Canon has introduced a new firmware option for EOS R owners interested in high-end stop motion photography. The firmware, which has to be installed at a Canon service center, adds a number of features to make shooting stop motion easier, particularly for those using the Dragonframe animation application. A new version of the EOS R has also been released that has the firmware already installed.
This is a comparison of the new Live View resolution of 1920×1280 (full screen) versus the original size of 960×640 (small inset). The large preview image makes it easier for the animators to have confidence in the shot and can improve the overall quality of the scene.
The main advantage of the new firmware for animators is the increased resolution of the live preview when the camera is tethered via USB. Without the new firmware, the camera outputs an image of 960×640 pixels, but this is increased to 1920×1280 pixels with the firmware installed. This resolution is higher than all other still cameras compatible with Dragonframe, and the extra detail makes checking the image details and focusing much easier. Output live view resolution from the Nikon Z7 and the Sony A7R IV is 1024×680 pixels, for example, while that from the Olympus OM-D E-M lll is 1280×960 pixels.
Seeing Focus Peaking on the full screen allows the animator to precisely capture fine detail and adjust for desired depth of field.
The downside of the update is that HDMI output is disabled, as are display performance options. Manual focus peaking becomes an option over USB but it will no longer work in the viewfinder or on the camera’s rear screen in a number of situations:
When an EF-S lens is used
When [Multiple exposure] is set
When [Cropping/aspect ratio] is set to an option other than [FULL]
When the shooting screen is magnified
When you keep holding down the shutter button after shooting
The new firmware costs $ 100 plus shipping to have installed on an existing EOS R camera, and the new version of the camera with the firmware pre-installed costs $ 1899 – about $ 100 more than the standard version.
For more information on the firmware see the Canon website, and for more on the animation software see the Dragonframe website.
Press release
Stop Motion Animation Firmware
Supercharge Your Stop Motion Animation
Whether pre-installed on a new EOS R or manually installed on an existing EOS R the new Stop Motion Animation upgrade for EOS R cameras increases your Live View resolution to 1920×1280 from Canon’s normal of 960×640 when connected to Dragonframe stop motion animation software. This makes it easier for animators to confirm focus and movement within every frame.
Larger Live View
Live view is critical to animators creating stop motion animation films. Animators use the remote live view of the camera to review critical details and make decisions within the Dragonframe software. Canon’s Stop Motion Animation firmware increases the Live View to 1920×1280 – helping animators see subtle movement for refined animation.
USB Manual Focus Peaking
Canon has added Manual Focus Peaking over USB to interface with Dragonframe software.
HDMI Output
Important information about EOS R Stop Motion Animation Firmware: * HDMI output is not available on the EOS R with this firmware installed * [Disp. performance] cannot be set * MF peaking will not show up even if [MF peaking settings] is set to [On] under the following conditions:
When an EF-S lens is used
When [Multiple exposure] is set
When [Cropping/aspect ratio] is set to an option other than [FULL]
When the shooting screen is magnified
When you keep holding down the shutter button after shooting
Apple has announced its new 13-inch MacBook Pro, bringing modest performances improvements and one physical improvement that should make keyboard warriors around the world much happier.
We’ll get to the specs in a minute, but first the most important update—the keyboard. Apple has eschewed its troubled ‘butterfly’ keyboard for its Magic Keyboard with this new 13-inch MacBook Pro. For nearly five years, Apple’s ‘butterfly mechanism’ keyboard has caused issues for MacBook owners, with individual keys sometimes becoming entirely non-functioning, causing all sorts of issues while typing. This transition means the ‘butterfly’ keyboard is no longer present in any of Apple’s laptops.
The physical ‘esc’ key is a welcomed change also.
In addition to the changes underneath the keys, Apple has also added a physical ‘Escape’ (esc) key to the left of the Touch Bar. On previous models, the ‘esc’ key was digital, located within the Touch Bar, a design decision that could wreak havoc if the Touch Bar glitched out or broke.
The updated 13-inch model is powered by Intel quad-core chips, with optional upgrades to configure the MacBook Pro with Intel’s 10th-gen CPUs that offer up to 2.3GHz per core and TurboBoost speeds up to 4.1GHz. Apple has also added the option to configure the 13-inch MacBook Pro with up to 32GB of 3733MHz LPDDR4X RAM and has doubled the base model storage to 256GB (with optional upgrades to increase it to 4TB).
If you upgrade to the $ 1,799 model, you’ll also get the latest Intel Iris Plus Graphics, which Apple claims will offer an 80% performance increase over the previous-generation dual-core MacBook Pros. In addition to improving overall graphic performance, models with Intel’s Iris Plus graphics will be able to power Apple’s Pro Display XDR at its full 6K resolution.
As for the laptop’s own display, the 13-inch screen supports P3 wide color gamut, offers a maximum 500 nits brightness and includes Apple’s ‘True Tone’ technology that automatically adjusts the screen’s white balance based on the ambient environment.
The base model starts at $ 1,299 and includes a 1.4GHz quad-core 9th-gen Intel Core i5 CPU, 8GB of RAM and 256GB of storage. However, if you’re planning on using this for editing photos or video though, we’d suggest you jump up to the $ 1,799 base model, which offers Intel’s 10-gen CPUs with the newer Intel Iris Plus graphics and 16GB of RAM. Further upgrades can be configured for additional costs, as usual.
You can find out more information about the latest 13-inch MacBook Pro models and browse through the different configurations on Apple’s website.
Panasonic’s FZ1000 II brings some significant updates to an already capable camera without messing too much with the basic formula: A solid 20MP 1″-type sensor, a Leica-branded 25-400mm-equivalent F2.8-4 zoom lens and great image quality. As we put the wraps on our final review of this latest Lumix, take a stroll with us through Knoxville, Tennessee under some beautiful spring sunshine. At least a 400mm-equivalent max focal length makes social distancing pretty easy.
In an alternate timeline New York-based photographer Aaron DuRall and his partner Whitney DuRall would have been gearing up for their busiest season of the year – wedding season. The couple have been photographing weddings together for eight years and typically make the bulk of their yearly income during Spring and early Summer. Of course, these are not the times we’re living in. Like many independent photographers, as COVID-19 began sweeping through the states, DuRall saw his work drop off quickly.
“We lost about about a third of the year, it’s pretty staggering,” he says.
DuRall, who also specializes in portraiture and documentary work, saw those gigs dry up quickly as well. For the last month DuRall has been isolating at home in his apartment in Ridgewood, Queens, churning out daily photos that are worlds away from the natural documentary style work that he typically creates. We caught up with DuRall over the phone to learn more about the inspiration for the brightly-colored, surreal frames that make up his COVID-19 Self Isolation series.
Tell me how you started your isolation photo project.
We began isolating on Sunday, March 15 and have been at home since. I knew I was going to be cooped up and I needed something to keep me occupied and stretching my brain – keep me busy and creating. I decided I was going to make photos every day, but it’s gone through an evolution.
Initially I thought I would photograph the neighbors when they were outside in their backyard from our back windows, or that I’d photograph from our front windows and capture people on the sidewalks and hanging out on their stoops. I thought I’d use an observational, bird’s eye view and a long lens, then I realized how limiting that would be. I have a view of one backyard and a view of four stoops. How can you photograph the exact same people every single day? Then I decided I’m just going to get weird using the objects that we have at home, and experiment with light, form and the human body.
Aaron DuRall
What is the planning process like for the daily shoots?
I start thinking about what I’m going to do tomorrow as soon as I stop shooting for today. It’s the mindset of ‘I got that idea out there, so what is the next one?’ I’ve been keeping notes in my phone so if an idea comes to me in the middle of the night or while I’m walking around the apartment I put it in my phone. Then I sketch them out in a notepad and figure out how I might enhance the idea through different objects and colors that I have access to in the apartment.
I start thinking about what I’m going to do tomorrow as soon as I stop shooting for today
I’m not going to lie, we lost the bulk of our livelihood for this year with the pandemic—April, May, June and July wiped clean—so I do spend extra time in bed every day. I get out of bed around 11:30, make a coffee and a blueberry waffle with peanut butter, and then come into the space, turn on my music and stare at my backdrop to try and figure out what the idea is going to be and how I’m going to facilitate it.
What’s in your home-studio setup?
Behind the scenes: Aaron’s home studio.
I’ve got a handful of seamless paper, some poster boards, a variety of gels and then just a bunch of silly props. For lights I’ve got two Alienbees B800s and a Canon 430EX speedlight. My camera is a Canon 5D Mark III.
During weddings you and your partner Whit are typically shooting alongside each other, what has her role been in these shoots while the two of you are quarantined at home?
Some days I make a photo 100 percent by myself and I won’t need help, but there are other concepts where I need to have her involved. I would say 70 percent of the time she is involved, sometimes that means being the subject of the picture, other times it’s having her flag lights, or even press the shutter for me. Whit’s usually sitting in the living room reading a book or working on emails while I’m in the office tinkering. The process has typically been when I’m at a point where I need her help with something she will pop in. I try to make it a quick process and not hold her hostage with this stuff.
Early on, day four or five of isolation I decided to light my hand on fire
A big part of what she is doing is sitting in as my subject. She’s very comfortable in front of the camera, awesome at taking direction and is great at helping me give these images that final pop. I’m lucky that Whit is super patient, and will generally participate in any of the ideas I have – there have been some moments that she hasn’t been too thrilled.
I’ve cut it from the series at this point, but early on, day four or five of isolation I decided to light my hand on fire – she wasn’t stoked on that for obvious reasons. You take the best precautions that you can, and there is a process to doing it as safely as possible, but she obviously wasn’t too thrilled about setting me ablaze inside of our apartment – which is very reasonable. She’s been really supportive, whether she is involved in the shoot or not.
Aaron DuRall
What is the post-processing process like for you?
It’s gotten more involved as the project has gone on. I was never big on post-cleanup and retouching, but I’m actually starting to enjoy it. These were skills that I didn’t have the best grip on going into isolation, and when I come out of this situation I feel like I’m going to have a lot more skills that are applicable to my freelance career.
Some of it is simple: removing artifacts from the backdrop and making sure that it has a consistent smooth look. The Invisible Man photo required a lot of compositing. I had to mask myself out of that and then I had to take additional photos of the inside of the collar of my shirt, the inside of my sleeves, the insides of my shoes and my beanie so that when I inevitably erased myself from this photo those things would be filled in and it would look authentic.
It’s been more post-processing than I’m used to, but I’m not mad about it. These projects are taking up a good amount of my day. I wake up, I spend a couple of hours tinkering, I spend about an hour shooting it and then I’ll spend about two hours retouching and editing.
I’ve felt like I’ve broken out of a shell and have started creating work that is so far from the body of work that I generally live within
What have some of your favorites from the series been so far?
I feel like each new day provides a new favorite, honestly. The ones that appeal to me the most are the ones that have some kind of erotic or sexual connotation to them. I’m primarily a portrait and documentary photographer, and so this has been really exciting, creatively speaking. I’ve felt like I’ve broken out of a shell and have started creating work that is so far from the body of work that I generally live within. Lots of color, lots of punch, lots of heavy shadows. These are things that I never really did before. I love them all, but I’m drawn most to the ones that have a subversive and sexual feel to them.
Why was it important for you to take such a different approach with this project?
I could have gone into this and taken a documentary approach, I did at first, but I think everyone is acutely aware of how scary this situation is – at least in New York. I would rather create an escape and give people a distraction from this, as opposed to creating something somber that is predicated on the weight of this moment.
I think it’s been great for my mental well-being, has kept me focused and kept me optimistic. Based on the feedback I’ve been getting online, it appears that this work is something that other people enjoy as well, and that’s the cherry on top for me. I make this work to make myself feel better, and if it’s somehow making someone else feel better that’s cool and I am lucky for that.
The post Review: Struman Optics Cinematic Lenses for Smartphones appeared first on Digital Photography School. It was authored by Lee Herbet.
The argument of whether smartphones can take good photos or not has been settled – they can! In this article, we are going to have a look at a set of lenses for smartphones from an Australian company, Struman Optics. While there are many lenses for smartphones on the market, I found a manufacturer that many, including me, had not heard of. Read on to find out how they perform.
I remember Scott Bourne once said on a podcast that when he was shooting a wedding, he had an “Uncle Bob” turn up with a “nicer camera” than his DSLR. And no matter what camera “Uncle Bob” was using, Scott could use his iPhone and still take better images. This was because Scott was a professional photographer with 30 years’ experience, and “Uncle Bob” was, well, “Uncle Bob.”
I totally agree with Scott’s sentiment. It’s the skills and years of experience behind the camera, rather than the camera itself that creates a beautiful image.
Having said that, thanks to the computational power of our smartphones these days, that gap is narrowing.
So, the next stage in this photographic evolution is what accessories we use to make our images from our phones even better.
Shot on iPhone 11 Pro with Struman 18mm wide lens
What are smartphone lenses?
In this article, I want to focus on a set of smartphone lenses I have been testing from Struman Optics. I’ve been trying out various brands for years now to either give me a bit more zoom, a wider shot, or the ever-fun macro function. They were always okay, but not optically amazing.
In the last 3-4 years, that’s changed with some really great glass coming out for smartphones. Unfortunately, you always get what you pay for, so these better lenses do cost a bit more than the cheaper ones we’ve seen over the years. But they’re still not going to break the bank.
The lenses that I’ve been testing over the last two months are Struman Optic’s Cinematic Wide, Cinematic Portrait, and Cinematic Macro lenses.
Struman Optics do make more cost-effective lenses that are more suited to purely photography, but since I am primarily a filmmaker, I got the Cinematic trifecta. Of course, they are great for photos too.
The wide is an 18mm f1.8 equivalent, and the portrait lens is 70mm f1.8 equivalent.
All three lenses attach via what has become a standard screw-on back. The portrait and wide lenses also have a 37mm front, which means you could actually attach standard filters such as a Circular Polarizer or Neutral Density filter.
What’s in the box
Before I go into some of the individual features of the lenses, let’s first look at what they come with. They each come with a travel pouch, cleaning cloth, and phone adapter. Struman Optics do make phone cases that allow you to screw your lens directly on too. I went with that option, but I really like that they have the phone adapter included. That means you can use the lens with any phone or, even dare I suggest it, tablet. (Please people, use your phones as cameras before you use your tablets.)
Using the adapter, which is kind of like a clip, means you could also use the lenses on the front camera of your phone for better quality selfies. ?
Build quality
The lens cases are nicely made. They are not too thick and have a good rubber grippy feeling. The thing that stands out for me is that the screw connection that you screw the lenses into seems to be solid metal. This is good, as I’ve had lens cases from other brands made of less sturdy stuff that breaks on me when trying to attach a lens. This happened to me while I was on a trip to Hong Kong, which meant I couldn’t use those lenses for the rest of the trip. Going by the feel of the Struman cases, it’s unlikely to happen.
Struman Optics lens case
The build of all the lenses is top-notch. They feel solidly made and have an aluminum casing. I appreciate that they come with a back cap as well as a front lens cap. I am not sure about the red ring around them, which I guess is a nod to bigger lenses with red rings. But most people I’ve shown them to have really liked it, so what do I know about design?
Why use them?
One of the first things you may be thinking is, “why would I need these now that most new phone cameras come with 3 lenses: an ultra-wide, a wide and telephoto lens?”
Well, not all lenses are created equal.
For example, the ultra-wide on the iPhone 11 Pro doesn’t feature the pretty amazing low light feature that the wide and telephoto lenses have. So, if you want to take an ultra-wide shot in the dark, you could put the Struman wide on your wide, get the advantage of the low light feature and still have an ultra-wide image.
In the same way that sometimes the tele just isn’t tele enough, adding the portrait lens to the tele gives you even more reach.
One thing to note is that if your phone has an ultra-wide lens, then the lenses will most likely not cover the entire lens as it’s just too wide. You can get some interesting-looking shots with the lenses on the ultra-wide, though, so it may be worth a try!
Shot on iPhone 11 Pro with Struman 18mm wide lens
Finally, that brings us to the macro lens. This has a feature that I’ve asked Struman Optics to add to all of their Cinematic lenses. The macro lens has a focus ring!
Struman Optics 22-82mm Macro lens for smartphones has a focus ring so that you can “pull focus.”
Again, you may be asking, “what do you need a focus ring for when the autofocus on the smartphones is so good?” Well, that’s true, but your autofocus won’t always focus on the thing you want to focus on when you’re super close, such as with a macro shot.
Shot on iPhone 11 Pro with Struman Macro lens
The reason I’d love to have the focus ring on the other two lenses is for when I want to a focus pull when making videos. That’s when you adjust your focus from one subject in your shot to another.
Autofocus can do that, but you can’t tell the autofocus how fast or slow to do it, so having that focus ring would be great for that type of creative control in video.
One thing to be aware of is that if your phone has more than one lens, then you may have to use a third-party photo app to force the camera to use the phone lens that has your external lens attached. A few of these apps are Procam, Halide and Manual – all have their pros and cons.
Both the wide and portrait cinema lenses are $ 249 AUD and the macro is $ 199 AUD. Struman Optics also has a series of cheaper lenses focused more on pure photography. They are available from their website www.strumanoptics.com.au, and, yes, they ship all over the world.
Have you used these or any other lenses for smartphones? How have you found them? Let us know in the comments section!
Shot on iPhone 11 Pro with Struman zoom lensShot on iPhone 11 Pro with Struman 18mm wide lens
The post Review: Struman Optics Cinematic Lenses for Smartphones appeared first on Digital Photography School. It was authored by Lee Herbet.
DisplayPort logo on a USB Type-C device notes VESA certified DisplayPort Alt Mode support.
The next-generation USB protocol will combine its functions with those of a DisplayPort, allowing users to run extreme resolution monitors or to connect and power external devices from the same port type.
The Video Electronics Standards Association (VESA) has worked alongside the USB Implementers Forum (USB-IF) to develop the DisplayPort Alternative Mode standard which ‘provides seamless interoperability with the new USB4 specification.’ This new functionality means the new USB 4 standard will be able to take on all the roles of the forthcoming DisplayPort 2.0 standard.
DisplayPort Alt Mode will allow users to not only run high-resolution monitor from a USB-C socket but also transfer data and deliver power to external devices
As reported in July 2019 DisplayPort 2.0 will provide communication speeds of up to 70 Gigabits per second (Gb/s) to allow users to run monitors with resolutions up to 16K at 60fps, as it will offer three times the current data rates of DisplayPort 1.4.
The new USB 4 standard, however, will allow up to 80 Gigabits per second, which DisplayPort Alt Mode will be able to take advantage of via the USB Type-C connector. As much as these speeds are exciting for those interested in super-resolution monitors that don’t yet exist, for the majority, it means being able to run multiple high-resolution screens and data-hungry devices at the same time, all without sacrificing frame rates.
We should expect to see devices supporting these new standards by 2021, according to the press release. For more information see the DisplayPort and USB-IF websites.
Press release
VESA Releases Updated DisplayPort™ Alt Mode Spec to Bring DisplayPort 2.0 Performance to USB4™ and New USB Type-C® Devices
The Video Electronics Standards Association (VESA®) today announced that it has released version 2.0 of the DisplayPort™ Alternate Mode (“Alt Mode”) standard.
DisplayPort Alt Mode 2.0 provides seamless interoperability with the new USB4™ specification published by the USB Implementers Forum (USB-IF), and fully enables all of the features in the latest version of the DisplayPort standard (version 2.0) through the USB Type-C® (USB-C) connector. With DisplayPort Alt Mode, the USB-C connector can transmit up to 80 Gigabits per second (Gbps) of DisplayPort video data utilizing all four high-speed lanes in the cable, or up to 40 Gbps with simultaneous SuperSpeed USB data delivery. VESA anticipates first products incorporating DisplayPort Alt Mode 2.0 to appear on the market in 2021.
DisplayPort 2.0, which was introduced in June 2019, provides up to a 3X increase in data bandwidth performance compared to the previous version of DisplayPort, as well as new capabilities to address future performance requirements of displays. These include beyond-8K resolutions, higher refresh rates and high dynamic range (HDR) support at higher resolutions, improved support for multiple display configurations, as well as improved user experience with augmented/virtual (AR/VR) displays, including support for 4K-and-beyond VR resolutions. Featuring the highly efficient 128b/132b channel coding shared with USB4, DisplayPort 2.0 delivers a maximum payload of 77.37 Gbps across four lanes (up to 19.34 Gbps per lane)—supporting ultra-high display performance configurations such as an 8K (7680×4320) display with 60 Hz refresh rate with full-color 30 bpp 4:4:4 HDR resolution uncompressed, and 16K (15360×8460) 60 Hz display with 30 bpp 4:4:4 HDR resolution with compression. With the release of DisplayPort Alt Mode 2.0, all of these high-performance video capabilities are now available to the USB ecosystem.
“VESA’s updated DisplayPort Alt Mode spec includes a number of under-the-hood developments—including updates to interface discovery and configuration as well as power management—to ensure seamless integration with the USB4 specification,” stated Craig Wiley, senior director of marketing at Parade Technologies, and VESA board member and DisplayPort Alt Mode sub-group leader. “This major undertaking, which was several years in the making, could only be made possible through the combined efforts of VESA and the USB-IF. Through our latest collaboration with the USB-IF, VESA is now taking care of everything related to high-performance displays over USB-C, whether through a native DisplayPort or USB-C connector, or through tunneling of DisplayPort over the native USB4 interface. DisplayPort is also tunneled through the Thunderbolt interface, making it the de facto video standard across PC and mobile displays.”
“USB Type-C is becoming the connector of choice in notebooks and mobile solutions. With the new DisplayPort Alt Mode 2.0 specification, USB Type-C now delivers compelling single-connector solutions for docking, gaming, AR/VR HMDs, and professional HDR displays that combine 80 Gbps of video bandwidth and other important features of DisplayPort 2.0 with the transport of USB data and power delivery,” said Syed Athar Hussain, VESA board vice chairman and display domain senior fellow, AMD.
“Intel’s contribution of the Thunderbolt™ PHY layer specification to VESA for use in DisplayPort 2.0 was a significant milestone, and it underpins this new DisplayPort 2.0 Alt Mode specification to provide data rates up to 20 gigatransfers per second,” said Jason Ziller, general manager, Client Connectivity Division at Intel. “This contribution ensures great user experiences by enabling today’s most versatile port with the highest performing display capabilities.”
The Mavic Air 2 is a great all-around drone for almost anybody, but how are its photos? We shot Raw and JPEG images at both 12MP and 48MP, as well as ‘SmartPhotos’ that promise improved image quality. Compare the results in our sample gallery.
Did you miss our full review of the Mavic Air 2? You can read it here.
Reader responses part two – gear that changed my life
Photo of Canon AE-1 by DPR member WoifC
We’ve compiled more of our favorite responses to the question we’ve been asking – both of ourselves and our readers – “What was the piece of gear that made the biggest difference to your photography?” We enjoyed reading all of your stories and have picked out a few of our very favorites to highlight.
This time around, we saw many responses expressing gratitude toward the person who inspired them to pursue photography, in addition to the gear that made the difference. There were also several responses naming the books that changed their photographic lives, which is a sentiment we can definitely get behind.
Reading your answers to this question has been a true joy in times when joy has been harder to come by than usual. We’re grateful to share in the remembrances of the people, books, cameras and lenses that spurred each of our readers further down a path pursuing photography. Thanks to all who took the time to respond, and if you haven’t yet it’s not too late! Leave a comment and tell us your story.
Pentax K10D
Doc Pockets: I was to take a 15-week road trip in a quest to photograph what most will call lousy winter weather. A 1996 4X4 F350 with a service body took us from the Sonoran Desert (home) to and across all the Canadian provinces ending in the Maritimes then driving down the American East Coast…. Three bodies, two DA* 2.8 zooms and a wide prime was chosen.
Drenched in downpours (Vancouver Island), blizzard -blasted (Cabot Trail), sand-blasted (Lake Superior’s shorelines) and one spent two hours with the 50-150mm 2.8 DA* attached in 20 feet of silty water (thanks to my sister) without the slightest problem. To this day those cameras work!
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‘My friend Peter’
JeffieBoy: He is about 5 yrs older than me and for 40+ years has been a mentor and someone I have looked up to. The first time we met, he walked into the room and mumbled something like F5.6 under his breath.
He later explained that he was teaching himself to quantify light In his mind’s eye so he would always be ready to get a good exposure. I practised for a month or more and eventually got very good at it… My cameras were always ready because I was unconsciously presetting everything as light changed.
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Michael Reichmann
Chris Butler: It wasn’t an “it” but a “who” that changed my concept of what I could do with with a camera. Specifically, it was Michael Reichmann’s 2000 comparison of digital images to film, in which he had the audacity to prove the 3 megapixel D30 could produce images as good or better than film. I sold all my considerable film gear and never looked back. Well done, Michael, and RIP.
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Pentax SFXn
Photo of Pentax SFXn by DPR member arthur01
arthur01: …the game changer for me, as a wedding photographer using film, was the underrated Pentax SFXn. It was the first time I used autofocus. As a person wearing glasses and struggling to achieve sharp focus as it got dark towards the end of the after ceremony shots it made all the difference. It prolonged my wedding career.
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‘The New Joy of Photography’ (1985 edition) by the Editors of Eastman Kodak Co.
donnybrook: I was a young field engineer that had just bought a used Minolta XG-7 and a few lenses off a colleague to upgrade my point and shoot film camera. That book basically taught me photography and I would review it before going on vacation trips with my film SLR for years. Not just aperture and exposure compensation but balance, composition, vision and light. Lots of great shots to admire and motivate.
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Nikon D5300
Photo by DPR member Aphidman with Nikon D5300
Aphidman: In 2013 I discovered that 35mm film could not be found outside of cities, and realized it was time to change technologies. Used Air Miles points to get the D5300. It re-ignited my love of photography that had been dormant since my teenage years. Used it to discover what kinds of photography I enjoyed most; 4 years later, upgraded to a D7500… which addressed all the things that held me back with the D5300. An adult daughter now uses that D5300, for which I will always have fond memories.
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Nikkormat Ftn
Photo via Wikimedia Commons by E Magnuson
CTaylorTX: It was January 15, 1972. Fairhaven Camera in East Haven, CT. I was 16, and had saved for a year and was ready to buy my first 35mm SLR. The man behind the counter had already loaded the batteries into a Pentax Spotmatic SP1000. My mom looked at me and said “I have another $ 50, is there something you would like better than this?” I pointed at a Nikkormat Ftn with 50mm f/1.4 Auto-Nikkor – “yes, that!” … While I still love the Pentaxes, the Nikkormat opened the doors to shooting Nikon for the next two decades.
Oh, yes, how do I know the exact date? On the ride back home, the car’s A.M. radio informed me that ‘American Pie’ was now #1 on ‘America’s Top 40’. Thanks for the memory, Kasey Kasem.
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Canon TS-E 17mm F4L
Photo by DPR member John Crowe with Canon 17mm F4 L TS-E
John Crowe: After striving to improve my ultra wide angle photography for 25 years, through three different formats, I sold the 4×5 and 120 cameras and went all in on the Canon 17mm f4 L TS-E. That was almost 10 years ago, and soon realized that not only could I correct perspective but that I could also shift and stitch images together to create even wider views! It took a couple more years for the stitching software to catch up, but once it did, I could achieve the kind of results that I had been searching to create for decades.
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Sony a6000
Photo by DPR member Luddhi with the Sony a6000
Luddhi: …I was rarely taking my camera out as it was too heavy to take bush-walking so I pestered my local camera shop trying out all the lighter cameras until – against the advice of the shop, I bought a Sony a6000. This changed my life. I was able to carry it in my jacket pocket.
I carried it in my hand for about 6 hours through Washpool National Park after I tore my jacket pocket. I could take satisfactory photos one handed – important when holding onto a tree to lean out and take a shot of a ravine. Also whereas my grandchildren would flinch when they saw me with the 50D they practically ignore(d) the a6000. So I now have some good and some funny shots of my grandchildren that I otherwise would not have got.
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Canon AE-1
Photo by DPR member WoifC taken with the Canon AE-1 and Ilford FP4
WoifC: When I was 6 or 7 years old, my mother gave me a Canon AE-1 no one used… There was no film in it and I walked around, tried to focus on anything I found interesting and was soooo proud that I was allowed to push the shutter release button. That’s 30 years ago but I still remember that day and know that this was the day I fell in love for photography.
My son is now 8 years old (since Monday) and loves to take photos too. Sometimes he asks me to borrow my X-T2… and walks around taking photos like I did when i was as old as him. Maybe we will share this hobby when he is older. I hope so.
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Speed Graphic
Photo of minor league baseball images created by DPR member SRHEdD using 35mm and Speed Graphic cameras
SRHEdD: I worked for a rural ad agency and shot 35mm Nikons, but we hired a photographer with a Sinar 4×5 from a larger metropolitan area at great expense. On vacation, I saw an old Speed Graphic in its fiberboard case with two lenses and a half dozen film holders for $ 200 at an antique shop. It worked perfectly. I bought a Polaroid back when I got home and instantly replaced having to hire anyone else.
I shot food for a major poultry company, team photos for a minor league baseball team, and some great still lifes used for our clients’ annual reports, etc. I think it was then that I was comfortable calling myself a professional photographer.
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Foba camera stand
Photo of DPR member Jim Kasson with Foba camera stand
Jim Kasson: Lots of gear has allowed me to do things I couldn’t otherwise do. I couldn’t have done Staccato before the D3. I couldn’t have done much of Timescapes without the Betterlight scanning back. But the piece of gear that has changed my life the most in the past few years is a Foba camera stand. Setups that were a pain are now effortless.
The post 5 Post-Processing Effects to Instantly Enhance Your Photos appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Do you want some quick and easy ways to improve your images with post-processing effects?
Look no further.
Because this article will give you 5 excellent post-processing effects to take your photos to the next level, instantly. And best of all: You can use them in pretty much any editing program and on pretty much any photo!
Sound good?
Let’s dive right in.
1. Increase the contrast and saturation for more powerful photos
This effect is extremely easy, and yet sometimes easy is best:
Boost the contrast.
And then boost the saturation.
Because here’s the thing:
Most photos suffer from a lack of tonal contrast and a lack of color richness. This makes the photos look flat. They look uninteresting. They’re, well, boring.
But they can be quickly and easily spiced up…
…by doing a little work with the contrast and saturation sliders.
This image required a bit of a saturation and contrast boost before it really popped.
Note that pretty much every photo editing program offers both of these options in a basic form, though, you can choose to selectively edit tones and colors, as well. And while there’s definitely value in doing more careful tonal editing (via a curves adjustment, for instance), I like to start with the basic contrast slider. It gives me a sense of what the contrast will do to my image, and it’s a great starting point.
The same is true of the saturation slider. Sure, it’s possible to do more advanced adjustments by selecting individual colors. But it’s not necessary for this editing step. Instead, just push up the saturation slider a tad, and see how it looks.
Now, when working with the saturation slider, you do have an alternative:
Vibrance.
Vibrance is a smart saturation. It enhances colors by selectively saturating colors that are less saturated, while also leaving skin tones alone. So if you’re hoping for a more subtle look, the vibrance slider may be the way to go.
I boosted both the contrast and vibrance to make this image stand out.
(In fact, feel free to try both. There’s no reason not to experiment!)
At the end of the day, it pays to start with basic edits (such as contrast and saturation). Just a little bit of editing can go a long way!
2. Pull up the darker tones for a nice cinematic fade
This is one of my favorite editing effects, however, it’s very easy to overdo (so be careful).
It’ll give you a faded, cinematic look, like this:
Start by accessing your tone curve, and placing points at the center and toward the bottom left:
Then carefully drag up the end point, watching the darkest areas of your photo as you do.
When you do this right, the deepest blacks in your photos will lighten, giving you a beautiful fade.
You can also experiment with the amount you actually pull up the tone curve (the more you pull, the stronger the effect). And you can try pulling down the tone curve just before the leftmost edge, to create a more contrast-heavy look:
The key is to experiment and see what you can come up with. No look is necessarily better than the others, just different. So test out many possibilities; you can even create presets out of your favorites.
3. Split tone with blues in the shadows and gold in the highlights
Split toning is all the rage in photography these days, especially with more fashion and portrait-focused photography (though you can definitely use split toning in landscape, street, and most other forms of photography). The idea is that you add different colors into the highlights and the shadows, giving a more creative feel to the image.
Here’s the split-toned look:
Do you see how the shadows are slightly bluer, and the highlights are slightly gold? While this is a look that is often overused, it can be a great addition to your photos when used with restraint.
In fact, I recommend you use the split tone I’ve previewed above as a starting point:
Blue shadows, gold highlights.
From there, you can start experimenting with other split tone options: yellow shadows, green highlights, orange shadows, teal highlights, even pink highlights, blue shadows (and so much more!).
Many of the best split tones use complementary colors (colors that sit opposite one another on the color wheel). Complementary colors contrast heavily with one another, which adds impact and depth to your photos, hence the popularity of those split-tone combinations. But bear in mind that you can also use analogous colors, which sit next to one another on the color wheel and bring a sense of harmony to your photos (blue and green are a great example).
In fact, the key to split toning is to think about the mood you want to evoke, and then choose color combinations that convey that mood!
Note that split toning is offered by most editing programs, but it may be a bit difficult to find. For instance, Lightroom puts its split toning panel just above the Detail module:
Once you’ve found it, have fun experimenting!
4. Selectively saturate the blues and greens for added impact
I’m a huge fan of selective color editing.
Why?
Because it allows you to both simplify and enhance the composition, which results in better, more powerful compositions overall.
Plus, it can just look plain cool.
Generally speaking, it can pay to selectively saturate the colors of your subject, especially if your subject is struggling to stand out against a colorful backdrop.
(Note that you can also desaturate the background colors, or even do both at once for an enhanced effect.)
But for a really neat effect, I recommend you focus on two specific colors:
Blues and greens.
That’s what I did for the image below:
You see, blues and greens tend to look really, really good when saturated more deeply. They’re not close to skin tones, so you don’t have to worry about messing up portrait shots. And they’re mostly in the background, so they just add a bit of pizzazz to your photos.
Of course, saturating blues and greens won’t always look good. There are situations where it just won’t work.
But generally speaking, richer blues and greens will serve to enhance your photos.
Now, to do selective color adjustments, you’ll need to work with individual colors. In Lightroom, this requires using the HSL sliders in the Develop module.
Just remember:
Don’t saturate just to saturate. Instead, do it if it improves your photos. Saturated blues and greens are nice, but only to a point. As with any good post-processing effect, don’t get carried away!
5. Use exposure gradients to add depth to your photos
Exposure gradients aren’t difficult to pull off, but many photographers never bother to learn how to create them.
Which is absolutely a mistake, because exposure gradients can take your photo from boring to life-like in two seconds flat.
First things first:
An exposure gradient simply lightens or darkkens a part of your photo in gradient fashion. So the effect gradually dissipates as it moves across your photo. Like this:
Now, this may seem like a silly effect, but think about what you could do if you put the gradient in the corner, just below where the sun sat in the sky. You’ll get an artistic, flare-like result.
Neat, right?
You can get even better results by warming up the gradient. That way, the light is slightly golden:
Flare-like effects are cool, but my favorite thing about gradients is how they add depth to images. The gradient gives an element of three-dimensionality that’s hard to produce otherwise, and for that reason alone, gradients are worth trying out.
Here’s the bottom line:
While you won’t always end up using the exposure gradient in your final image, it’s often worth a try. Because gradients can make a huge difference to your photos.
Plus, they’re very cool!
5 post-processing effects to instantly enhance your photos: Conclusion
Hopefully, you now feel like you can do a lot with post-processing, even if editing isn’t your strong suit.
And, as I said, these effects aren’t actually hard to use. Just give yourself a bit of time to learn how to produce the effects, then start practicing.
You’ll soon be processing gorgeous photos!
Do you have any other post-processing effects tips you’d like to share? If so, please share them with us in the comments. We’d also love to see your post-processing effects results, so feel free to share those too.
If you are interested in further post-processing tips, why not try out Jim Hamel’s Lightroom course.
The post 5 Post-Processing Effects to Instantly Enhance Your Photos appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post Creative Photography Exercises to do at Home (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
If you are stuck at home and bored, why not try some of these great creative photography exercises to get you upping your photography skills and relieving your boredom at the same time?
You can do so with this great video from our friends over at Cooph, who have gone to the effort of compiling some of their great at-home creative photography exercises into one video.
Some of the techniques include:
Photography with Food and drinks – using things like coffee, avocados and more.
Kitchen Views – inside the fridge, using your sink, dishes and cutlery. Using your cupboards as black boxes. Explore food coloring and dish soap.
Make funky installations – use projections from your computer onto people or objects and photograph them. Use colored gels on your camera or lighting gear.
Office visions – Use a lens ball and text, use office items in an unusual way. Draw your own props to photograph.
So try out some of these exercises and share your results with us in the comments below!
You may also like:
7 Ideas for Creative Lens Ball Photography
Stunning Photo Ideas Using Coffee
6 Methods to Create Dynamic in Your Photography
Challenge Yourself by Photographing One Object
5 Fun Tips for Photographing Water
10 Photography Projects You Can Work on From Home
Stuck at Home? – Ways Still Life Photography Can Keep Your Skills Sharp
10 Things You Can Photograph in Your Home
Exploring Your Home with Close-Up Filters
The dPS At-Home 7-Day Photography Challenge – Week Four
The post Creative Photography Exercises to do at Home (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.