Fujifilm’s fastest lens is here – the new XF 50mm F1.0 R WR is a versatile low-light lens aimed at portrait photographers and creative photographers that need extremely narrow depth-of-field. Read on to learn more.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
The gestation period of the new Fujifilm XF 50mm F1.0 R WR has been lengthy – originally planned as a 33mm, the company’s engineers ultimately decided that the size, weight and cost penalties incurred by the wider field of view weren’t practical. Hence: Fujifilm’s fastest-ever lens is now a 50mm – or 75mm equivalent on the company’s X-series APS-C mirrorless interchangeable lens cameras.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
Despite being ‘downsized’ at the design stage, the XF 50mm F1.0 is still far from a small lens, and weighs in at a considerable 845g (about 1.9lb) without the included (and very effective) hood or front / back caps. That’s a good deal heavier than the X-T4 shown here (526g, or 1.2lb).
Despite its weight, the mass is well-distributed, and the lens doesn’t feel too heavy or unbalanced on the (relatively chunky) X-T4. It’s unlikely to handle so well on many of Fujifilm’s smaller ILCs, but it’s also much less likely to be purchased alongside one of them.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
As we’d expect for a high-end Fujifilm XF lens, the 50mm F1.0 features a large faux-mechanical aperture ring, for direct control over aperture, on the lens. By setting it to ‘A’, aperture can be automatic or manually controlled via the camera body in M and Av modes depending on your settings.
The broad knurled ring towards the top of this image is the focus ring, which offers ‘focus by wire’ control over manual focus, and it moves smoothly, offering fine-grained control over exact focus position.
Automatic focus is usable but (no surprise) not exactly fast, and because depth of field at wide apertures is so narrow, we did experience occasional issues with focus ‘hunting’ when a scene was heavily defocused.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
Offering an equivalent focal length of 75mm, this is a perfect lens for traditional portraiture. Don’t expect to be taking any closeups though – the minimum focus distance of 0.7m limits the maximum magnification ratio to 0.08x. Basically, in our shooting, there were several times when we found that we wanted to get closer to our subjects than we were able to.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
Optically, the XF 50mm F1.0 is pretty complex, and construction comprises 12 elements in nine groups, including one aspherical and two ED (Extra-low Dispersion) elements. The front element is concave, and considering this is an APS-C lens, the front filter ring is relatively large, at 77mm.
Nine rounded aperture blades ensure circular bokeh at wide apertures – something that keen portrait photographers will appreciate.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
The ‘WR’ in the lens name stands for ‘weather resistant’ and the XF 50mm F1.0 is sealed against dust and moisture incursion. You can see the rearmost gasket (which forms a seal against the camera lens throat) in this picture – it’s the black rubber ring around the outside edge of the mount. It’s also rated for operation in temperatures down to 14°F (-10°C).
The XF 50mm F1.0 will go on sale this fall for $ 1500 USD.
After multiple promises to release such a device, Chinese company ZTE has officially unveiled the Axon 20 5G, the first smartphone to feature a selfie camera located beneath the display. The mid-range handset, which is otherwise unremarkable, was introduced by the company on Tuesday, but questions on availability remain.
The Axon 20 5G is the first smartphone brought to market that features a front-facing camera under the display, something ZTE says was made possible using a variety of ‘high transparency material that includes new organic and inorganic films’ in addition to image software, The Verge reports.
Quite obviously, this design means the Axon 20 5G does not feature a visible selfie camera, rather presenting users with a clean, uninterrupted display free of notches, hole punches and thick camera-packing bezels. The actual quality of images produced by the hidden camera remains unclear, however, due to the current lack of reviews and sample photos.
The camera located beneath the display packs 32MP; it is joined by a 64MP primary rear camera alongside an 8MP ultra-wide and 2MP depth/macro cameras. The primary camera supports video recording at up to 4K/60fps with real-time HDR and real-time subtitles.
Novelty aside, the Axon 20 5G is a solidly mid-range device packing a 6.92in 20.5:9 FDH+ OLED display with 10-bit 1.07B color and 100% DCI-P3, as well as a 90Hz refresh rate. Circling back to the unique hidden camera, ZTE’s website explains that this unit features high-transparency micron-level material, a ‘special pixel matrix,’ triple selfie algorithm, an integrated circuit and an independent driver chip.
The light sensor, sound system and fingerprint sensor are likewise hidden beneath the display, according to ZTE, which has packed a Qualcomm Snapdragon 765G processor and Adreno 629 GPU under the hood. Other features include an ‘AI performance engine,’ smart power-saving mode, ‘liquid cooling circulation,’ carbon nanofiber thermal pad and nano-level textured design.
Buyers will have two models to choose from, one featuring 128GB of storage and 6GB of RAM, the other featuring 256GB of storage and 8GB of RAM. Both variants will feature a microSD card slot, 4220mAh battery and support for 5G. At this point in time, ZTE is only offering the Axon 20 5G model in China for the equivalent of around $ 320 starting price. It’s unclear whether the model will get an international release.
Lomography is back with the announcement of its latest, well, back. The LomoGraflok 4×5 Instant Back is the world’s first Instant Back for 4×5 cameras designed for Fujifilm Instax Wide film.
Developed in collaboration with large format photography professionals as a substitute for the peel-apart Polaroid film discontinued back in 2016, the LomoGraflok 4×5 Instant Back works with all Graflok-equipped 4×5 cameras and uses a light-tightened film ejection unit to push out the Instax Wide film shots after capture.
Below are a few sample photos, shared by Lomography:
The device is constructed of plastic, is powered by four ‘AA’ batteries (LR6) and features an automated frame counter so you know how many shots are left. It measures in at 181mm (7.13”) tall, 120mm (4.72”) wide and 50mm (1.97”) deep, and weighs roughly 500g (1.1lbs).
Below is a guide on how to use the LomoGraflok 4×5 Instant Back:
The LomoGraflok is currently available to pre-order on the Lomography website for $ 134 (MSRP will be $ 149 once launched). The first units are expected to ship in April 2021.
The post 5 Reasons to Get Photoshop Express on Your Phone appeared first on Digital Photography School. It was authored by Ana Mireles.
Adobe has developed many Photoshop apps, but none are as popular as the desktop version (Photoshop CC). That said, maybe it’s time for this to change, at least for one of Adobe’s apps: Photoshop Express.
In this article, I’ll tell you five reasons why I recommend you give Photoshop Express a try.
Adobe decided to introduce three different apps to cover the full range of editing that Photoshop can offer: Photoshop Fix, Photoshop Mix, and Photoshop Express. In this article, I’m going to talk about Photoshop Express, and why I believe it’s worth downloading.
1. It’s free
Unlike the desktop version of Photoshop, you don’t need a Creative Cloud subscription in order to use Photoshop Express.
You can download the app for free, and you’ll get access to all the features and updates.
You do have to create an Adobe account, though (one that also allows you to use a limited version of Lightroom Mobile).
2. It’s social
A very important thing for a photo editing app is the social aspect. You want to snap and share photos with ease.
Adobe took this into account when designing the cropping tool. With Photoshop Express, you can crop your images using the array of predetermined sizes for Facebook, Instagram, Pinterest, LinkedIn, Etsy, and most other major social networks.
For example: When cropping for Facebook, you can choose from the Page Cover, the Event Cover, the Profile Cover, the Profile, or the Ad.
Of course, you can then share your photo directly from the app. From there, you can also add a watermark, send the image to Creative Cloud if you are a subscriber, send the image to a printer, and more.
3. You control size and compression
Unlike many other editing apps, Photoshop Express lets you choose the size and quality of your file before saving or sharing it.
You can set a default JPEG Quality and a default Image Size in the Preferences of the app. To set this up, tap on the menu (in the top-left corner). Then go to Preferences and then Save Options.
You can also change size and quality in the final stage of your saving or sharing process. Before you choose the destination of your image, click on the settings below the thumbnail (so you can modify them).
4. You can work with RAW files
A RAW file is like a digital negative. It saves the information from the shot prior to processing; that way, you have much more to work with when you’re editing, and the quality will be superior.
Of course, this means that the file size will be bigger, so keep an eye on your storage space. If you have a camera, you probably know that each brand has its own RAW files. For example, Canon uses CRW/CR2/CR3, while Nikon uses NEF/NRW. A standard and open-source RAW format is a DNG file, which is what you get if you shoot using Lightroom Mobile.
On the left, you can see how a RAW file is clearly marked in the gallery. That one was shot using the camera from Lightroom Mobile. On the right, you see the post-processed version of that file (edited using Photoshop Express).
5. You can do all your post-processing
Last but not least, the editing capabilities of Photoshop Express are top-notch. After all, the app was created by a company that has been leading the post-processing market for decades.
That said, Photoshop Express won’t reach the level of editing that you can do with the desktop version of Photoshop. That’s why there are three apps.
However, if you consider that Photoshop Express is free and won’t take up all your phone storage space, it’s actually very good.
Snapshot made with a Redmi Note 8, later post-processed in Photoshop Express.
Also, Photoshop Express includes many presets for looks, effects, stickers, frames, etc. That way, you can do some serious post-processing, or you can just create fun posts for your social media feed.
Conclusion
With so many editing apps on the market, it’s difficult to make a choice; sometimes you end up downloading a different app for each purpose.
However, Photoshop Express has proven to be an all-purpose and well-rounded app.
And if you have an iPhone, you’ll get some additional features.
Share in the comments if you decide to try Photoshop Express, and let me know what you think.
The post 5 Reasons to Get Photoshop Express on Your Phone appeared first on Digital Photography School. It was authored by Ana Mireles.
Photographer and YouTuber Arthur Reutov has published a new video showcasing the Nanoha Super Macro lens from Japanese company Yasuhara, which claims this product is the only microscopic lens available for cameras. The Nanoha is, as Reutov notes, quite unique in that not only is it a powerful macro lens, but it also features built-in LEDs for illuminating the subject.
The Yasuhara Nanoha is a 5x magnification macro lens designed for use with mirrorless cameras. The company says its lens is capable of microscopic imagery, enabling photographers to get unique up-close shots without using a microscope. The Nanoha name is inspired by the word nanometer, referencing the lens capabilities.
According to Yasuhara, the effective F-number for its Nanoha lens at 5x magnification is F11. The company says that its macro lens exceeds the brightness of the Canon MP-E65mm F2.8 macro lens, which has a magnification range from 1x to 5x. With Nanoha, the lens must be around 11mm (0.4in) from the subject in order to focus.
The most notable aspect of the lens is its integrated lighting system, which includes a battery, multiple LEDs, and a USB connector for recharging the battery. The inclusion of this lens light eliminates the need to use an external light, which could introduce shadows that are difficult to get around with such a minuscule focus distance.
Yasuhara provides a gallery of sample images captured with Nanoha, showing off what its lens is capable of. Here to provide a better look at the offering is Reutov, however, who presents the model, details its build quality and quickly goes through the lens features.
‘This is super crazy, unique, it is a lens unlike any I’ve ever used,’ Reutov said, demonstrating how he captures images with the Nanoha. The shallow focus distance means the lens must be placed flat on a surface above the subject in most cases, which is where the plastic housing and integrated LEDs come in.
Ultimately, Reutov notes that the macro lens won’t work for every photographer, pointing out that capturing live insects, for example, would be essentially impossible with Nanoha due to the focus sensitivity and need for, in some cases, focus stacking. Ultimately, though, Reutov notes that Yasuhara’s offering is ‘a very fun lens to use … it’s pretty cool to see how much it magnifies. It’s like having a microscope attached to your camera.’
The Yasuhara Nanoha Macro lens is available now in Sony E, Canon EF-M and MFT mounts from Yasuhara and B&H Photo for $ 399.99.
Atomos has released the latest firmware update for its popular Ninja V monitor/recorder that enables ProRes RAW capture over HDMI with the Fujifilm GFX 100 and Sigma fp camera systems.
Fujifilm GFX 100
On a GFX 100 running firmware version 2.01 or later, the Ninja V can now record 12-bit 4K ProRes RAW video at up to 30p over HDMI. This marks the first time users can capture Raw footage on the large format camera.
If you don’t need the Raw video, the Atomos firmware update also enables 10-bit 422 ProRes and DNx 4K UHD (3840 x 2160) capture up to 30p or 4K DCI (4096?×?2160) at up to 24p. Multiple monitoring modes have also been added for viewing and playing back Raw footage.
Sigma fp
Moving onto the Sigma fp, the Ninja V can now record 12-bit ProRes RAW at 4K DCI up to 24p or 4K UHD up to 30p over HDMI using the full width of the sensor. You can even capture 120p (119.88p) 12-bit ProRes Raw if you knock the resolution down to 1080.
10-bit ProRes 422 and DNx can also be recorded at 30p and 120p (119.88p) at 4K UHD and 1080 resolutions, respectively, if you don’t need Raw footage. Like the GFX 100, multiple monitoring modes have also been included for viewing and playing back Raw footage.
You can download the 10.53 firmware update from the Atomos Ninja V support page.
Press release:
AtomOS 10.53 — Sigma fp and FujiFilm GFX100 HDMI RAW
Important Note:
With the installation of this update if not previously activated users will be required to activate ProRes RAW, as a codec.
Following the Firmware update, when a RAW source is plugged in, or a user selects ProRes RAW Codec, a UI pop-up will ask for activation code to continue.
Visit Atomos website www.atomos.com/activation and follow the online instructions to generate a code.
SIGMA fp
• Video modes available for monitoring and recording in 12 Bit RAW: – 4096x2160p24
– 3840×2160 up to 30p
– 1920x1080p up to 119.88p
• Video modes available for monitoring and recording in 10 Bit ProRes 422 or DNx:
– 3840×2160 up to 30p
– 1920×1080 up to 119.88p
Monitoring of RAW input in:
– Native – Linear to VLog for use with 3D LUTs – can use any existing VLog LOOK LUTs – Rec709 – to view RAW input in SDR up to 6.7 stops of dynamic range – HLG – to view RAW in HLG with up 10.5 stops of dynamic range – PQ – to view RAW in PQ/HDR10 with up to 10.5 stops of dynamic range, for scenes with extended spectral highlights.
• Playback of recorded video in ProRes RAW, ProRes, and DNX
FujiFilm GFX100
• RAW modes available for monitoring and recording in 12 Bit RAW
– 3840×2160 up to 30p
• Video modes available for monitoring and recording in 10 Bit ProRes 422 or DNx:
– 4096×2160 up to 24p – 3840×2160 up to 30p – 1920×1080 up to 60p
• Monitoring of RAW input in:
– Native – Linear to Vlog for use with 3D LUTs – can use any existing Vlog V Gmaut LOOK LUTs. – Rec709 – to view RAW input in SDR up to 6.7 stops of dynamic range. – HLG – to view RAW in HLG with up 10.5 stops of dynamic range. – PQ – to view RAW in PQ/HDR10 with up to 10.5 stops of dynamic range, for scenes with extended spectral highlights.
• Playback of recorded video in ProRes RAW, ProRes 422, and DNx.
Known limitations
SIGMA fp
• In some instances when using LUTs banding artifacts may be observed in some areas of the display on the Ninja V for
4KUHD video modes. (This behaviour is only limited to the display of the Ninja V and not the recordings).
• On occasion if the camera is. powered down whilst connect to the Ninja V and set to RAW mode, the Ninja V may enter a locked state.
– Switch between Record and Play back mode, Unplugging and re-plugging the HDMI, or Power cycling Switching will all resolve this issue.
• ISO metadata reported in Final Cut Pro X may occasionally be incorrect if using 1/3 EV ISO adjustments on the camera. – Incorrect for camera ISO setting 1000, 8000, 16000.
• Update in future firmware release for camera. – White balance adjustment is not available in Final Cut Pro X.
FujiFilm GFX100
• Interaction with the EVF eye sensor may cause freeze frame or black frames in the recording. – Not using the EVF or tilting the LCD screen can resolve the issue. – Removal of the EVF from the camera is advised to avoid issue.
• White balance metadata is not reported in Final Cut Pro X. – Update in future firmware release for camera and Ninja. – White balance adjustment is not available in Final Cut Pro X.
General
• RAW to HDR HDMI output – PQ / HDR10 output conversion may appear slightly incorrect.
Sony has announced the impending release of the LA-EA5, its newest A-mount to E-mount lens adapter. In addition to changing mounts, the new adapter provides autofocus support for Sony A-mount SSM (Super Sonic wave Motor) lenses, SAM (Smooth Autofocus Motor) lenses, and even non-motorized screw-drive lenses in still shooting modes.
An illustration showing the internal construction of the LA-EA5 adapter, with emphasis on the screw-drive motor.
Despite the ability to power non-motorized screw-drive lenses (limited to the a7R IV and a6600, at least for the time being), the LA-EA5 features a compact form factor, thanks to clever internal gear and motor positioning. Sony says the adapter provides ‘full support for focal plane phase-detection autofocus (stills only), wide-area focal phased detection autofocus (stills only), Real-time Eye AF for both humans and animals, Real-time Tracking and AF/AE (auto exposure) tracking for SSM/SAM lenses on nine most recently introduced E-mount cameras at up to 11 frames per second depending on the camera model.’ The supported camera models, as of this press release, are as follows:
Sony a7 III
Sony a7R III
Sony a7R IV (up to 10 fps)
Sony a6100
Sony a6400
Sony a6600 (up to 11 fps)
Sony a9 (up to 10 fps)
Sony a9 II (up to 10 fps)
Sony a7S III
Sony says the LA-EA5 will be available in October 2020 for a suggested retail price of $ 250 / $ 330 CAD. You will be able to find a full compatibility list on Sony’s support page (currently shows ‘Coming Soon’ as of posting this article).
Press release:
Sony Electronics Announces New LA-EA5 Lens Adaptor for A-Mount Lenses
New Adaptor Enables Advanced Autofocus Capabilities When Attaching A-mount Lenses to Latest E-mount Bodies
SAN DIEGO – September 1, 2020 – Today, Sony Electronics Inc. announced the new LA-EA5, a 35mm Full-frame A-mount lens adaptor that allows users to easily pair advanced E-mount camera bodiesi with A-mount lensesi.
Using the new LA-EA5 A-mount adaptor, users can now access the acclaimed autofocus and high-speed shooting capabilities found in Sony’s latest E-mount camera bodiesi with A-mount SSM (Super Sonic wave Motor) and SAM (Smooth Autofocus Motor) lensesii, as well as A-mount lenses that do not have internal focus motors.
Full support is provided for focal plane phase-detection AFiii, wide-area focal phase-detection AFiii coverage, Real-time Eye AF for both humans and animals, Real-time Tracking and AF/AEiv (auto exposure) tracking for SSM/SAM lenses on nine most recently introduced E-mount camerasi at up to 11fpsv depending on the camera model. When used with the Alpha 7R IVvi or Alpha 6600vi, for the first time, these capabilities are possible with lenses that do not have internal focus motors, such as the Sonnar T* 135mm F1.8 ZA and Planar T* 85mm F1.4 ZA.
The LA-EA5 combines a compact design, featuring an aperture drive unit and a newly developed compact AF drive unit. To ensure comfortable operation when used on an E-mount camera body, the new adaptor’s diameter matches that of the A-mount, perfectly aligning with the edges of the mount. The LA-EA5 allows easy operation on full-frame E-mount bodies, even when a vertical grip is attached to the camera body.
Pricing and Availability
The LA-EA5 is available in October 2020 for a suggested retail price of $ 249.99 USD and $ 329.99 CAD.
Exclusive stories and exciting new content shot with the new lens and Sony’s other imaging products can be found at alphauniverse.com, a site created to educate and inspire all fans and customers of Sony’s ? – Alpha brand.
Notes
i. As of Sept. 2020, focal plane phase-detection AF is supported for SSM/SAM lenses on the Alpha 7 III, Alpha 7R III, Alpha 7R IV, Alpha 6100, Alpha 6400, Alpha 6600, Alpha 9, Alpha 9 II, and Alpha 7S III. Focal plane phase-detection is supported for lenses that do not have internal focus motors on the Alpha 7R IV and Alpha 6600.
ii. STF lenses are manual focus only. Teleconverters are not supported.
iii. Autofocus is not available during movie recording.
iv. For AE tracking, the aperture is fixed for the first frame while shutter speed and ISO are used for exposure adjustment.
v. Maximum continuous shooting speed is 10 fps with the Alpha 7R IV, Alpha 9, and Alpha 9 II, and 11 fps with the Alpha 6600. Continuous shooting speed may change depending on the attached lens.
vi. The Alpha 7R IV must be updated to software V1.20 or later, and the Alpha 6600 must be updated to software V1.10 or later.
Update (September 1, 2020 at 10:50am ET): Updated the article to clarify that support for non-motorized screw-drive lenses is limited to a7R IV and a6600 camera systems.
The Nikon Z5 is an entry-level full-frame mirrorless camera that looks and handles almost exactly like its higher-end Z-mount siblings, the Z6 and Z7. It’s built around a stabilized non-BSI 24MP CMOS sensor, which is likely more closely related to the generation of chip found in Nikon’s D750 DSLR, rather than the newer BSI sensor in the Z6.
Slightly stripped down and more stills-focused, the Z5 shares the same 273-point hybrid AF system, Expeed 6 processor and 3.69M-dot OLED viewfinder as the Z6. But niceties like a top plate display are absent. Likewise, the Z5’s max burst rate and video capabilities are considerably less than that of the Z6: 4.5 fps vs. 12 fps and heavily cropped 4K vs. un-cropped, oversampled 4K. But from an image quality and handling standpoint, the two cameras are quite similar.
Key Specifications:
24MP full-frame CMOS sensor (not BSI)
Hybrid AF system with 273 phase-detect points covering 90% of the frame
4.5 fps continuous shooting with AF
5-axis in-body image stabilization
3.69M-dot OLED viewfinder
Dual UHS-II SD cards
4K/30p video capture (with 1.7x crop)
1080/60p video capture (no crop)
Headphone and microphone ports
Dust and moisture sealed
The Nikon Z5 sells for $ 1399 body-only, $ 1699 kitted with the new 24-50mm F4-6.3 lens and $ 2199 kitted with the 24-200 F4-6.3 VR.
What’s new and how it compares
The Z5 is essentially a stripped down Z6. Here’s what Nikon changed in the camera to keep the price down.
Read more
Body, handling and controls
The Z5 is the same exact size, weight and shape as the Z6. But there are a few small differences between the two bodies.
Read more
First impressions
DPR’s Dan Bracaglia has been busy shooting with the Z5. Here’s why he thinks it’s such a tempting camera – and why he may buy one in 12 months’ time.
Read more
Sample gallery
Pups, mountains and summertime vibes. Check out our initial Z5 sample gallery.
The post 5 List-Making Exercises to Improve Creativity in Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.
We’ve all made lists before: shopping lists, to-do lists, Christmas lists, and more. List-making can be a valuable asset to photography, too. In this article, we’ll look at the benefits of list-making, how it can improve creativity, and some effective list-making exercises.
The benefits of list-making
List-making can improve creativity in a number of ways. For example, many of us tend to remember tasks that need to be done better than we remember the tasks we’ve completed. This can generate a feeling of being overwhelmed, which can lead to something called task paralysis. Making lists provides a visual reminder of our progress over a period of time, inspiring creative momentum and a sense of accomplishment.
In addition, a recent study has shown that the simple act of jotting down a list of to-dos is enough to ease the anxiousness brought on by incomplete tasks. List-making also encourages brainstorming, a pillar of the creative process. By creating an accessible layout of tasks and ideas, lists give goals a certain tangibility, facilitating active steps towards a positive creative outcome.
List-making isn’t restricted to pen and paper. There are plenty of useful apps for making and reviewing lists, too. Android apps pictured: Notepad (left); Habits (right).
List #1: Things I don’t know (and how to learn them)
I’ll admit that a things I don’t know list sounds a little pessimistic at first. But identifying areas you know little about is the best way to target gaps in your own practice.
Take a bit of paper, use a list-making app, open a Word document, or select a page from a notebook (whatever works), and start listing the facets of photography you want/need to know more about. You can list anything, from art theory to photography tricks to post-processing techniques. Next, pair your points with a few words about how you might actively bridge these knowledge gaps.
Here’s an example:
You’ll see that I’ve added timelines to each point on the list, too. Adding a timeline helps bolster your commitment to incorporate the listed tasks into a creative routine.
Naturally, the time you assign to each goal will depend on your daily habits and the goal itself. Just remember that any dedicated length of time invested in your practice is far better than investing no time at all. If you aren’t sure about your timeline, start small and make adjustments incrementally.
Put your list somewhere visible as a reminder of your goals. As you progress, make additions or amendments to your list; your plan should always be open to change. You could even create a checklist to help improve creativity and to map the trajectory of your creative growth.
List #2: Subjects I want to photograph (but haven’t yet)
We all have subjects we would love to photograph, but haven’t yet. Making a list of subjects you aspire to photograph is a productive way to set goals that will broaden and improve creativity.
To start a subjects I want to photograph list, first type/write out some realistic subjects that you would like to photograph in the short and/or long term. Next, add some necessities that will facilitate these goals. Will you need particular equipment? Additional experience in the field? A passport? Savings? Research? List anything that comes to mind. Here’s a quick example:
Note that I have added research to each individual goal. Solid research is fundamental to most photographic undertakings. To tease out what particulars you might need to research, you can use the things I don’t know list!
Once you have your outline, you’re free to break down your list into more detailed segments. For example, you could plan a budget for acquiring suitable equipment. Some goals will be more long-term than others, but having a list will enable you to take decisive steps toward successfully photographing your dream subject.
List #3: Creatives that inspire
There are many artists that inspire my creative practice. So many, in fact, that it can be hard to keep track. That’s where list number number three comes in.
Inspiration drawn from other creatives can reveal new approaches to your own photography. Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/125s | f/3.5 | ISO 500.
Making a thoughtfully curated list of creatives that inspire and motivate your practice is a great way to maintain momentum and stimulate ideas. From recording your favorite photographers in an alphabetical Excel spreadsheet to noting the names of impactful artists in a visual diary, creating a list of inspirational creatives provides an accessible point-of-reference that can improve creativity in a lull.
List #4: Photography goals
Making a photography goals list is a lot like making a subjects I want to photograph list. The idea is to lay out goals paired with actionable steps to achieve a desired creative outcome. Here is a quick example:
Again, you can break down your actionable steps even further by creating checklists, budgets, or timelines. List-making rewards persistence while focusing and improving creativity; it also emphasizes the value of each step toward an overall creative objective. Keep your list somewhere you’ll see it regularly and use it as a compass and a source of inspiration when goals seem far away.
List #5: Why I love photography
Like most things, photography has its ups and downs. When things go right and inspiration flows, it can be smooth sailing. But when things go wrong, you can start to feel the pressure of creative fatigue. Fortunately, lists are a great way to help ease the burden of a creative dry spell.
Photography will take you to amazing places, and it can all start with a simple list! Canon 5D Mark II | Canon EF 24-105 mm f/4L IS USM | 1/200s | f/6.3 | ISO 100.
The why I love photography list is an opportunity to reflect on what it is that makes you do what you do as a photographer. What made you fall in love with photography in the first place? How does photography inspire you? What do you love about your favorite subject matter? How has photography positively impacted your life? What drives you to make your next shot?
There are so many reasons people fall in love with photographic image-making, and listing them creates something concrete to draw upon when needed, helping you to improve creativity and clear the fog of artistic fatigue.
Conclusion
Lists aren’t just great for remembering things; they’re an opportunity to improve creativity and expand creative practice. Lists give order to chaos, they provide a plan to work through, and they supply proof of what has been achieved.
By making lists, we can reinforce ideas, formulate goals, and track sources of inspiration and success. Happy listing!
The post 5 List-Making Exercises to Improve Creativity in Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.
In collaboration with Shutterstock, Google has announced the launch of licensable images on Google Images. This feature entered beta testing earlier this year and is now fully launched and integrated into Google Images, hopefully benefiting photographers. With the new ‘Licensable’ badge on Google Image search results, viewers can immediately identify which images can be licensed for varying uses and better understand the usage rights of individual images.
Shutterstock worked closely with Google to ensure the licensable images feature works effectively. Of the new features, Shutterstock’s VP of Content Operations, Paul Brennan, says:
‘Google Images’ new features help both image creators and image consumers by bringing visibility to how creators’ content can be licensed properly. We are pleased to have worked closely with Google on this feature, by advocating for protections that result in fair compensation for our global community of over 1 million contributors. In developing this feature, Google has clearly demonstrated its commitment to supporting the content creation ecosystem.’
When an image has specified license information on a website, the image can be displayed with the Licensable badge on image thumbnails in Google Images. This badge indicates to viewers that license information is available for the image and then provides a link directly to the license in the image viewer. From here, someone can learn how the image can be licensed and used.
Here you can see the ‘Licensable’ badge on the bottom left corner of images. When clicking on an image and accessing the image viewer, Google Images displays the creator, where the image can be licensed and also license details for the selected image. Image credit: Google
For Google to be able to discover and index images on a website, the images must be accessible without an account or by logging in. You must also follow Google’s Webmaster Guidelines and Google Images Best Practices. In addition to these existing steps, the new Licensable badge requires structured data or IPTC photo metadata to follow Google’s new guidelines. You can learn more about these requirements here.
Close-up image of the new image viewer in Google Images. Click to view larger. Image credit: Google
With the introduction of the Licensable badge, search results in Google Images can now be filtered to only display images that include licensing. Further, the dropdown Usage Rights filter has been streamlined, such that it now includes only options for ‘All’, ‘Creative Commons licenses’ and ‘Commercial & other licenses’.
It has long been far too easy for people to search for images on Google and use them without a license or permissions. Today’s changes to Google Images will hopefully reduce image misuse. At the very least, assuming a photographer has taken the steps to ensure their images are properly badged and filtered on Google Images, it will now be much easier for Google Images users to view creator information and licensing requirements.
