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Photo software Exposure X6 brings 3x faster processing and a host of new auto adjustments

08 Oct

The Exposure photo editing software application, that was formerly Alien Skin, has been updated with enhanced GPU optimization that allows some oft-used functions to run at three times the speed. Exposure X6 also introduces a collection of new automated adjustments that aim to make image processing simpler and to save photographers time.

Available as a standalone application or a plug-in for Adobe’s Photoshop and Lightroom, Exposure X6 introduces Auto White Balance, Auto Exposure, Auto Haze Level, Auto Dynamic Contrast and Auto Tone for creating one-click fixes for common problems. Tonal and contrast adjustments are said to avoid shifts in color saturation and hue, and the Auto White Balance adjustment is based on camera metadata. The sensor used is also taken into account in the new noise reduction feature, along with information about the ISO setting and an estimate of likely electronic noise.

Before and after examples of the new Color Editor tool that allows colors to be selected and replaced. Changes can be saved as a preset to apply to further images

A new Color Editor allows users to select and replace specific selected colors, and to make multiple color changes within the same image. These changes can be mapped and saved as presets to be used in further images so sets of pictures can have consistent adjustments made.

Exposure X6 is available for download now, and costs $ 119. If you bought Exposure X5 on or after July 15th 2020 your upgrade will be free, and those who bought it before that, and users of previous versions, can upgrade for $ 89. For more information, and a free 30-day trial, visit the Exposure website.

Press release

Exposure Software Announces Exposure X6, Image Editing Software for Creative Photographers

Exposure X6 features dramatic speed improvement, one-click automatic adjustments, advanced color replacement, innovative shadow/highlight and noise reduction processing, and more

Exposure Software, formerly known as Alien Skin Software, today announced the release of Exposure X6, the newest version of their award-winning RAW photo editor for creative photographers. Exposure is a standalone image editor that handles a full photography workflow. It includes plug-in support that enables Exposure’s advanced editing and creative effects in Adobe Photoshop or Lightroom.

New in Exposure X6 is advanced GPU optimization, which dramatically speeds up image processing. GPU support works in concert with Exposure’s existing multi-core optimization to enable Exposure to leverage the full power of modern computer hardware. Many frequently used editing operations have been sped up by a factor of three on typical GPU hardware. This improved performance enables editing at greatly improved speeds, reducing distraction so photographers can focus on creativity.

“The introduction of GPU support in Exposure X6 enabled us to achieve amazing speed and image processing quality improvements,” said Finley Lee, CEO of Exposure Software. “This further advances our goal of making Exposure the best available image editor for creative photography.”

New automatic adjustments select optimized values for the most frequently used controls in a single click, freeing time for creative editing. They can even be applied in batch to significantly ease the time spent editing large photoshoots. Exposure’s new automatic adjustments include the following:

  • Auto White Balance adjusts white balance based on camera metadata. Corrects for tungsten, artificial, shade, and sunlight illuminant scenes.
  • Auto Exposure sets image exposure for both under and overexposed images.
  • Auto Haze Level changes the level of atmospheric haze present in the image. This is particularly useful for backlit subjects and images shot into the sun.
  • Auto Dynamic Contrast lowers and raises the overall image contrast without changing saturation or hue.
  • Auto Tone sets values for Blacks, Shadows, Highlights, and Whites sliders that affect overall image tone.

Using an innovative tonal-zone approach, Exposure’s redesigned shadows and highlights controls are more reliable, consistent, and accurate. These intuitive controls are particularly adept at recovering lost details in the highlight and shadow areas. The adjustments are applied intelligently to prevent unwanted color casts or hue shifts. They are exceptionally well-suited in preserving high or low key scenes.

Exposure’s new profile guided noise reduction capability reduces noise based on camera sensor characteristics, ISO, and estimated electronic noise. Luminance and chrominance noise can be reduced independently. The smoothing option applies an adaptive noise-sensitive algorithm which preserves sharp edges while further reducing noise.

The new Advanced Color Editor builds on Exposure’s innovative 3D color masking to enable vastly greater control of color modifications. For example, a model’s blue dress can be changed to red in just a few clicks. Photographers can select source and target colors based on luminance, hue, and saturation attributes. It is even possible to select multiple color replacement mappings and save them as a preset to be reused.

  • Additional enhancements to Exposure include the following:
  • Updated user interface provides a refined, modern aesthetic
  • New haze level slider, for counteracting the decrease in contrast caused by atmospheric haze. It can also add haze as a creative effect.
  • Customization of the hue and opacity of the selection mask overlay.
  • Optional black background for the mask to view selected pixels without distraction.
  • Optional luminance or saturation background for the selection mask, which helps visualize the mask region when adjusting luminance or saturation constraints.
  • DNG converter integration enables conversion of RAW photos to DNG format using Adobe’s DNG Converter software. Conversion can be performed automatically when copying photos from a camera card, or manually invoked from a photo’s thumbnail view.

About Exposure
Exposure began in 2005 as a film simulation plug-in for Photoshop, and was immediately embraced by digital photographers of all genres seeking to recapture the organic look of film. Over the years, Exposure became a legend among plug-ins, and evolved into a standalone full-featured editing and organizing solution for creative photographers.

Pricing and Availability
Exposure X6 is available now from https://exposure.software for $ 119. Upgrade pricing is available to owners of previous versions of Exposure for $ 89. Additionally, anyone who purchased Exposure X5 on or after July 15, 2020 will automatically receive a free upgrade to Exposure X6.

Exposure X6 is also available in the Exposure X6 Bundle. This integrated collection combines Exposure with Exposure Software’s award-winning Blow Up and Snap Art tools to add high-quality upsizing and natural media special effects. It is available for $ 149. Owners of one or more of the current apps in the Exposure X6 Bundle can purchase for $ 99.

A 30-day fully-featured free trial of Exposure is available. Visit https://exposure.software to learn more and download the trial.

Host Requirements
Exposure X6 may be used as a standalone program or as a set of plug-ins. When used as a set of plug-ins, it requires one of the following host applications:
* Adobe Photoshop CS6 or Adobe Photoshop CC 2015 or newer
* Adobe Lightroom 6 or Adobe Lightroom CC 2015 or newer

System Requirements

Mac
* OS X 10.11 El Capitan or newer
* Intel Core 2 processor or newer
* Monitor with 1280 x 768 resolution or greater
* 8GB RAM minimum, 16GB recommended
* For GPU support, a recent (2015 or later) Metal compatible GPU with 2GB RAM is recommended

Windows
* Windows 10 64-bit or newer
* Intel Core 2 processor or newer
* Monitor with 1280 x 768 resolution or greater
* 8GB RAM minimum, 16GB recommended
* For GPU support, a recent (2015 or later) OpenCL compatible GPU with 2GB RAM is recommended

Articles: Digital Photography Review (dpreview.com)

 
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Disk Drill 4 makes it easier to recover Raw image, video files from damaged drives and memory cards

08 Oct

The macOS version of disk recovery software Disk Drill has received a major 4.0 update that adds, amongst other features, a dramatically improved ability to recover RAW image formats from drives and memory cards.

Disk Drill for macOS 4.0 is now ready for the latest versions of Apple’s desktop and mobile operating systems, macOS Big Sur and iOS 14. Using ‘state-of-the-art scanning methods and updated recovery algorithms,’ Disk Drill 4 can recover more than 400 different file types from drives with FAT32, NTFS, HFS+, and APFS file systems.

CleverFiles, the team that develops Disk Drill, says it’s ‘invested a lot of resources into researching and implementing unique search and recovery algorithms aiming bring back many raw images.’ Specifically, CleverFiles says it’s dramatically improved the ability to recover Raw image and video formats, including 3FR (Hasselblad), ARW (Sony), CR2 and CR3 (Canon), DNG (multiple mobile devices and cameras), GPR (GoPRO), HEIC (Apple), RLE (QuickTime videos), CVID (Cinepak), H263 and H264, MP4V, BRAW (Blackmagic RAW), CinemaDNG, Canon CRM, multiple MOV-container-based formats and many others.

CleverFiles specifically notes the success rate of being able to reconstruct Raw photo and video files has increased to 99% and 96%, respectively, compared to the respective 68% and 51% success rates with Disk Drill 3.8.

A breakdown of the success rate for recovering Raw image and video files from disks and memory cards compared to its previous version and competing products.

Other benefits of Disk Drill includes the ability to browse recovered files in real-time as they’re reconstructed, rather than having to wait for the entire disk to be scanned, and a secure ‘data shredder’ option for ensuring no data can be recovered from drives you’re looking to get rid of.

You can download Disk Drill 4 for free to try out basic functionality and to get familiarized with all the recovery methods, but if you actually need to recover files from a drive, you can pick up the ‘Pro’ version for $ 89. A single purchase is good for activation on up to three computers. Disk Drill has a great overview of all the new features on its website.

Articles: Digital Photography Review (dpreview.com)

 
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Lime One is a compact, easy to use light meter you attach to your camera’s shoe mount

07 Oct

German mechatronics engineer Johannes Heberlein has launched a new photo accessory on Kickstarter, the Lime One compact hot shoe light meter. The meter has been designed to be very easy to use, and even updates its readings in real-time.

In 2018, Heberlein started using film cameras, and he immediately found his light meter options somewhat lacking. He started using a smartphone-based solution but became frustrated with needing to constantly take his phone out of his pocket, get an exposure value and then put his phone away. In late 2018, Heberlein started sketching out ideas for a compact, easy to use light meter. His first prototype was ready a few months later and final hardware revisions took place over the next year.

Lime One works with all cameras that have manual exposure control, including analog cameras that do not feature a built-in light meter. Heberlein hopes that Lime One, which has a funding goal just shy of $ 30,000 USD, will help photographers who have been frustrated by external meters and smartphone light meter applications. He designed Lime One to be compact enough that you can leave it attached to your camera indefinitely, even when packing your camera away in a bag.

Lime One promises fast operation and start-up, plus the ability to store previous settings. It has four modes: aperture priority, shutter priority, manual mode, and exposure value. The control wheel has a knurled edge for grip and when holding the Lime One’s button while rotating the wheel, you can change secondary parameters.

The hot shoe light meter is constructed using anodized aluminum for both the body and wheel and attaches to a standard accessory shoe mount. The device is battery powered and uses a CR2032 battery.

The Lime One appears very simple to operate. For example, when using aperture priority, you set the desired aperture on the Lime One using the control wheel, frame your shot, and then the light meter shows you on its top display the required shutter speed. You can also use exposure compensation by holding down the button while rotating the control wheel. By double-tapping this same button, you access the menu where you can perform actions such as adjusting operational mode and ISO.

Hedeco Lime One on 6×6 folding medium format camera. Image credit: Hedeco, Kickstarter

For those who pledge €99 or more, which is roughly $ 115 USD, you will receive one Lime One in silver in April 2021. If you pledge €149 (about $ 175 USD), you have a choice of silver or black for Lime One, plus you receive an accessory pack. If you have access to a 3D printer, you can download the files to print your own accessories and instead purchase just the standard pack.

To learn more about the Lime One compact light meter, head to the Kickstarter page.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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An Introduction to Working with Layers in Affinity Photo

07 Oct

The post An Introduction to Working with Layers in Affinity Photo appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Using layers in Affinity Photo

Working with layers in Affinity Photo is very similar to how you work with layers in Adobe Photoshop. So if you are used to Photoshop, the transition to using layers in Affinity Photo is relatively easy.

Are you new to post-processing your photos with software that allows you to use layers? You’re sure to learn some cool new editing tips and tricks as you read through this article.

Being able to stack images, text, shapes, etc., with layers in Affinity Photo provides unlimited scope for creativity. As with any serious image-processing program, the learning curve is steep. There is always more than one series of steps you can take to achieve the same results.

In this article, I’ll introduce you to using layers in Affinity Photo. I’ll show you some of the cool ways you can edit your photos and create graphics that would not be possible without using layers.

Layer basics

When you open an image in Affinity Photo, a new layer is created. This shows in the Layers Panel on the left of your monitor. When you have one layer, you can add new layers and also move them up and down in the Layers Panel.

Any image, shape, or text can be added in a layer. You can continue to stack layers one on top of the other. Layers in Affinity Photo can be resized and cropped so they are different dimensions than the original layer.

The top layer is visible and may hide the layers underneath it, depending on the settings you choose for it. The opacity of the layer can be reduced so that the layer below is revealed. 

There are also options to change the blend modes of layers. This means that the layer will interact differently with the layers below it. So if you add a text layer, you can alter how the text looks by changing the blend mode.

affinity photo sample with text and blend modes
Soft light blend mode with text layers in affinity photo

This works very much the same way as it does in Photoshop. But if you are new to this, you’ll have fun as you experiment with the different blend modes and the effects you can create with them. 

Adjustment layers in Affinity Photo

With the Layers Panel, there is also a panel labeled Adjustments. This contains 22 items that, when clicked, will add a new adjustment layer to the file you are working on.

Adding an adjustment layer affects the layers underneath. You can create a layer group and include the adjustment layer with the layers you want it to affect.

Here I have added a Channel Mixer adjustment at the top of the layer hierarchy:

Layers in affinity photo

The adjustment layer is affecting both the text and the photo.

Here I moved the adjustment layer to group it with the text layer:

Using groups in Affinity Photo

To do this, click the adjustment layer and drag it onto the layer you want it to affect.

Adjustment layers are non-destructive. This means that you can turn them on and off and they will not alter your original image. This gives you a lot of room to experiment without permanently editing the photo or other artwork you are working on.

You can use adjustment layers in Affinity Photo to create an unlimited number of effects in your photos. Each layer you add interacts with the layers beneath it. You can also change the blend mode of each adjustment layer independently.

Layer masks

You can mask out a layer or parts of a layer using layer masks. To add a layer mask, click on the icon that looks like a rectangle with a circle in it at the bottom of the Layers Panel. This will add a layer mask to the layer you currently have selected.

Here, I have duplicated my layer with the photo and painted with a black brush to erase the bottom part of the photo. If you make a mistake when you’re painting, you can switch the brush color to white. Then you can simply paint over the area you want to restore and the image will re-appear.

Painted layer mask

Once you’ve added a mask, you can alter the blend mode and even add further adjustment masks to it. 

Here I have changed the blend mode to Multiply and then further darkened the sky by adding a Curves adjustment:

Using masks in layers

Notice that these changes only affect the layer they are grouped with. So only the sky, which I did not mask out, is altered.

Text layers in Affinity Photo

Affinity Photo enables you to do some innovative and pretty cool things with text layers.

To add a text layer, click on the text icon in the toolbar. By clicking and dragging on your canvas, you can set the size of the text. Once you release the mouse button, you can type and the text will appear at the size you set it to.

By clicking and holding the text icon in the toolbar, you can choose another option. This brings up the Frame Text tool. With this, you can click and drag on your canvas to make a bounding box to add your text inside. You can right-click in the box and select Insert Filler Text to fill your new test box. 

layers in affinity photo

You can also do this with any of the shapes in the toolbar menu.

Conclusion

Working with layers opens up whole new realms of creative possibilities for what you can do with your photos. If you are new to post-processing your photos or have been using an app like Lightroom, which has no layers, you have a lot to explore.

Take your time experimenting and familiarize yourself with the many options you have for working with layers in Affinity Photo.

I hope this article has provided you with a little insight into the potential of what you can do with layers. Now it’s up to you to take it beyond the basics and start creating masterpieces.

As you practice and try new things, please let us know in the comments below if you discover an aspect of working with layers in Affinity Photo that you think other readers might like to learn about.

The post An Introduction to Working with Layers in Affinity Photo appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Nikon Z 70-200mm F2.8 VR S sample gallery

07 Oct

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We first got our hands on a pre-production Nikkor Z 70-200mm F2.8 at CES 2020, in what we’re calling the Before Time. Nikon had planned to start shipping the lens to customers in February, but then some stuff happened, and production was delayed.

Well, the long wait is over, and in-between the toxic smoke and damp fog of recent weeks here in the Pacific Northwest we’ve been able to take this much-anticipated telezoom for a spin. Take a look.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Sony LA-EA5 A-mount to E-mount adapter review

07 Oct

Sony just breathed new life into older A-mount lenses thanks to its LA-EA5 adapter for E-mount. Watch our review to find out why it could be a great option for those who still own A-mount glass.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Previous Sony adapters
  • LA-EA5 benefits
  • Lenses tested
  • Sample photos
  • Focus modes supported
  • Video functionality
  • Focus performance
  • Who's it for?

Sample photos from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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Freefly Systems announces Astro quadcopter, hints at new 4K camera

07 Oct

Freefly Systems recently introduced the Astro, a quadcopter capable of carrying a two-pound payload on a 3-axis gimbal for up to 30 minutes. While the company is following in the footsteps of fellow American manufacturer, Skydio, by primarily marketing its latest offering to the public sector and enterprise, it’s worth noting that the Astro allows you to capture 61MP aerial photos with the Sony a7R IV camera.

‘My priority with my drones is being able to shoot good landscapes and cityscapes. Being able to fly my a7R IV and a7S III will be huge,’ says Drew Armstrong, a professional remote pilot and realtor. ‘I had a (DJI) M600 I was using with my Sony a 7R II. It worked but being able to adjust exposure while in the air was very difficult. I have also flown the M600 with the aerial specific package for the Phase One camera. That is a sweet ($ 50,000+ USD) setup,’ he adds.

The Astro starts at $ 7,995 for the standalone frame. The Base Kit includes a hard case, battery pair, charger, and remote for $ 9,995. The High Res Mapping configuration which includes everything in the Base Kit plus the Sony a7R IV payload retails for $ 14,995. For comparison’s sake, the DJI Inspire 2 kit equipped with a Zenmuse X7 camera starts at $ 10,995 – but you’ll only get 24MP photos. Freefly’s Alta series of drones, built for high-end cinematography and industrial work, start at $ 17,495.

The Astro is foldable and is being touted as ‘4K in your backpack.’ This is a bit curious. Sony’s a7R IV can record 4K video in full-frame but it’s not the best camera for obtaining crisp, clear footage. ‘Yes, for sure we want to support a7S III. We can mount and fly it, just uncertain as to whether Sony will allow us to have access to full camera controls just yet,’ Freefly’s CEO, Tabb Firchau, tells DPReview.

When asked if there were plans to make other cameras compatible with the system, Firchau revealed ‘yes, we will be supporting a variety of other cameras over time. [It] is set up to be modular and easy to incorporate new cameras…including our first camera [for the Astro] ‘Wave’ that we are launching on Wednesday.’

The launch event for Wave will be taking place via livestream on Wednesday, October 7th, at 10:00 am PST. The Astro is currently available for pre-order and they plan on shipping out units in Q4.

Articles: Digital Photography Review (dpreview.com)

 
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Dell announces $5K 31.5-inch UltraSharp HDR display with 2K mini-LED dimming zones, two other monitors

07 Oct

Dell has announced three new monitors, including a new 4K (3840 x 2160, 16:9) 31.5″ UltraSharp HDR PremierColor display with a 2,000-zone mini-LED array and built-in color calibrator.

The Dell UP3221Q is the first display with 2,000 mini-LED direct backlit dimming zones, beating out both the Asus ProArt PA32UCX (1,152 zones) and Apple’s Pro XDR Display (576 zones). The IPS display is VESA certified for DisplayHDR 1000, has a maximum brightness of 1,000 cd/m2, a 60Hz refresh rate, a claimed HDR contrast ratio of 1,000,000:1 and has a 178-degree viewing angle.

As for color, the display covers 99.8% of DCI-P3, 93% of Adobe RGB and 83% of BT.2020. To ensure colors stay accurate, the UP3221Q features a built-in Calman Powered colorimeter that can calibrate itself without the need for a PC. Should you choose to use an external colorimeter, you can do so as well with a USB-A port on the bottom of the display.

Additional I/O options include two Thunderbolt 3 ports (only one supports daisy-chaining other Thunderbolt 3 products), two HDMI 2.0 (HDCP 2.2) ports, a DisplayPort 1.4 (HDCP 2.2) port and two USB 3.2 Gen 1/2 ports.

The 31.5-inch UltraSharp HDR PremierColor display is set to go on sale November 5 for $ 5,000.

Dell UltraSharp 24 USB-C Hub monitor (model U2421E)

Dell has also released the UltraSharp 24 USB-C Hub monitor (model U2421E), a 24″ WUXGA (1,920 x 1,200 pixel) monitor that’s the first to feature Dell’s ComfortView Plus technology — a hardware-based solution that reduces blue light output of the display while maintaining color accuracy. The U2421E display is available starting today for $ 450.

Dell UltraSharp 34 Curved USB-C Hub Monitor (model U3421WE)

Last up is the Dell UltraSharp 34 Curved USB-C Hub Monitor (model U3421WE). Featuring a 21:9 aspect ratio, the 3,440 x 1,440 pixel screen offers 99% sRGB coverage, 99% Rec.709 coverage and 95% DCI-P3 coverage. It supports USB-C connectivity with 90W Power Delivery (PD) and has a slew of I/O ports for connecting multiple computers and accessories at once. The U3421WE display is set to ship October 21 for $ 800.

Articles: Digital Photography Review (dpreview.com)

 
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Video: The impact of hand-colorized photos on photography in 19th century Japan

07 Oct

For many years, photography was strictly a monochromatic medium. While images offered people detailed depictions of people and places, without color, some people found photographs to be incomplete. In a new video, Vox shares the history of colorized photos and the important role Japan played in the colorization of black and white images.

Japan’s role in the international economy throughout the 18th and 19th centuries was tumultuous, at best. For over 200 years, Japan had closed itself off from the rest of the world, forbidding many from entering the island country. However, a United States naval expedition of warships arrived on Japanese coasts in 1854 and the US forced Japan to open its ports to foreign enterprise and visitors. Travelers and enterprising individuals from around the world traveled to Japan to visit and open businesses. As Vox notes, photography became a burgeoning industry.

Foreign photographers such as Felice Beato and Baron Raimund von Stillfried opened photo studio operations in Japan. Rather than sell customers monochrome images, which were all they could produce with their cameras of the day, photographers like Beato and von Stillfried hired local artists from the ukiyo-e woodblock industry to apply watercolors to black and white prints. Eventually, some of these artists branched out their own.

Time doesn’t stand still, and photography technology became more affordable and amateurs were able to capture their own images, leading to a downturn in the Japanese souvenir photo industry. However, the hand-colored photos from 19th century Japan have had a long-lasting impact. In the video below, Vox shares insight into the history of colorized photos in Japan and shows off beautiful examples that highlight what made, and continues to make, colorized images from Japan so desirable but also potentially problematic in informing a complicated understanding of Japan in the 19th century.

As the video above showcases, when Japanese apprentices branched out from foreign-owned photography studios, some opted to create elaborate depictions of historic Japanese culture to sell to foreigners. One of these apprentices that started his own photography operation was Kusakabe Kimbei. In his work, it’s clear how meticulously crafted some images were, with Kimbei even going so far as to simulate rain using scratches on glass plates and pinning a subject’s clothing to the background to create the appearance of wind. These techniques and resulting images draw on various tropes in traditional Japanese fine art. There are many similarities in composition and subject matter between traditional ukiyo-e woodblock prints and 19th century colorized photos.

The topic brings to light a very interesting discussion on how photography shapes the understanding of a place and time. People often think about photos as realistic representation, whereas a painting doesn’t carry the same weight nor birth the same expectations. However, the early era of the Japanese photo industry was, of course, a for-profit endeavor. Photographers, both foreign and Japanese, wanted to sell a certain idea of Japan to outsiders, and this meant staging scenes, relying on outdated dress and even capitalizing on stereotypes.

If you’d like to learn more about this intriguing topic, Vox offers suggested reading. A Good Type: Tourism and Science in Early Japanese Photographs by David Odo. Sites of ‘Disconnectedness’: The Port City of Yokohama, Souvenir Photograph, and its Audience by Mio Wakita-Elis. Photography in Japan 1853-1912 by Terry Bennett. To view more videos from Vox, including other videos in their ‘Darkroom’ series which shares insight into the history of photography, click here.

Articles: Digital Photography Review (dpreview.com)

 
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How To Find Your Lens’ Sweet Spot: A Beginner’s Guide to Sharper Images

06 Oct

The post How To Find Your Lens’ Sweet Spot: A Beginner’s Guide to Sharper Images appeared first on Digital Photography School. It was authored by Dena Haines.

How To Find Your Lens' Sweet Spot: A Beginner's Guide to Sharper Images

Are you tired of blurry images?

It’s time to learn how to capture sharper images by finding your lens’s sweet spot. This will give you more confidence, save time, and help you take better photos.

In this article, you’ll learn:

  • How to find your lens’s sweet spot (for sharper images)
  • Why you should shoot in Aperture Priority mode (and how to use it)
  • How to perform a test to get the sharpest image every time
  • How important your lens’s sweet spot really is

Mid range aperture sharper than wide open

In the above images of the clock, the one on the right is sharper. Look closely at the words. The f/9 image is sharper throughout because it was shot using my lens’s sweet spot. The f/3.5 one was not.

First, take a look at your lens

In this beginner’s guide, we’ll use an entry-level zoom lens as our example. Most kit lenses (the basic lens that comes with a DSLR) generally shoot their sharpest at a mid-range aperture setting. To determine the mid-range aperture of your lens, you’ll need to know its widest (or maximum) aperture setting. This is located on the side or end of the lens and will look something like 1:3.5-5.6.

For example, here it is on my Canon 18-55mm zoom lens:

Lens aperture range

This means that when my lens is zoomed all the way out to 18mm, its widest aperture is f/3.5. When zoomed all the way in to 55mm, its widest aperture is f/5.6.

The rule for finding that mid-range sweet spot is to count up two full f-stops (aperture settings are called f-stops) from the widest aperture. On my lens, the widest aperture is f/3.5. Two full stops from there would bring me to a sweet spot of around f/7.1.

Use this chart to count your f-stops:

Robin Parmar

By Robin Parmar

There is some wiggle room in what counts as mid-range, so anything from f/7.1 to f/10 will capture a sharp image. Once you know the mid-range aperture of your lens, you can do an easy test to get your sharpest image. To perform the test you’ll need to shoot in Aperture Priority mode.

Take control with Aperture Priority mode

Shooting in Aperture Priority allows you to choose the aperture setting you want, which gives you more creative control than Auto mode.

By controlling the aperture setting, it’s much easier to get a sharp image. And because your camera still chooses the ISO (if it’s set to Auto ISO) and the shutter speed automatically, it’s very easy to use.

You’ve probably heard that apertures like f/16 and f/22 are best for keeping everything in focus. While that can be true, focus does not always equal overall sharpness. Choosing a mid-range aperture will give you sharper images throughout. You can improve your photos even further by reducing camera shake by way of a tripod and a remote shutter release (or your camera’s self-timer).

Here’s an example of how shooting in your lens’s sweet spot will give you sharper images:

Sharp images shot in lens sweet spot

Mid range f stop sharper than small f stop

In the above image, the f/9 shot is sharper than the f/22 one. The needles and shadows are not as soft or blurry as in the f/22 shot (look at the crispness and sparkles in the snow, too).

Switching from Auto to Aperture Priority mode

To take your camera off of Auto and put it in Aperture Priority, just turn the large mode dial to Aperture Priority. This is what that looks like on my Canon (on Nikon and other brands look for the “A”).

Aperture priority on canon mode dial

Auto mode is the green rectangle; Aperture Priority mode is the Av (or A on a Nikon). Once your camera is in Aperture Priority mode, turn the smaller main dial (shown here on the top of my Canon) to choose your f-stop.

Main dial canon

As you turn that dial, you’ll see the f-number changing on your screen. In the next picture, it’s set to f/9.5:

Aperture setting on canon LCD screen

Perform a lens sweet spot test

Once you have your camera set up on a tripod, performing a sweet spot test only takes a couple of minutes. To begin, put your camera in Aperture Priority mode, then compose your shot and take photos at varying apertures. Start with a shot at the widest aperture, then rotate that main dial a couple of times (to narrow the aperture) and take another shot. Keep doing that until you’ve taken seven or eight photos.

Upload your photos to your computer and zoom in. You’ll quickly see which aperture settings gave you the sharpest overall image.

This next photo of my daughter was shot using natural light. Shooting in my lens’s sweet spot gave me a pretty sharp image, even in this low light setting:

Mid range aperture sharp image low light

Find your lens sweet spot for sharper images

The close-up of the mug shows the advantage of shooting in the lens’s sweet spot. Whenever you want to make sure you get the sharpest capture possible, take a shot at each mid-range setting: f/7.1, f/8, f/9, and f/10.

Getting your sharpest images

Now that you know your lens’s sweet spot, it’s time to practice. I hope you’re as pleased with the results as I’ve been!

Mid range aperture for sharper images

I love shooting in natural light, and learning how to capture sharper images in low light has made me so much happier with my photos.

Tips for capturing the sharpest images

  • Shoot in Aperture Priority mode
  • Choose a mid-range aperture (usually f/7.1 to f/10)
  • Use a tripod and a remote shutter release (or your camera’s self-timer) to reduce camera shake
  • Take a series of shots at f/7.1 through f/10 when a sharp capture is especially important

But don’t stop there. Keep playing with settings in Aperture Priority mode. It’s awesome to get images that are sharp throughout, but there’s a lot more to aperture than that.

Learn more about aperture and depth of field here.

The post How To Find Your Lens’ Sweet Spot: A Beginner’s Guide to Sharper Images appeared first on Digital Photography School. It was authored by Dena Haines.


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