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  • Photo Editing with Lightroom Mobile

    The post Photo Editing with Lightroom Mobile appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

    Lightroom Mobile has been around for many years, with the earliest version dating all the way back to 2014. While it is not as popular as its traditional desktop-based counterpart, Lightroom Mobile has grown into a capable and feature-packed editing tool that can hold its own against many other programs.

    Editing with Lightroom Mobile isn’t quite the same as editing on Lightroom Classic. But if you take the time to learn, you’ll find that it is up to almost any task you can throw at it.

    Editing with Lightroom Mobile Windmills Sunset
    Nikon D750 | 200mm | 1/4000s | f/22 | ISO 100

    The first thing to understand when working with Lightroom Mobile is that it’s not just a mobile version of Lightroom Classic. Lightroom Mobile was written from the ground up to work with phones and tablets, and that meant Adobe had to re-imagine the entire user interface.

    Design considerations were also made for the types of edits that people are likely to do on a mobile device. Screen size, touch targets, editing, and navigation; no stone was left unturned when Lightroom Mobile was developed.

    As such, using Lightroom Mobile involves a jarring transition for people used to the desktop version, though if you have a mobile-first workflow you might be used to it. Even so, understanding a few basic tips and techniques for editing with Lightroom Mobile can improve your workflow a great deal.

    Understanding the interface

    The first thing you will notice when editing a photo in Lightroom Mobile is that the interface is quite different from Lightroom Classic. Gone are the Library, Develop, and other modules. You will also not find the traditional panels like Basic, Detail, Effects, etc. In their place is a series of buttons and icons along with some words to tap on.

    Editing with Lightroom Mobile screenshot
    The basic editing interface for Lightroom Mobile. Most of the editing tools are on the right side and can be activated by touching and tapping.

    All the icons may be a bit overwhelming at first, but if you start at the top left and work your way around clockwise things start to make sense. Tap the Edit button to switch between the different modes available to you.

    Editing with Lightroom Mobile screenshot
    Tap the Edit button to switch between modes. This is sort of like moving between the traditional Library, Develop, Print, and other modules in Lightroom Classic. However, these modes in Lightroom Mobile serve very different purposes.

    These modes come in handy when you want to cull images, assign keywords, and otherwise speed up your workflow. They are not particularly useful for editing, but I do recommend familiarizing yourself with them by experimenting on your own.

    Moving towards the top right you will see more icons. Tap the question mark to get help, the up arrow to share an image, and the cloud to see the sync status of your Lightroom Mobile images. The three dots inside a circle is where things start to get interesting, and where you can start to get an understanding of the depth of Lightroom Mobile.

    Editing with Lightroom Mobile screenshot
    The three-dots-in-a-circle icon lets you access some advanced features you might recognize from Lightroom Classic.

    It’s important to keep your expectations in check; this is not Lightroom Classic. If you are looking for a mobile version of Lightroom that replicates the desktop version, you are in for a big disappointment. But if you want a solid tool that lets you do a lot of editing on your mobile device, this is where things start to get really interesting.

    You can use the three-dot menu to copy/paste settings, create an editing preset, and even specify custom gestures by scrolling down and tapping the Settings button. You can also use the View Options button to toggle the histogram and show/hide photo information when editing.

    Tablet vs phone

    All the screenshots so far have been for Lightroom Mobile on a phone. The interface is similar on a tablet, but the added screen real estate puts a lot more information and options at your fingertips.

    Editing with Lightroom Mobile screenshot iPad
    Lightroom Mobile on a tablet has all the same tools and options as on a phone. The added screen real estate allows for more information to be displayed, while editing tools are grouped slightly differently.

    In terms of photo editing, the main difference between a phone and a tablet is that the global edits are grouped together in a single icon. The icon with three sliders in the top-right corner is where you tap to access global edits like Light, Color, Effects, Detail, Optics, and more. Tap any of these to get a series of sliders that you can adjust with your finger, and watch as your changes are instantly applied to the image.

    Editing with Lightroom Mobile screenshot iPad
    The extra room on a tablet means you get a lot more information and options on the screen.

    The larger size of a tablet means that you can see the entire photo as you apply your edits, with plenty of room to move sliders and adjust parameters. This is my preferred method of editing with Lightroom Mobile, though plenty of people like using a phone. Either way is fine, as long as you find an option that works for you.

    Tapping to edit

    The true depth of Lightroom Mobile is further revealed with the vertical column of icons on the right side. This is where you can dive deep into the editing tools and perform all manner of intricate adjustments similar to those in Lightroom Classic.

    (Note that these same icons appear in a horizontal row at the bottom of your screen if you hold your phone in portrait mode.)

    Editing with Lightroom Mobile screenshot

    Already you can start to see the sheer volume of editing options available to you in Lightroom Mobile, but that’s not all. Tap and scroll on the vertical row of icons to reveal even more.

    Editing with Lightroom Mobile screenshot

    If the icons seem confusing, one trick you can use is to simply rotate your mobile device from landscape to portrait mode. This shows brief descriptions beneath each icon which helps if you ever start to feel overwhelmed.

    The simplest way to learn more about these tools is to just start tapping them and experimenting. In true Lightroom fashion, none of your edits are permanent; the Undo button will always let you step back to your previous edit. The Reset button will erase all your changes entirely, and you can even step back in time to a specific version of your photo by using the clock icon just above the Reset button.

    Selective and global editing

    There are two basic types of edits in Lightroom Mobile: selective and global. Selective edits are adjustments applied to specific portions of an image. Global edits are applied to the entire image. If you were to compare it to Lightroom Classic, selective edits are tools such as the Graduated Filter, Radial Filter, and the Adjustment Brush. Global edits include any of the Basic Panel adjustments along with features such as Detail, Color, Effects, the Tone Curve, etc.

    To illustrate the touch-based workflow inherent to Lightroom Mobile, my favorite example is the Selective Edit tool. Tap the round dot icon at the very top of the panel on the right side to bring up the Selective Edit interface.

    Editing with Lightroom Mobile screenshot
    Tap the blue “plus” icon in the top left corner to create a new brush or filter adjustment.

    At this point, you might think you can start tapping on the photo. But, if you try it, nothing happens. Tapping on the icons on the right side doesn’t do anything either.

    Why? Because before you can start editing, you have to create a new selective edit, which you can do by tapping the blue “plus” icon in the top left corner. This lets you select from three types of brushes: Adjustments, Radial Filter, and Graduated Filter. Tap to select one of these options.

    Editing with Lightroom Mobile screenshot
    After choosing a specific type of selective edit, tap and drag to apply it to your image.

    Now you’re ready to start editing! Tap and drag your finger around the screen to see your brush or filter applied instantly with buttery smoothness. After your adjustment or filter is in place, tap one of the icons on the right side to add a specific edit: white balance, sharpness, etc. You might be surprised at how quickly you can do editing with Lightroom Mobile if you are used to the desktop interface, which can be a bit sluggish at times.

    Editing with Lightroom Mobile screenshot
    Use the icons on the right to choose what parameters are adjusted in the edit: white balance, exposure, etc.

    At this point you might notice one common theme with all the pictures in this article: They are in landscape orientation. Lightroom Mobile lets you edit in either portrait or landscape, and the interface automatically adjusts according to how your phone is positioned.

    Editing with Lightroom Mobile screenshot portrait orientation
    Editing can be done in horizontal or vertical orientation, and the interface adjusts automatically based on how you hold your device.

    After applying a selective edit, you will see a blue diamond appear on your image. Tap on that to bring up the selective edit, and also to see a red overlay which indicates where the edit was applied. As with Lightroom Classic, your selective edits can be altered at any time or removed altogether.

    The key thing to remember about editing with Lightroom Mobile is that you can’t permanently mess anything up. Just like the standard desktop version of Lightroom, all your edits are nondestructive, which means you can revert to a previous state of your image at any time.

    The Selective Edit tool is a great example of how the basic Lightroom Mobile workflow functions: You tap on an editing tool, and then tap to implement the edit or alter its parameters. Global edits function in the same manner, except they are applied to the whole photo and not just specific portions. It’s not too difficult once you get the hang of it, which for most people is a matter of mere minutes.

    Editing with Lightroom Mobile Sunset
    Fuji X100F | 23mm | 242s | f/16 | ISO 200

    If you have an Adobe Creative Cloud subscription, Lightroom Mobile is included in the price, and I recommend giving it a try. Even if you just use it to speed up your workflow rather than in-depth editing, it’s still a powerful arrow to have in your photography quiver. Editing with Lightroom Mobile is a fun process that, while not quite on par with the in-depth options in Lightroom Classic, is certainly worth a look. Or a second look if it’s been a while since you last checked it out.

    The post Photo Editing with Lightroom Mobile appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


    Digital Photography School

  • DPReview TV: Sony a7S III hands-on preview

    The a7S III promises to be Sony’s best mirrorless camera for video to date. Instead of winning a battle of spec sheets, it focuses on delivering robust, high quality 4K video. What do we think so far? Watch our hands-on preview to find out.

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

    • Intro
    • Design and handling
    • Sample photos
    • LCD display
    • EVF
    • New menus
    • Card slots and media
    • Photography features
    • 12MP sensor advantages
    • Color profiles
    • Codecs and compression
    • Rolling shutter
    • Active Steadyshot
    • Raw video
    • Autofocus
    • LCD design
    • Punch-in for manual focus
    • Compared to the Canon EOS R5
    • Compared to the Panasonic S1H
    • Who's it for?

    Sample gallery from this episode

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    Articles: Digital Photography Review (dpreview.com)

  • CES is going all-digital for 2021 due to COVID-19 health concerns

    The Consumer Technology Association (CTA), the organizer behind the annual Consumer Entertainment Show (CES), has announced its 2021 show is going all-digital, due to the COVID-19 pandemic.

    CES usually takes place in Las Vegas, Nevada, United States every January. But ‘with the growing global health concerns about the spread of COVID-19, it is not possible to safely convene tens of thousands of people,’ says CTA in its announcement post (embedded below). In place of the in-person event, which typically hosts over 180,000 attendees, CES 2021 will offer a ‘unique’ online experience.

    Specifically, the CTA says there will be media events where ‘the world’s leading brands [will host] exclusive digital press events,’ product showcases where live demos and product showcases will show off new tech, as well as livestreamed keynotes and conferences for the latest announcements from technology companies from around the world.

    While CES 2021 isn’t the first trade show affected by the COVID-19, it is one of the largest and longest-running, and is the first trade show, to our knowledge, of 2021 that’s been altered due to the COVID-19 pandemic. In addition to photography accessories, camera makers have been known to show off prototypes and offer hands-on at CES events in the past. Time will tell what photo companies have a presence at the all-digital event in 2021.

    Announcement:

    CES 2021 is All-Digital

    The Consumer Technology Association (CTA)® is reimagining how to connect exhibitors, customers, thought leaders and media from around the world while prioritizing health and safety. We are excited to share that CES® 2021 will be an all-digital experience.

    For more than 50 years, CES has been the global stage for innovation. And CES 2021 will continue to be a platform to launch products, engage with global brands and define the future of the tech industry.

    With the growing global health concerns about the spread of COVID-19, it is not possible to safely convene tens of thousands of people in Las Vegas in early January 2021 to meet and do business in person.

    An all-digital CES 2021 will allow the entire tech community to safely share ideas and introduce the products that will shape our future. You’ll be able to participate in all the awe-inspiring moments of CES wherever you are in the world. We are designing a unique experience for the tech industry.

    CES 2021 will offer a highly personalized experience:

    • Keynotes and conferences. Now you’ll have a front-row seat for groundbreaking announcements and insights from the world’s tech leaders completely online.

    • Product showcase. With this digital evolution of the CES show floor, you’ll be able to explore products and services, based on your interests and business, through dynamic product showcases or live demos.

    • Meetings and networking. You’ll be able to engage with the brands, thought leaders and business connections you care about with live interactions, meetups or roundtable discussions.

    Technology has helped us all work, learn and connect during the coronavirus pandemic, and it has presented real solutions to help solve complex global challenges. We recognize that, particularly in these uncertain times, it is the partnerships of some of the most creative minds that bring the best solutions to life.

    We’re looking forward to welcoming the global tech industry, from international brands to budding startups, to kick off the year with the world’s most influential digital technology event.

    Mark your calendars for the first week in January and be on the lookout for more exciting news about CES 2021. We plan to return to Las Vegas for CES 2022, combining the best elements of a physical and digital show.

    Thank you for your continued support. Please stay healthy and safe.

    Articles: Digital Photography Review (dpreview.com)

  • 10 Tips & Tricks to Make Your Instagram Images Look Beautiful For Beginners

    Instagram has undoubtedly become one of the most popular image sharing sites. It is also a sweet spot for photographers and enthusiasts looking to get their pictures noticed. Of course, the popularity of Instagram has led to fierce competition. To help you stand out on this social media platform, I decided to share some Instagram photo tricks to make your Continue Reading

    The post 10 Tips & Tricks to Make Your Instagram Images Look Beautiful For Beginners appeared first on Photodoto.


    Photodoto

  • Fujifilm announces new EF-60 speedlight, EF-W1 wireless trigger for X, GFX System cameras

    Fujifilm has announced a new speedlight and wireless trigger for its X Series and GFX System cameras.

    The Fujifilm EF-60 is a compact radio-controlled speedlight with a hot-shoe mount. It features 60 guide number at 200mm, has a 24mm to 200mm zoom range and features a built-in LED modeling light.

    The flash can be controlled in 1/3 stop increments and when paired with Fujifilm’s new wireless trigger, all of these settings can be changed from the trigger. The speedlight is also compatible with the Nissin Air System (NAS).

    The partnering product is the EF-W1 Wireless Commander, which appears to be a Nissin Air10s Remote trigger with some Fujifilm branding on top. The 2.4GHz trigger offers TTL, manual and FP High-Speed Sync modes. It can control the EF-60 and other NAS strobes. The remote can handle up to three groups and eight channels.

    Both the EF-30 and EF-W1 are compatible with the GFX100, GFX 50S, GFX 50R, X-H1, X-Pro2, X-Pro3, X-T1, X-T2, X-T3, X-T4, X-T20, X-T30, X- E3, X100F and X100V.

    Both the EF-30 and EF-W1 are compatible with the GFX100, GFX 50S, GFX 50R, X-H1, X-Pro2, X-Pro3, X-T1, X-T2, X-T3, X-T4, X-T20, X-T30, X- E3, X100F and X100V.

    The EF-60 speedlight (Adorama, B&H) and EF-W1 wireless commander (Adorama, B&H) are currently available to pre-order for $ 400 and $ 200, respectively. The first units should be available in ‘late August 2020.’

    Articles: Digital Photography Review (dpreview.com)

  • Gotta Have Faith

    Creating for the sake of creating is like oxygen to an artist, these are our breaths!
    Jake Garn Photography

  • Open-source photo management app digiKam gets major update to version 7.0.0

    Open source photo management software digiKam has been updated to version 7.0.0, an update that has been a full year in the making. The updated digiKam adds a number of new features and bug fixes, according to the team behind the software, including an important update to the software’s face-detection capability, which now utilizes deep learning technology to better detect both human and animal faces.

    The neural network model now used for digiKam’s face detection feature can detect faces in a variety of states and arrangements, including profile shots, burred faces, faces partially obstructed by other objects like sunglasses and more. The digiKam team says that testing the updated feature with ‘huge collections’ revealed a high level of accuracy resulting in few false positives.

    Though the workflow for this updated face recognition function remains the same, the digiKam team notes that users will need to train the neural network to recognize the faces of the people they often photograph by tagging them in multiple images. In cases where the algorithm isn’t trained, detected faces are instead marked as ‘unknown.’

    Other improvements are coming to the face detection tool and related workflow, as well. Users will soon be able to tell digiKam to ignore certain faces using the Reject button. The software will pin Important face tags in the sidebar and automatically assign face tag icons for a faster, more visual workflow. These features, as well as a handful of others, are being worked on over this summer.

    Another project underway for digiKam is improvements to the software’s face recognition neural network engine. The algorithm will be updated to implement new face classifiers for faster and more accurate facial recognition, plus it will receive a new face embedding database and more. The code with these changes is expected to arrive sometime this summer, according to the team, which says that’ll likely drop with digiKam version 7.2.0.

    Beyond those face recognition changes and planned changes, digiKam 7.0.0 brings LibRaw 0.20, the new version of this library that enables the software to post-process a variety of raw camera files.

    With this update, digiKam has gained support for more than 40 additional raw image formats, including ones from cameras like the Sony A7R4, DJI Mavic Air, Ricoh GR III, PhaseOne IQ4 150MP, GoPro HERO7, and more, including several smartphone models. Users can find the full list of supported formats, including the 0.20 additions, on the LibRaw website.

    The changes in digiKam 7.0.0 continue from there, including the addition of improved support for the HEIF image format via the use of the libheif shared library, new support for Microsoft Visual C++ with the goal of an eventual Windows Store release, official support for FlatPak Linux bundle, expanded metadata options, a new ‘HTML5Responsive’ theme for the HTMLGallery plugin, new settings for the SlideShow tool and much more.

    Ultimately, the digiKam team explains that over the past year, they reached a new and ‘impressive’ level of development for the software beyond what they have achieved in the past. The update is extensive, adding considerable support and new features to what remains a very powerful open-source alternative to commercial photo management software.

    As expected, digiKam 7.0.0 is available to download for free with support for Windows, macOS and Linux.

    Articles: Digital Photography Review (dpreview.com)

  • Sony a7S III initial review

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    Sony’s alpha 7S Mark III is the third iteration in the most video-focused of the company’s a7 series of full frame cameras. It’s essentially a native 4K camera with impressive video specs and a revised user interface. It can capture UHD 4K footage at up to 120p in 10-bit 4:2:2 encoding and promises 16-bit Raw video output.

    • 12MP BSI CMOS sensor
    • Bionz XR processor
    • On-sensor phase detection
    • ISO 80-102,400 (expandable to 40-409,600)
    • 9.44M dot EVF with 0.91x magnification
    • 4K video at up to 120p, 60p for ‘at least an hour’
    • 16-bit Raw video output at up to 60p
    • 10-bit 4:2:2 internal capture (in codecs including H.265 and All-I H.264)
    • Fully articulating LCD
    • 5-axis in-body stabilization with Steady shot active mode
    • Twin card slots that each accept either SD or CFexpress Type A

    The Sony a7S III will sell for around $ 3500. This is a $ 500 premium over 2015’s Mark II but still $ 500 lower than the launch price of the Panasonic Lumix DC-S1H, which is arguably its closest competitor.


    What’s new and how it compares

    The a7S III offers a series of new features such as 10-bit internal video and Raw video output but the changes go much deeper.

    Read more

    Body, controls and handling

    Alongside a host of ergonomic improvements, which includes greater use of the touchscreen, Sony has significantly redesigned its menu system.

    Read more

    Initial impressions

    The a7S III looks to be a workhorse camera for amateur and independent production teams, but it also offers insights into what future alpha cameras will be like.

    Read more

    Sample gallery

    We’ve prepared a sample gallery of images using a near-final a7S III.

    See the images

    Articles: Digital Photography Review (dpreview.com)

  • Sony a7S III to get 4K/60p ProRes Raw capture over HDMI with Atomos’ Ninja V monitor/recorder

    To coincide with the announcement of Sony’s a7S III, Atomos has announced it will release a firmware update for its Ninja V recorder/monitor that will enable it to record 4K/60p ProRes Raw video over HDMI.

    The 16-bit linear Raw video output of the a7S III is sent via HDMI to the Ninja V recorder, which then compresses and records the video as 12-bit ProRes Raw at up to 4K/60p. The Ninja V will also be able to record the a7S III’s 10-bit 4:2:2 HDMI video output as 10-bit 4:2:2 Log or Rec.709 video at up to 4K/60p in ProRes or DNx codecs.

    Atomos has shared the following video from Phillip Bloom, shot on the Alpha 7S III and Ninja V in ProRes RAW:

    Atomos expects the firmware update to be available in September of this year.

    Press release:

    Atomos to record 4Kp60 ProRes RAW over HDMI from Sony’s Alpha 7S III

    Melbourne, Australia – July 28, 2020 – Atomos are today announcing RAW recording at up to 4Kp60 via HDMI from Sony’s new Alpha 7S III (ILCE-7SM3) full-frame mirrorless camera to the Ninja V HDR monitor-recorder.

    The Alpha 7S III has a state-of-the-art CMOS image sensor and the Ninja V can record its full dynamic range in Apple ProRes RAW for maximum detail and latitude in post-production. The RAW files are optimal for HDR finishing, or for greater flexibility in SDR (Rec.709), giving stunning results in either. Images are recorded directly to affordable, reliable AtomX SSDmini or other compatible SSD drives for quick transfer to your editing system.

    Unrestricted RAW recording
    RAW recording with the Ninja V from the Alpha 7S III is only limited by your imagination. The combination will record ProRes RAW video for as long as you have disk space on your SSD and power for the camera and recorder. The active cooling employed means that internal record time limitations can be bypassed making a perfect setup for performances and long interviews. Optionally, RAW video can also be captured on the Ninja V at the same time as compressed video is recorded internally to memory card on the Alpha 7S III, providing several workflow options and a useful backup

    Making low light RAW video a reality
    Alpha 7S III low light performance is especially impressive, with the data from the camera’s large photosites making recording RAW in dim conditions a practical option. The Alpha 7S III also has 5-axis optical image stabilisation that is available while shooting RAW video, allowing for amazingly stable and detailed handheld RAW shots.

    16-bit Linear RAW perfectly captured as 12-bit Log RAW
    The data-rich 16-bit linear RAW output of the Alpha 7S III is compressed and recorded in the Ninja V as 12-bit ProRes RAW at up to 4Kp60. The result is a high quality ProRes RAW file that combines the superb visual quality of the Alpha 7S III with the workflow advantages of RAW and the incredible real-time performance of ProRes. One key benefit, especially in low light, is that the ProRes RAW files allow you to take fine control of how noise reduction and sharpening is applied to images, tuning these precisely for each shot.

    A defined standard
    Atomos believes ProRes RAW is the new standard for RAW video capture, which is supported by an ever growing number of cameras outputting RAW over HDMI to the Ninja V. The format gives filmmakers enormous latitude when adjusting the look of their images and extending brightness and shadow detail, making it ideal for HDR workflows. Both ProRes RAW, and the higher bandwidth, less compressed ProRes RAW HQ are supported. Manageable file sizes speed up and simplify file transfer, media management, and archiving. ProRes RAW is supported in Final Cut Pro X, Adobe Premiere and Grass Valley Edius, along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront and FilmLight Baselight.

    10-bit 4kp60 Apple ProRes or Avid DNx for extended recording
    For the first time in a mirrorless camera from Sony there is also a 10-bit 422 HDMI video output option available. The Ninja V and other current Atomos monitor-recorders can record this as 10-bit 422 Log or Rec.709 video at up to 4Kp60 into production ready ProRes or DNx codecs. These provide long record times and practical data rates when the additional flexibility of RAW is not required. This is ideal for situations where the camera needs to integrate into an established post workflow, or a fast turnaround is needed.

    HDR monitoring perfection
    The accurate 5” 1000nit HDR high brightness display of the Ninja V allows users to view the Alpha 7S III RAW signal in HDR in a choice of HLG and PQ (HDR10) formats or view natively in Sony’s S-Log profile and used with LUTs. The monitor offers touchscreen access to tools like waveform, magnification and peaking so users can check focus and make adjustments to get the perfect HDR or SDR shot.

    Launch film from filmmaker Philip Bloom
    Renowned filmmaker Philip Bloom has shot a short film titled ‘The Paddleboarder’ to test the ProRes RAW capabilities of the Alpha 7S III with the Ninja V. Shot on the river Thames in just one day it clearly demonstrates just how filmic the RAW images look. In his time with the camera he has also shot ProRes RAW in various lighting conditions including near darkness.

    He said: “Sony’s Alpha 7S III is incredibly powerful and does pretty much everything I need from a camera. Having the ability to record RAW over HDMI to the Atomos Ninja V is the icing on the cake. Not only can I record at full quality 10-bit 4K internally to the camera’s memory cards, I can simultaneously record 12-bit ProRes RAW to an SSD which gives me more flexibility to grade and bypass things like the in-camera sharpening and noise reduction. This is especially invaluable when shooting at very high ISO where working with RAW allows me to adjust the noise in post processing with much more precision.”

    Atomos and ProRes RAW
    Jeromy Young, Atomos CEO, said: “What Sony have done with the Alpha 7S III for RAW recording to the Ninja V is truly amazing. I’m delighted that together we are able to bring this first Sony’s Alpha™ into the Atomos RAW ecosystem. Sony’s engineers have delivered an amazing quality RAW over HDMI output to the Ninja V that will open up countless creative opportunities. The detail, dynamic range and especially low light performance is outstanding in RAW. The stable operation and long RAW record times that the Ninja V brings to the Alpha 7S III make it a brilliant tool for almost any production.”

    Ninja V users will receive a free AtomOS update to enable RAW recording over HDMI from the Alpha 7S III. This is set to be available in September 2020.

    To learn more about the Ninja V and Sony’s Alpha 7S III visit www.atomos.com

    VIEW: See the launch film The Paddleboarder” shot on the Alpha 7S III and Ninja V in ProRes RAW by DP Philip Bloom here

    Articles: Digital Photography Review (dpreview.com)

  • Understanding Depth of Field for Beginners

    The post Understanding Depth of Field for Beginners appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

    Depth of Field for Beginners

    You may have heard the term depth of field (DoF), but if you are new to photography you may not yet be taking advantage of how DoF can enhance your photos.

    A basic definition of depth of field is: the zone of acceptable sharpness within a photo that will appear in focus. In every picture there is a certain area of your image in front of, and behind the subject that will appear in focus.

    Understanding depth of field in photography.

    This zone will vary from photo to photo. Some images may have very small zones of focus which is called shallow depth of field.

    Here’s a series of images with very shallow depth of field.

    Others may have a very large zone of focus which is called deep depth of field.

    Here’s a collection of images with much deeper depths of field.

    Three main factors that will affect how you control the depth of field of your images are: aperture (f-stop), distance from the subject to the camera, and focal length of the lens on your camera. Here are some explanations and answers to other common questions concerning depth of field.

    How does aperture control depth of field?

    Aperture refers to the access given to light from the lens to the camera sensors. The size of your aperture (the diameter of the hole through which light enters the camera) controls the amount of light entering your lens. Using the aperture (f-stop) of your lens is the simplest way to control your depth of field as you set up your shot.

    Large aperture = Small f-number = Shallow (small) depth of field
    Small aperture = Larger f-number = Deeper (larger) depth of field

    It may be easier to remember this simple concept: The lower your f-number, the smaller your depth of field. Likewise, the higher your f-number, the larger your depth of field. For example, using a setting of f/2.8 will produce a very shallow depth of field while f/11 will produce a deeper DoF.

    The image on the left was captured at 250th of a second at F5.0 which resulted in a very shallow depth of field,

    The image on the left was captured at 250th of a second at f/5.0 which resulted in a very shallow depth of field.  Because of this the background is out of focus allowing the subject to stand out. The image on the right was captured at 1/5th of a second at f/32 which created a deep depth of field and a sharper background.

    How does distance control depth of field?

    The closer your subject is to the camera, the shallower your depth of field becomes. Therefore, moving further away from your subject will deepen your depth of field.

    How does the focal length of a lens control depth of field?

    Focal Length refers to the capability of a lens to magnify the image of a distant subject. This can get complicated, but the simple answer is that the longer you set your focal length the shallower the depth of field. Example: Your subject is 10 meters (33 feet) away, using a focal length of 50mm at f/4; your depth of field range would be from 7.5 -14.7 meters (24.6-48 feet) for a total DOF of 7.2 meters (23.6 feet). If you zoom into 100mm from the same spot, the depth of field changes to 9.2-10.9m (30.1-35.8′) for a total of 1.7m (5.7′) of depth of field. But if you move to 20m (66′) away from your subject using the 100mm lens, your depth of field is almost the same as it would be at 10 meters using a 50mm lens.

    Image of a swan hiding in the tall grass captured from about 5 meters with 300 mm focal length created a DOF only about 5cm.

    This image of a swan hiding in the tall foliage was captured from about 5m (16′)  with a 300mm focal length lens. This combination of focal length and distance created a depth of field of approximately 5cm (2″).

    What if I just have a point and shoot camera, or don’t know how to change those settings?

    Even with a point and shoot camera, there are ways to control your depth of field. In the Scene Modes menu, look for a symbol of a human head, which is the setting for portraits. This will give you a narrow depth of field. In the same menu there is also a mountain symbol, which is a setting for landscapes, which will give you a deeper depth of field.

    If you are a beginner with a DSLR there are some simple ways you can control depth of field and still use and automatic shooting mode. By choosing Aperture Priority mode you can set your aperture to get the depth of field that you want, and the camera will automatically set the shutter speed.

    Can I set the depth of field exactly for each situation?

    Yes, but because changing your aperture affects your shutter speed, the result may not meet the needs of your image. For instance, if you are trying to increase your depth of field by reducing aperture size you will also need to increase (slow down) your shutter speed which could make your image blurry. Understanding how all these settings work together can increase your control over depth of field.

    Is depth of field equally distributed in front and back of my focus point?

    No, it’s usually about one third in front and two thirds behind your focal point, but as your focal length increases it becomes more equal.

    How will understanding depth of field improve my images?

    Managing depth of field is one of the most important tools at your disposal, because having tack sharp images is one of the most important factors to getting that great shot. Knowing how to make the parts of your image you want sharp and the parts you want to be out of focus, is a great artistic tool to create great images.

    Getting the right DOF for your shot can make the difference

    Getting the right depth of field for your shot can make all the difference.

    When should I use a shallow depth of field?

    Using a shallow depth of field is a good way to make your subject stand out from its background and is great for portrait photography. Shallow DoF can also be useful in wildlife photography, where you want the subject to stand out from its surroundings. This is also useful because many wildlife photo opportunities are low light situations, and increasing your aperture size will give you more light. Shallow depth of field is also effective for sports photography where many times you want to separate the athlete from the background to bring attention to them. The result of this should also help give you a fast enough shutter speed to freeze the action.

    This image captured at 300mm focal length and F/ produced a very shallow DOF. Because of this very shallow DOF it is important to set your focal point on the eye. Notice how the bird appears to pop out from the background.

    This image captured at 300mm focal length and f/5.6 produced a very shallow depth of field. Because of this, it is important to set your focal point on the subject’s eye. Notice how the bird pops out from the background.

    When should I use deeper depth of field?

    In landscape photography it is important to get as much of your scene in focus as possible. By using a wide angle lens and a small aperture you will be able maximize your depth of field to get your scene in focus.

    In this landscape captured at 50mm at F/16 Focus point was set at 8 meters which made everything from 4 meters to infinity in focus

    This landscape was captured with a 50mm focal length at f/16. The focus point was set at 8 meters, which made everything from 4 meters to infinity in focus.

    How can you determine depth of field?

    There are several on-line sites that will provide depth of field charts for your camera and lenses. Also, there are a number of apps available for smart phone users that can calculate it for you while you’re in the field. Most cameras have a DoF preview button which will give you a preview as you look through the eye piece. (This is probably the easiest and most under-utilized method.) Using this button may cause your image to appear darker as you view it through the eye piece, but not to worry. Your image will be properly exposed as long as you have the correct exposure settings.

    Can depth of field be adjusted to get everything in focus?

    Yes, using what is called the hyperfocal distance. When you are focused at the hyperfocal distance, your depth of field will extend from half the distance to your focal point to infinity. Use a DOF calculator to find your hyperfocal distance. If you don’t have a DoF calculator, a good rule of thumb is to focus a third of the way into the scene. Using an aperture of about f/11 or higher with a wide angle lens will maximize your depth of field.

    What about depth of field in macro photography?

    Because most macro images are produced in low light and with a longer focal length, the depth of field is often very shallow. Adjust your lens to the smallest aperture that the light will allow. It may also be necessary to increase your ISO to allow you to properly expose the image and to maximize your depth of field. Still, in many macro images your DoF may be very minute. With this very narrow focus it becomes necessary to use a tripod, because even the slightest movement of the camera will move your macro subject outside your depth of field.

    120 mm Marco at F8 still is a very shallow DOF with the lens only 15 cm from the focal point on the front flower.

    This 120 mm macro even at f/8 still has a very shallow depth of field.

    What is bokeh?

    Bokeh (boh-ke) comes from the Japanese word meaning blur. This effect is produced by the out-of-focus areas in your image that are beyond the depth of field. Bokeh commonly refers to the pleasing circle shapes caused by the shape of the lens aperture. Usually created when shooting with your aperture wide open, such as f/2.8, bokeh can also be created with smaller apertures if the background is distant enough.

    Learn more about how to get beautiful bokeh in your images here.

    Bokeh in this image caused by the distance from the subject to the background which fell well beyond the DOF

    Bokeh in this image was created by the distance of the subject to the background, which fell well beyond the depth of field.

    To summarize controlling depth of field:

    Increase depth of field

    • Narrow your aperture (larger f-number)
    • Move farther from the subject
    • Shorten focal length

    Decrease depth of field

    • Widen your aperture (smaller f-number)
    • Move closer to the subject
    • Lengthen your focal length

    Take control of your depth of field. Understanding how these adjustments control your it will greatly improve your photography. What questions do you have about depth of field? Please share your photos and comments.

    Recommended Reading for Beginner to Intermediate Photographers

    If you enjoyed reading this tutorial we’ve put together a series of comprehensive advice for photographers:

    • Ultimate Guide to Photography for Beginners
    • Ultimate Guide to Landscape Photography
    • Ultimate Guide to Taking Portraits and Photographing People
    • Ultimate Guide to Nature and Outdoor Photography
    • Ultimate Guide to Street Photography
    • Ultimate Guide to Getting Started in Lightroom for Beginners
    • Ultimate Guide to Fine Art Photography
    • Ultimate Guide to Photography Terms and Common Words

    The post Understanding Depth of Field for Beginners appeared first on Digital Photography School. It was authored by Bruce Wunderlich.


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