grade lens. A 50mm f/1.8 lens has more light-gathering ability which means lower ISO values or faster shutter speeds in low light, as well as shallow depth of field.

Autofocus speed on these lenses isn’t going to win any awards, nor are they designed to take a beating or function in the rain and snow. However, they shoot great images in low light, and their wide apertures let you get the type of creamy bokeh you might have always wondered about but never been able to achieve with your kit lens.

Nikon D200, 50mm f/1.8 lens. Shot at f/1.8, 1/250th second.

If you’re the type of person who delights in pixel-peeping or poring over MTF charts, you might turn up your nose at an inexpensive 50mm f/1.8 lens. That’s not the point of a lens like this though, and what they lack in technical specs they more than make up for with sheer results. Also, at less than one-tenth the cost of a 70-200mm f/2.8 lens, their price-to-performance ratio is almost impossible to beat.

Nikon D7100, 50mm f/1.8 lens. Shot at f/4, 1/350 second.

The Mighty 85

One downside to shooting with a 50mm lens is that you won’t get much background compression. Your subjects won’t appear any closer to the background elements in the shot. While you can use an f/1.8 aperture to make the background blurry, it won’t zoom in much which is one advantage of a lens with a longer focal length. If that’s what you’re looking for, then an 85mm lens might fit the bill quite nicely.

Nikon D7100, 85mm f/1.8 lens. Shot at f/2.8, 1/350th second.

An 85mm f/1.8 lens is going to cost about two to three times what you would pay for a 50mm f/1.8 – around the $ 400 mark for both the Nikon and Canon.

In exchange, you’re going to get a hefty piece of equipment that is a little sharper, a little faster to focus, and will give you a bit more flexibility in terms of your portraiture. Its longer focal length will make it seem like backgrounds are just a bit closer to your subject.

In addition to their ability to get super blurry backgrounds when shooting at wide apertures, this could be the answer you are seeking.

Nikon D7100, 85mm f/1.8 lens. Shot at f/2.8, 1/750th second.

The 85mm focal length is ideal for many portraiture situations. I know professional photographers who choose to shoot with an 85mm lens instead of a 70-200 f/2.8 lens. 85mm lenses are smaller, lighter, and often just as capable as their big brothers.

Moreover, when you shoot at f/1.8, you can blur the background even more than a more expensive f/2.8 lens when shooting at similar focal lengths. While it’s true that the f/1.8 versions aren’t going to be as tack-sharp as their f/1.4 or f/1.2 counterparts, it’s hard to beat the value you get for your money.

Go wide with a 35

While many people tend to think of longer focal lengths as being best suited for portraits, you can get good results with a wider lens too. The 35mm focal length is close to what our human eyes see and can help you capture in-the-moment shots that are highly sought after by many people who want portraits. You can get up close and personal with a 35mm lens, shoot in low light conditions, and even achieve the buttery-smooth bokeh that you have always been craving.

Nikon D7100, 35mm f/1.8 lens. Shot at f/1.8, 1/1000th second.

Best of all, 35mm lenses are so cheap that you’re never going to break the bank with the Nikon coming in at around $ 200. Canon doesn’t offer a first-party 35mm lens but the excellent 40mm f/2.8 pancake lens is almost the same and even less expensive at about $ 175. My favorite part about a 35mm lens is that you can use it to get intimate images the likes of what a 70-200 f/2.8 could only dream of.

Nikon D750, 35mm f/1.8 lens. Shot at f/4, 1/90th second.

For years I shot almost exclusively with a 35mm lens on my full-frame camera. It was a constant companion of mine on everything from formal portraits to casual everyday shots. In fact, one of the biggest reasons I now use a Fuji X100F for almost all of my photos is because it’s basically the same as using a 35mm lens on a full-frame camera but in a much smaller package.

I wouldn’t go so far as to do entire portrait sessions with only a 35mm lens, but if you’re considering a way to upgrade your kit you might be surprised at how much mileage you can get out of this lens. I would even go so far as to say that you’d be wise to have it even if you do opt for a 70-200mm f/2.8, simply because it’s nice to have the flexibility of shooting at a wider angle when you really need it.

Nikon D7100, 35mm f/1.8 lens. Shot at f/4, 1/45th second with an external flash.

The main takeaway here, before I get to an examination of the 70-200mm f/2.8, is that you can do a lot with other lenses. Whether it’s one of these less-expensive primes or a more professional-grade lens like the Canon 85mm f/1.2 or the Nikon 105mm f/1.4 or any number of other lenses especially from third parties like Sigma and Tamron, the point is you don’t always need the heft and focal range of a 70-200mm f/2.8.

But sometimes you do.

70-200mm f/2.8: The Jack-of-all-trades

It’s impossible for me to say whether any individual photographer needs one of these lenses, but I can say that they are extremely useful in a variety of situations. They are professional-grade lenses designed to meet the demands of a variety of situations, especially for portrait photographers. If you really can’t get your work done with the gear you have, and if one of the other lenses I’ve already discussed isn’t going to meet your needs, then a 70-200mm f/2.8 might fit the bill quite nicely.

Nikon D750, 70-200 f/2.8 lens. Shot at 200mm, f/3.3, 1/250th second.

There are many times in which these lenses can outperform a lot of other options.

If you find yourself in situations like this, then a 70-200mm f/2.8 could be just what you’re after.

They are great for things like:

  • Fast-moving subjects who just won’t sit still. In other words…when you are photographing portraits of kids outdoors.
  • Full-body portraits where you want a nice blurry background
  • Subjects that are far away and you need to zoom in to see them
  • Group photos where you want to see the whole family but still have a nice blurry background
  • People moving towards the camera, either by themselves or as a group. You can stay in one place and adjust your focal length to zoom out while they get closer.
  • Action-style portraits of adults or kids while they are playing sports
  • Photographers who need a lot of versatility in their lenses, without wanting to change lenses or carry multiple camera bodies.

Nikon D750, 70-200 f/2.8 lens. Shot at 140mm, f/4, 1/250th second.

A 70-200mm f/2.8 lens isn’t always a necessity, but it can make a big difference if your needs aren’t met by other gear. They’re heavy and expensive, but the results can be worth it as long as you know why you want one and what you plan on using it for. You should also note that you might not need the sheer light-gathering capability of an f/2.8 aperture. In many cases, you would be well-served with a 70-200 f/4 lens which is going to cost significantly less and still produce good results.

Nikon D750, 70-200 f/2.8 lens. Shot at 200mm, f/4, 1/180th second.

Third-party options are a good choice too. You will often find 70-200mm f/2.8 lenses from Sigma, Tamron, and others available for about 50-75% of what you would pay for a first-party lens. These might not have the snappiest autofocus or same level of build quality, but for most portrait photographers they would work just fine.

Conclusion

Hopefully, this information, along with some of these pictures, helps you get a better sense of what different lenses can do. Of course, a 70-200mm f/2.8 lens is great, but if you examine your situation and think about your needs and goals, you might find that a different lens would suffice quite nicely. The point is to find something that works for you, no matter what it is and no matter what other people might use. As long as your gear helps you get the photos you want to take, then that’s all that matters.

The post Portrait Photographers: Do You Really Need a 70-200mm Lens? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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8 Pieces of Architecture Photography Equipment You Need

22 Mar

The post 8 Pieces of Architecture Photography Equipment You Need appeared first on Digital Photography School. It was authored by Simon Bond.

A great subject for photography is Architecture. Whether you’re a commercial photographer, or you enjoy photographing interesting buildings for fun, this is a great area of photography to explore. In this article, you’ll learn about some of the essential equipment you’ll need. Through using this equipment, you’ll be able to get great results each time you photograph. So read on and find out what architecture photography equipment should be in your camera bag.

A tripod combined with a decent wide-angle lens. This is a great architecture photography equipment combination.

1. Tripod

The tripod is a great piece of gear to have, and that’s certainly true for architecture photography. If you’re photographing indoors, or as it’s getting dark, it’s essential you have this. Even when the light is good, using a tripod will improve your results. The following are the main reason you’ll want to bring a tripod with you.

  • Interior photography – The lower light levels for interior photography mean using a tripod is necessary. You’ll need to use slower shutter speeds while keeping the aperture at around f/8.
  • Manual focus – The best way to gain the sharpest focus is to use live view, and then manual focus. This is easiest to achieve with the camera on a tripod.
  • Bracketing – There are many occasions you’ll need to take bracketed photos to balance the light across the scene. When photographing towards the light, or if there is a bright light source such as a window, you’ll need a range of exposure to use in post-processing to balance the scene. In this case, you will need a tripod.
  • Blue hour – A great time for exterior architecture photography is Blue Hour. During this time you’ll need to take long exposure photos from a tripod.

Bracket and clamp

An alternative piece of architecture photography equipment is the bracket and clamp. This can be used as an alternative to the tripod, and you can use it to secure the camera to a structure such as a metal railing. There are locations where a tripod won’t be allowed, and in some cases having a bracket and clamp instead, will allow you to secure the tripod for your needs.

2. Wide-angle lens

The next most widely used piece of architecture photography equipment is the wide-angle lens. This will almost certainly be needed for interior work and is often needed for exterior work as well. Those photos taken in a room, where you need to capture the entire room, will need a wide-angle lens of at least 17mm on a full-frame camera. A lot of architecture is often large in scale, so a wide-angle lens is needed to capture the full size of the architecture you’re photographing. The exception comes when you are some distance from the subject you’re photographing, in this case, a longer focal length would then be required.

The interior of the grand mosque in Abu Dhabi. This requires a wide-angle lens to capture how impressive it is.

Which wide angle lens?

Here is a selection of some of the best wide-angle lenses you can use. Depending on the system you have, you may go for a different lens from this list.

  • Canon 17-40mm f/4L – A great lens at a budget-friendly price. This lens is wide enough for most situations.
  • Sigma 14-24mm f/2.8 DG HSM Art – Great quality lens, made to fit numerous camera manufacturers. Great focal length – and if you need it – a large aperture.
  • Nikkor 14-24mm f/2.8G ED – An excellent lens for those using Nikon cameras. Once again, very wide at 14mm.

3. Bubble level

Getting a bubble level is a good idea to ensure your camera is completely lined up. You’ll find that with a wide-angle lens the distortions they produce can make it difficult to see if the camera is truly level. Using a bubble level, which can easily attach to the hot shoe, you’ll have a quick and easy visual reference. In some cases, you may have a bubble level built into your tripod head. This is a great alternative to a separate bubble level.

4. Strobes

The use of strobes is not just for portraits, you can use them in architecture photography as well.

Strobes are excellent at close quarters, but perhaps not for outdoor use with a larger structure.

You’ll get the best use out of these when you’re doing interior photography.

They’ll come in handy when you have a bright window, and a dark room. You can now use the strobes to light up the room, by bouncing light off the ceilings or walls. This will balance the light across the photo, and can either supplement or replace the need to bracket your photos.

Take care when bouncing the light off a surface that isn’t white, as the light from the flash could potentially color cast the room, in the color the strobe has bounced off.

5. Tilt-shift lens

You’ll be photographing your architecture at a wide angle, and it’s likely you’ll be aiming up from street level. This causes problems for architecture photography due to lens barrel distortion. The result is you’ll have buildings that bow inwards towards the center of your image. This is a problem that can be solved using a tilt-shift lens. It’s also possible to correct this distortion in post-processing, so the tilt-shift lens is not strictly needed. It’s best to get your photo as correct as possible in camera though, so using a tilt-shift lens is best.

This photo has not been adjusted for barrel distortion since the minarets lead the eye into the center of the image. It is an example of where a tilt-shift lens could be applied, as this would fix this distortion.

6. Cable release

You’ll want to get the sharpest results possible for architecture photography. You will take the majority of your photos from a tripod to achieve increased sharpness.

However, when you press the shutter, you’ll move the camera a little. To avoid this, you’ll need a cable release cord or a remote control shutter release. Using these tools ensures your camera will be completely steady when you expose.

Those using DSLR cameras should remember to lock up their mirrors ahead of exposure. If you were using live view to compose and focus your photo, then the mirror will already be locked up.

A cable release is a great piece of architecture photography equipment to have.

7. Post-processing

Post-processing is an important part of architecture photography. Post-processing software might not be physical gear, but it’s easily as important. To get successful architecture photos you’ll need to learn how to sharpen your image in the right area, and how to apply noise reduction software. One of the most useful post-processing techniques you can learn is digital blending, this is essentially manual HDR photography. A correctly blended image will have a lot more impact with certain areas of the photo made brighter and distracting highlights such as window light reduced in brightness. So which software is worth having?

  • Photoshop – The Goliath of the post-processing world, a package widely used by the best photographers and with good reason. You’ll need this for digital blending, and through Adobe Camera Raw you’ll be able to do some sharpening and noise reduction work.
  • Nik collection – A really great set of programs that can be used to polish your photo in post-processing. A combination of Nik color EFEX, Dfine, and Pro sharpener can lead to great results.
  • Raya pro – You’ll need Photoshop to use this, but this excellent tool will make digital blending much easier, and there are guides that go with this program to help improve your work.

Learn to use Photoshop effectively. Your photographs will improve.

8. Filters

A good set of filters are great pieces of architecture photography equipment. It could be argued the need for filters is diminished due to the advance of post-processing. Those that are best at post-processing will tell you to use filters though because it makes life a lot easier once you get the photos onto your computer. The two main filters worth having in your bag are a circular polarizing filter, and a graduated neutral density filter.

  • Circular polarizing filter – This is great for adding vibrancy to your scene, especially useful for outdoor architecture photography. This can be used to enhance or reduce the amount of reflection in your photo.
  • Graduated neutral density filter – Used to balance the light across the scene, these are primarily used by landscape photographers. In architecture photography, you can use the dark portion of this filter to balance the light across the scene. A window will often be too bright in your photo, so you can position this filter on your lens, to reduce the brightness in a portion of your photo.

There are many types of filters, these can all help your photography.

Which architecture photography equipment do you use?

There is a wealth of good camera equipment available for you to use. Which pieces of architecture photography equipment do you find best? Do you have experience of using some of the items in this list? What other items are in your photography bag, and why would you recommend them?

At digital photography school we’d love to see your images of architecture photography, so please share them in the comments section.

The post 8 Pieces of Architecture Photography Equipment You Need appeared first on Digital Photography School. It was authored by Simon Bond.


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Leica Q2: What you need to know

08 Mar

Leica Q2: What you need to know

Almost four years since the original Q was launched, Leica has unveiled the Q2, which adds a higher-resolution sensor, revamped interface and improved video capabilities. Those changes come at a higher price, with the Q2 retailing for $ 4995, compared to $ 4250 on the original model.

Here’s everything you need to know about Leica’s new luxury compact.

New 47MP sensor

The original Q offered a variant of the 24MP sensor used in the SL and M Typ 240, but the Q2 debuts a new 47MP sensor which we suspect is similar the one used in the new Panasonic Lumix DC-S1R (and presumably a future Leica SL model). As such, it’s almost certainly not related to similar resolution sensors used in current Nikon and Sony mirrorless cameras.

Expanded ISO range

The new sensor brings an expanded ISO sensitivity range, from ISO 50 up to 50,000. Although we haven’t yet completed our full testing, the base of ISO 50 appears to be a true ‘native’ base ISO, which should offer additional dynamic range in Raw mode compared to ISO 100.

35mm, 50mm and 75mm equivalent crop modes

All those pixels makes cropping a little more practical than it was on the 24MP Q. The Q2 now includes three cropped capture modes instead of two, offering fields of view equivalent to 35mm, 50mm and 75mm. Resolution in the ’35mm’ mode is a more than usable 30MP, dropping to 15MP at ’50mm’ and 6.6MP at ’75mm’.

Redesigned controls

Imagine an original Q crossed with an M10 with a splash of CL thrown in, and that’s the Leica Q2, basically. The lens controls are unchanged – there’s a large, locking focus tab and faux mechanical aperture dial there if you need them, and a neat auto/manual focus ring with a collar-type macro switch, all of which we loved in the Q and still love in the Q2.

Redesigned controls

The big changes are on the rear, where the five rear buttons of the Q have been whittled down to three, with the video button removed entirely. Meanwhile a push button serves as a customizable control at the hub of the main dial on the top of the camera. The touchscreen can also be used as a control surface for positioning the AF point and reviewing photos you’ve taken.

Dust and splash-resistant build

The Q2 is build to withstand moderate use in tough conditions, offering the same IP52 rating as the SL. Technically this should guarantee “limited protection against dust ingress [and] falling drops of water, if the case is disposed up to 15 degrees from vertical”. While this might not sound particularly impressive, consider that most photographic equipment is not rated by its manufacturers at all, and as such, even a modest IP rating should inspire a degree of confidence in wet or dusty conditions.

Despite its new weatherproofing, the Q2 maintains the same shape and size as the original Q, thanks (according to Leica) to a redesign of some internal components.

New 3.68M-dot OLED viewfinder

While the Q2’s electronic viewfinder appears to offer the same resolution as its predecessor (3.68 million dots) the original Q’s finder was of the field-sequential type, which only showed you 1.04 million dots at a time. The Q2’s finder is OLED, which offers a significant step up in terms of sharpness and contrast, compared to the older camera. Blacks are actually black, and you no longer have the rainbow effect associated with field-sequential displays. The finder is also slightly larger, offering 0.76X magnification and improved optics. Leica claims that the eye-sensor has been improved too, and should operate without any perceptible delay.

Automatic image stabilization

The Q2 takes the optical image stabilization system of the original Q and adds an extra layer of control. As well as on and off, stabilization can be set to kick in only at exposure times of longer than 1/60 sec, to save on power drain at faster shutter speeds where camera shake isn’t likely to be a significant concern. How much difference this makes to total battery life in normal shooting situations remains to be seen but it’s a feature that makes sense on a fixed focal length camera.

Improved battery life

Compared to the original Q, the Q2’s battery life has increased by 30% from a stated 270 shots to 350 (CIPA). The Q2 uses the more powerful battery originally found in the SL, and we’d expect that in normal use, you should expect a lot more than 350 shots per charge out of it if you shoot sensibly.

Extended shutter speed range

Easy to miss on a spec sheet, but the Q2 benefits from a redesigned shutter, with mechanical shutter control up to 1/2000 sec – the same as the Q – but now flash sync has been given a boost, from a maximum of 1/500 to 1/2000 seconds in the new camera. The shortest shutter duration using electronic shutter has is now 1/40,000 sec, compared to 1/16,000 in the older model.

SD Cards and 4K video

Thanks partially to the change in batteries, the Q2 now has a separate door for the SD card and also supports the faster UHS-II card format (the original Q would only operate at UHS-I speeds). This will be especially handy for fast burst shooting and the addition of 4K video.

While the form factor of the Q-series might not lend itself naturally to serious videography, the option of high-quality video capture in such a small lightweight camera is pretty appealing. The Q2 offers DCI / UHD 4K at up to 30p, and Full HD at 120p for slow-motion capture. The new ‘true’ base ISO of 50 should reduce the need for neutral density filters when shooting video in bright light, too, as well as offer respectable dynamic range – something we’re currently putting to the test.

The rest

In all, we find the improvements Leica has made to the Q2 are well judged and all the more impressive considering the camera is almost the exact same size as the previous model. The basic formula remains the same, and the Q2 should promise to be just as engaging a tool for discerning photographers as the original.

Is the Q2 the camera for you? For those of you that have owned or used an original Q, what do you make of the new model? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Have Digital Filters Replaced the Need for Physical Lens Filters?

24 Feb

The post Have Digital Filters Replaced the Need for Physical Lens Filters? appeared first on Digital Photography School. It was authored by Mark C Hughes.

Do you need filters for beautiful pictures?

If you are old enough to have used a film camera, you know why people needed lens filters in order to accomplish visual effects in their images.  Back in the film days, you had limited control over white balance or ISO. Once you selected your film from the available film stock, and put it in your camera, you were stuck with a roll (24 or 36 exposures) of single ISO negative or slide film that was probably daylight balanced. In order to not waste money, you did everything you could to carefully mete out your images and make the most of them.

Most film was daylight balanced so getting it right in-camera was critical

Back in the day

To help you make great images in the film days, you needed certain filters to help fix your white balance, and neutral density (ND) filters to allow you to slow your shutter speeds down. That was then, this is now. With the advent of digital cameras and the high-powered abilities of most image editing software, you can accomplish digitally much of the work that filters used to do.  Is there still a place in modern digital photography for optical lens filters?

The answer is yes, but only for a few specific types of filters. In fact, you may find it difficult to get many filters in your local camera store that would have been readily available in the film camera days.  Most bricks and mortar camera stores carry few filters. The more unusual filters might be found in the bargain bin section, next to the books on how to use your new Canon 5D mark 1 (hint: that is an old digital camera).

Some filters have to be really large to accommodate wide angle lenses

Types of Optical Lens Filters

I find that optical lens filters break down into six general types: UV/skylight filters, color modifiers, special effects, specialty filters, ND filters (including graduated), and circular polarizers. Most optical filters can be replaced by digital processes, either in the camera itself or in post-production. Some optical filters are really big and all take up space in your bag.

Ultraviolet (UV) or Skylight filters

Let’s consider UV or skylight filters. Film stock was often sensitive to UV light so it was important to protect your film by using a filter so that UV light wouldn’t make the images hazy.  Modern digital cameras are not susceptible to UV light interfering with their sensors as there are already UV and IR filters built into the cameras (we will discuss the importance of this later). Today, UV or skylight filters serve a completely different purpose: many photographers use them to protect the front element of their lenses.

A UV or Skylight Filter will protect your lens front element

UV/Skylight filters as lens protection

As an aside, there are two schools of thought regarding UV or skylight filters. Some argue that putting a cheap filter in front of a really expensive lens significantly degrades the optical properties of your lens and that most good quality lenses have great coatings and are quite robust.  Alternatively, others would prefer to replace a $ 100 filter than replace a $ 2000 lens. While I agree you should never use cheap filters, I do tend to think that if you use good filters they do protect your investment in much more expensive lenses. I have replaced lots of filters that were shattered from an impact. In all of those cases, the front lens elements were protected from contact by the filter. I am not sure that would have occurred without the sacrificial filters.

Regardless, since these UV/skylight filters don’t cause any significant changes to your image, they really are only useful for physical lens protection.

A warming filter to adjust white balance

Color filters

Color filters were another common filter used with film cameras for simple color correction. Back in the film days, the film stock was mostly daylight balanced so if your images were taken in non-daylight conditions, you would need to use a color filter to correct your white balance. Although film processors had some ability to adjust the white balance in the lab, back then – today too, for that matter – it was always easier when you got things right in camera. Color filters are still available but are more of a novelty item, used for a specific effect, often in concert with gelled flashes and strobes. They are also still used for film cameras, instant cameras, and for specific applications like underwater photography.

Special effects filters

Once upon a time, there were lots of special effects filters that would produce in-camera special effects like grids, streaks, and starbursts. These all still work on digital cameras, however, most of these effects can be digitally produced, reducing the need for the optical filter. Many film shooters will take their images and then scan them to edit them, so the extra effort and cost of using special effects filters seem unnecessary. They are also difficult to find.

Rectangular Graduated Neutral Density Filter

Neutral Density Filters – Graduated

The next filter type to consider is the neutral density filters, commonly used by landscape photographers (both film and digital). These divide into two groups: graduated neutral density filters and overall neutral density filters. Acting like sunglasses for your camera, graduated neutral density filters are all neutral colored – they should impart little color change – and darken only part of the image. Graduated filters help deal with the dynamic range of your sensors, particularly when shooting into scenes that are very bright and very dark in the same view. Most modern digital cameras have a dynamic range of about 10 – 14 stops whereas your eyes are more like 20 stops. Keep in mind that this is not really a fair comparison because our eyes work quite differently from camera sensors. Graduated neutral density filters can usually be applied in post-processing. Although, if the dynamic range is really huge, it often means you can take one image rather than multiple images that need to be composited (this is what HDR images really are).

The left shows the image normally processed with the right having a digital neutral density filter

Neutral Density Filters – Non-Graduated

A neutral density filter (non-graduated) is the first optical filter type that does things that cannot be easily duplicated, either in camera or in post-production. At least not all of its functions. While it is certainly possible to darken your images digitally in post, a non-graduated neutral density filter allows you to take images that your camera would not allow you to take in full sunlight. In full sun, it may be so bright that you may not be able to stop your lens down and slow your shutter down sufficiently to get motion to blur. Non-graduated neutral density filters allow you to slow your shutter speed down in the field when conditions are bright. You will be able to take images of moving subjects in bright locales and blur the motion to create interesting effects.  For example, waterfalls are often shot using a non-graduated neutral density filter. Neutral density filters are often measured in stops to indicate the number of stops you can slow things down. At the extreme end of the non-graduated neutral density filters are the specialty filters used for photographing solar eclipses. Without these strong filters, the sun can permanently damage camera sensors.

Neutral Density Filters on the front element of the lens

Smooth water motion with a non-graduated neutral density filter for longer exposures

Specialty filters

The second optical filter type that cannot be duplicated in post-processing or in-camera are specialty filters related to UV and IR light.  By default, cameras have filters on their sensors that cut UV and IR light out so that only visible light is recorded. However, it is possible to get these filters removed (you have to send your camera body away) to allow you to shoot UV-only, full spectrum (which includes UV, visible and IR), or IR-only images. Once this is done, your modified camera is generally limited to that particular use, but the images it produces can be quite interesting. By using specialty filters on a modified camera body that allows for full spectrum, you can control what portion of the spectrum is visible in your images. There are cut filters that allow full spectrum sensors to only see UV, visible light or IR spectrum. These filters cannot be duplicated in post-processing.

Slight neutral density cast for a circular polarizer

Circular Polarizers

The final optical filter type that cannot be duplicated in post-processing is a circular polarizer.  There are actually two types of polarizers, linear and circular. They both cut the same light out but circular polarizers can rotate an allow you to find the optimal orientation whereas linear polarizers are fixed (you should only use circular polarizers unless you know what you are doing). Circular polarizers do two things: cut down reflections and increase contrast. Some also act as a weak neutral density filter. When light hits a metallic or watery surface, the reflected light tends to be polarized (all the light is vibrating in the same direction). The circular polarizer lets you filter out this polarized light. You do this by turning the filter.  The change can be quite dramatic, and it cannot be achieved in any practical sense through post-processing. In addition, because there is always some polarized light in the atmosphere, the filter will make the colors in your images punchier. This is a secondary feature of polarizers but adds to their use. Colors just pop more.  Different brands and types alter how much this occurs. In general, you can’t go wrong using a circular polarizer, particularly for landscape photography.

Circular Polarizers help control reflections

Conclusion

Many filters that were used with film cameras are not really required anymore because of the ability to control white balance and ISO. Other filters created effects that can easily be duplicated using image editing software like Photoshop. Despite this there are a few filter types that cannot be replaced by processes applied in post, thus they remain vital tools in your photographer’s toolbox.

Do you use filters? Share with us in the comments below.

 

 

The post Have Digital Filters Replaced the Need for Physical Lens Filters? appeared first on Digital Photography School. It was authored by Mark C Hughes.


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