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  • 9 Solutions for Common Camera Mistakes Beginners Make

    The post 9 Solutions for Common Camera Mistakes Beginners Make appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

    dps-common-camera-mistakes featured image

    One of the most common camera mistakes beginner photographers make is to not learn to use their new camera well. Photography is about the only art-form you don’t need to practice to get a half-decent result.

    Woman with a DSLR camera illustrating common camera mistakes
    © Kevin Landwer-Johan Nikon D800, 50mm f/1.4, 1/320 sec, f/2.8, ISO 500, Manual Mode, Pattern Metering.

    You can pop a battery in your brand new camera, turn it on and set it to one of the scene modes and take a picture. Most often, the photo will be reasonably well exposed – not too light or too dark. You might be pretty happy with the results and initially think you don’t need to learn much to be able to take photos.

    Buying your first musical instrument or learning to paint will be much more challenging. Most people can’t pick up a guitar and play a tune without having some understanding of music theory. Most people certainly couldn’t play a recognizable tune without practicing. To learn to use your camera well, you must also practice with it.

    1. Out of focus

    One of the most common camera mistakes is poor focusing. Out-of-focus photos can’t be fixed during post-production. The only solution is to make sure you get your main subject sharp when you are taking your photos. Check that your auto-focus indicator is precisely where you want it to be before you press your shutter button.

    I prefer to use single-point focus rather than multi-point focus. This allows me to choose exactly what part of my composition will be the sharpest. This is particularly important when you use very wide aperture settings, as the depth of field is so shallow.

    Rooster isolated by DOF for common camera mistakes
    © Kevin Landwer-Johan. Nikon D800, 85mm f/1.4, 1/400 sec, f/1.4, ISO 100, Manual Mode, Spot Metering.

    2. Poor exposure

    Underexposed and overexposed photographs are disappointing. Pay careful attention to your exposure as you are setting your camera up to take a photo. Make sure your main subject is being well exposed. This can be challenging in certain lighting conditions.

    Backlighting your subject can often mean the camera will underexpose it. You need to adjust your exposure settings so your main subject looks the way you want it to. This may be different than how the camera’s exposure meter determines it to look.

    novice monks meditating - common camera mistakes
    © Kevin Landwer-Johan. Nikon D800, 35mm f/1.4, 1/125 sec, f/3.2, ISO 1000, Manual Mode, Pattern Metering.

    3. Wrong white balance

    Getting the wrong white balance means your photos will have an unnatural-looking color cast to them. The most practical fix for this is to use the auto white balance setting on your camera. This is the only auto setting I use most of the time because it’s most often correct.

    Using manual white balance it’s very easy to forget to alter it. Even when you do, the setting you choose may not be the best when the light changes slightly. Using auto white balance can help you overcome one of the most common camera mistakes.

    Mountain sunrise for common camera mistakes
    © Kevin Landwer-Johan. Nikon D800, 105mm f/2.8, 1/250 sec, f/8, ISO 400, Manual Mode, Pattern Metering.

    4. Motion blur

    Using a faster shutter speed is the solution to unwanted motion blur in your photos.

    Learning what shutter speed to use when photographing moving subjects is important. A person walking will not require such a fast shutter speed as a person running fast will.

    Be aware of the relationship between your shutter speed and the speed of movement you want to capture. This will help you alleviate this problem.

    Asian woman on a city walkway with motion blur - common camera mistakes
    © Kevin Landwer-Johan. Nikon D700, 50mm f/1.4, 1/6 sec, f/16, ISO 100, Manual Mode, Pattern Metering.

    5. Camera shake

    Some people can handhold a camera at slower shutter speeds than others. Once the shutter speed is so slow you are experiencing blurring in your images, you need to make some choices. Either adjust your exposure controls so your shutter speed is faster, or use a tripod.

    Male photographer
    © Kevin Landwer-Johan. Nikon D7100, 35mm f/1.4, 1/80 sec, f/5, ISO 200, Manual Mode, Pattern Metering.

    6. ISO is too high

    One of the other common camera mistakes I see people making is using an ISO setting that is too high. Using a very high ISO, you will see digital noise, lack of contrast, and flatter colors in your photos.

    The solution is to keep your ISO as low as possible. This will mean you get the best technical quality photos with the best color, contrast, and the least noise.

    7. Dead battery

    Always make sure you charge your batteries before you head out with your camera. Carrying fully-charged camera batteries is always a good idea. You never know when you might come across some fabulous event or happening that you want to photograph. Save yourself the disappointment of a dead battery by having some extra ones in your camera bag.

    Woman at an out door shopping mall taking a photograph.
    © Kevin Landwer-Johan. Nikon D800, 35mm f/1.4, 1/400 sec, f/2, ISO 100, Manual Mode, Spot Metering.

    8. Card full

    Being busy taking photos and all of a sudden not being able to is very frustrating. This is what can happen when your card is full. Make sure to off-load images on your card and format it after each photo session. This will mean you always have the maximum amount of space on your card.

    Having some extra cards with you is a good backup strategy too. Finding your card full half-way through the day is so disappointing when you don’t have a spare.

    You can always start deleting photos from your card. This is slow and you might make a mistake and delete a good image. Doing this in-camera, the process is irreversible and your images will be lost.

    Thai drama action - common camera mistakes
    © Kevin Landwer-Johan. Nikon D800, 105mm f/2.8, 1/250 sec, f/4, ISO 6400, Manual Mode, Pattern Metering.

    9. Always on Auto

    Always having your camera on one of the auto or scene settings is another of the most common camera mistakes I come across.

    Most people who take our photography workshops come with their cameras on Aperture Priority because it’s easy. This is not a good reason to use this setting, and they are not happy with their photos. They know they are not getting the most from their camera.

    The solution I encourage them to use is switching to manual mode and sticking with it. There’s no point in using manual mode only occasionally. If you do, you are unlikely to ever master it. If you commit to it, you will pick it up in no time. You will also begin to think differently about your photography in regards to light, exposure, and composition.

    people in an old passage
    © Kevin Landwer-Johan. Nikon D700, 20mm f/2.8, 1/100 sec, f/2.8, ISO 2000, Manual Mode, Pattern Metering.

    Conclusion

    Not all common camera mistakes result in ruined photos, but they can. Being aware of how you are setting your camera and the choices you make will help you overcome these problems.

    Slow down and be mindful of what you are doing. Plan your photo session, and make sure you are well prepared for anything that might come up. Know your camera well, like a best friend.

    The post 9 Solutions for Common Camera Mistakes Beginners Make appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


    Digital Photography School

  • How to Make Money With Photography and How Much Can You Expect

    Live your passion. That’s what you’d like to do, right? Spend your days doing what you enjoy? Unfortunately, you gotta eat and do adulting things like paying bills. For that, you need money and your passion might not be good enough. Or is it? There are many ways to turn your passion for photography into an income stream. None of Continue Reading

    The post How to Make Money With Photography and How Much Can You Expect appeared first on Photodoto.


    Photodoto

  • DJI announces the Mavic Air 2 with 4K/60p capture, ActiveTrack 3.0 and more

    DJI has announced the Mavic Air 2, the newest compact, folding drone in DJI’s growing lineup. In addition to new hardware, both inside and out, the drone also features new fly modes for simplifying the flight process.

    At the heart of the Mavic Air 2 is a 48MP 1/2” Quad Bayer CMOS sensor that’s capable of recording 4K video at up to 60 frames per second (fps) with a 120Mbps data rate. When dropped down to 4K/30p, the Mavic Air 2 can record HDR video while a slow-motion mode can max out at 240 fps when shooting at 1080p. DJI has also included a new Hyperlapse feature that will result in 8K video using one of four flight modes: Free Movement, Circle, CourseLock and WayPoints. This isn’t the true 8K capture the Autel EVO II drone has promised, but it is 8K and we’re still yet to see the EVO II hit the market.

    On the stills front, the Mavic Air 2 can capture 12MP stills with a special 48MP supersampling option that uses the drone’s three-axis gimbal to help compensate for movement in-between frames. A new ‘SmartPhoto’ capture mode will also snap 12MP stills using one of three image capture options that DJI says uses ‘advanced scene analysis and deep learning to automatically choose one of [the shooting modes].’

    The first of the three shooting modes is HDR, which will snap seven photos at various exposures and merge them together to optimize the dynamic range in an image; the second mode is Hyperlight, which is a low-light mode that will take multiple photos and merge them together to create a single image with less noise than would be possible with a single image; the third and final mode is the ‘Scene Recognition’ mode that will automatically analyze the scene and select from one of five presets (sunsets, blue skies, grass, snow, and trees) to apply to the image to bring out the best of the scenery.

    DJI is using new motors and electronic speed controllers (ESCs) in combination with improved battery technology to offer up a maximum flight time of 34 minutes on a single charge. This benchmark is also helped by a more aerodynamic design and lighter weight, with the device weighing just 570g (1.26lbs).

    Transmitting live video from the drone to a mobile device is done with DJI’s OcuSync 2.0 protocol, which has been updated to support both 2.4GHz and 5.8GHz frequency bands, as well as an auto-switching feature, to offer a maximum range of 10km (6.21 miles) when unobstructed. Also included in the Mavic Air 2 is Advanced Pilot Assistance System (APAS) 3.0, which is a new obstacle avoidance technology that will recognize when an object is in the drone’s flight path and reroute the drone accordingly. DJI says this new version uses 3D mapping to ‘[aid] in smooth transitions and more fluid movements around objects even in highly complex environments.’

    A sample photo captured with the Mavic Air 2, provided by DJI.

    AirSense technology has also been included, which uses ADS-B aviation technology to help warn drone pilots of other nearby aircraft by displaying messages on the pilot’s screen, making sounds and vibrating with compatible mobile devices. DJI does note though that due to supply chain shortages caused by the COVID-19 pandemic, only Mavic Air 2 units sold in North America will feature the ADS-B transponder; units sold in other regions will be identical in every other regard. No timeframe is given as to when this discrepancy between units could change.

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    The Mavic Air 2 also features a number of AI-powered features, including ActiveTrack 3.0, Point of Interest 3.0 and Spotlight 2.0. Below is a breakdown from DJI explaining each of the three modes:

    • ActiveTrack 3.0: Select a subject for Mavic Air 2 to automatically follow. The third iteration of ActiveTrack uses state-of-the-art mapping technology and new flight path algorithms to offer improved subject tracking and obstacle avoidance, along with the ability to quickly re-engage the subject if it temporarily moves behind an object.
    • Point of Interest 3.0: Set an automated flight path around a specific subject. The updated iteration improves surface recognition to better dynamically track subjects.
    • Spotlight 2.0: Found in professional DJI drones, Spotlight locks a subject in the frame while the user has free operation of the drone’s movement.

    The Mavic Air 2 will be made available in China starting today, while other regions should see the first units hitting store shelves in mid-May for $ 799. This ‘standard’ kit will include the Mavic Air 2, one battery, the remote controller and all necessary cables. A new Fly More option, which will include everything in the standard version as well as a shoulder bag, ND filters, a charging hub and three additional batteries, will retail for $ 988. Other optional accessories include propeller guards, protective cases and a tablet holder. You can find out more information about the Mavic Air 2 on DJI’s product page.

    Articles: Digital Photography Review (dpreview.com)

  • Kinefinity’s new MAVO Edge cinema camera can shoot 8K ProRes Raw internally at up to 75 fps

    Cinema camera manufacturer Kinefinity has announced the MAVO Edge, an 8K cinema camera with the ability to record ProRes RAW internally.

    At the heart of the MAVO Edge is a newly-designed 44.7-megapixel 36mm x 24mm full-frame CMOS sensor that can record 8K ProRes RAW at up to 75 frames per second (fps) and features dual native ISO of 800/3200. It can also record 8K Open Gate (8192 x 5460 pixels) at up to 48 fps, 6K up to 100fps (in Super 35 mode) and 5K up to 120 fps (in Super 35 mode). Powering all of this data is a new processing engine, which helps to pull up to 14 stops of dynamic range from the sensor and minimizes rolling shutter to just 12ms when shooting 8K full-frame (9ms in Super 35 mode).

    Illustration showing what section of the MAVO Edge’s full-frame sensor is used depending on the capture mode.

    All of the data is recorded to KineMAG Nano cards, which are now built on NVMe M.2 SSD. The MAVO EDGE uses two KineMAG Nano slots, which can record at up to 10Gb per second thanks to its PCIe 3.0 protocol. The two card slots can record identical footage for redundancy or record separately for times when you need to shoot original footage and proxy footage. Kinefinity isn’t keeping its KineMAG Nano drives exclusive either; the company will also be selling KineMAG Nano enclosures so you can use any third-party NVMe M.2 SSD with the camera.

    Kinefinity has also included a motorized electronic neutral density (ND) filter, which lets you steplessly dial in the strength between 0.6 and 2.1 ND (2–7 stops of light) in 0.01 stop increments. As for inputs, the camera features two 3G/1.5G SDI ports, Timecode IN/OUT (5-pin), BNC Genlock, 12V RS Output (three-pin), a seven-pin sync port, an R45 Ethernet port, a 12V D-Tap Out a 3.5mm headphone jack a USB-C port and more.

    The MAVO Edge uses Kinefinity’s KineMOUNT, which uses adapters to offer compatibility with PL, LPL, Active EF and passive Sony E-mount lenses. Kinfinity has also included an internal three-axis gyroscope for recording the camera’s positioning during filming, but it’s not clear how this information will be used at this time. GPS and Bluetooth 5.0 support is also included.

    All of this is housed inside an aluminum alloy frame wrapped in a carbon fiber case . It measures in at 10.5 x 12.1 x 11.9 cm (4.1 x 4.8 x 4.7?) and weighs 1.2kg (2.6lbs). Powering the camera can be done via its two-pin DC input or via batteries via the hybrid battery plate, which can power the camera with either V-mount or Sony BP-U batteries.

    The MAVO Edge will retail for $ 11,999 with an expected release in September 2020. The camera is currently available to pre-order through Kinefinity’s website, with a $ 149 deposit. Newsshooter has written up a thorough post diving into the specs and comparing it with similar cinema cameras on the market.

    Articles: Digital Photography Review (dpreview.com)

  • Elon Musk reveals how SpaceX will address light pollution caused by Starlink satellites

    Following the successful launch of its Starlink 6 batch of satellites last week, SpaceX CEO Elon Musk tweeted out a few details about night sky light pollution caused by these low Earth orbit satellites and the company’s plans to address this issue.

    According to the tweet, SpaceX is taking ‘some key steps to reduce satellite brightness,’ something that Musk says should make them ‘much less noticeable during orbit raise.’ This change involves adjusting the solar panel angle, according to the tweet, plus there will be a new addition to the satellites starting with the Starlink 9 launch: sunshades.

    It’s unclear how drastically these changes will reduce the brightness of its satellites, but the move underscores SpaceX’s efforts to address concerns about light pollution caused by these small satellites.

    The Starlink initiative aims to launch thousands of small low-Earth orbit satellites that will beam Internet service to the ground, providing high-speed broadband access in places where it’s unavailable from terrestrial providers, or where only slow and expensive options are available. Musk said in a tweet following the Starlink 6 launch that the company plans to start a private beta of the Starlink service in around three months.

    Renewed attention to the issue of light pollution caused by low-Earth orbit satellites was spurred with the launch of NASA’s Satellite Streak Watcher project in early March. In explaining the reason for the initiative, the space agency said that the increasing number of these satellites launched into orbit makes things more difficult for astronomers on the ground.

    The light pollution caused by these satellites is also a problem for astrophotographers, causing long streaks of light to appear in long-exposure images. Unlike avoiding light pollution from the ground, it’s not possible to head to a ‘dark sky reserve’ or other similar places to avoid light pollution originating from space.

    SpaceX hasn’t been ignoring this problem; back in December 2019, the company said that it was experimenting with a new anti-reflective coating that would make the satellites less bright, though it may potentially result in satellite performance problems by causing thermal issues. Based on Musk’s most recent tweet, it seems the company is turning to sunshades as its solution.

    With the Starlink 6 satellite launch last week, SpaceX now has 420 of these small satellites in orbit. The company plans to launch a minimum of 12,000 satellites over the coming months, though the figure may exceed 30,000 in the long run. A public beta of the Starlink service will start in the US and Canada in around six months following the private beta, according to Musk’s tweet. It’s still unclear how much the eventual Starlink Internet service will cost.

    Articles: Digital Photography Review (dpreview.com)

  • Flash Softbox Diffuser Review

    The post Flash Softbox Diffuser Review appeared first on Digital Photography School. It was authored by Jackie Lamas.

    flash-softbox-diffuser-review

    In this article, we’re reviewing this budget-friendly flash softbox diffuser that fits over your external flash so that you too can have a great tool to add to your camera bag.

    Flash Softbox Diffuser Review
    The softbox diffuser only works for flashes with a larger head. The smaller Polaroid flash wasn’t compatible.

    About the flash softbox diffuser

    While the diffuser that comes with most external flashes gets the job done, this attachable softbox will work much better to spread light more evenly and create a softer light source for your portraits or other types of photography.

    The softbox has no poles to assemble or extra equipment that might get lost in transport or by using it. It folds out, and you can straighten it into shape by simply using your hands. This is a plus when it comes to setting up and tearing down, which saves you much time and not having to worry about fiddling with assembly parts.

    Flash Softbox Diffuser Review
    The flash softbox diffuser attaches to your flash and you can use it on a stand or on your camera. 1/80 of a second, f4.5, ISo 400

    The flash diffuser softbox comes with a case and holding strap. This allows you to attach it to your bag without any extra attachments or worrying about bending it while using it.

    Flash Softbox Diffuser Review
    The flash softbox diffuser comes with a handy bag. 1/100 of second, f/4.5, ISO 400

    At Although the material the softbox is made out of is a clear indicator that it won’t stand up to longterm wear and tear, the softbox, measuring at 30cm length and 20 cm wide, it does what it’s supposed to diffuse and spread evenly the light of your external flash.

    On camera, it adds nothing to the weight of your camera. It stays in place by using an elastic band that wraps around the flash head and is secured by a strip of Velcro.

    Flash Softbox Diffuser Review
    The flash softbox diffuser has a simple and easy opening for the flash head to place the flash head in. 1/125 of a second, f/4.5, ISO 400

    On the inside, the flash diffuser softbox has a silver lining to help bounce light back out. It also has an added diffuser that crosses the front of the flash that is secured by Velcro. This can be useful in situations where you need softer light.

    Flash Softbox Diffuser Review
    There is an added diffuser inside the softbox too. 1/125 of a second, f/4.5, ISO 400

    The universal size makes it perfect for one-light portraits, tabletop and product photography, and using it on or off your camera.

    Flash Softbox Diffuser Review
    1/160 of a second, f/7.1, ISO 400

    Main features

    • The size and weight make it easy to set up and use.
    • No additional hardware or accessories needed with the Velcro closure.
    • It’s universal and fits most models of external flashes.
    • Additional diffuser inside of the softbox.
    • You can use it on-camera or off-camera.
    • Budget-friendly costing no more than US$ 10 dollars.

    Ease of use

    The soft box is really simple to use. It comes in its own zippered pouch ready to use right away as it easily unfolds. With a little pull, it shapes into the flash softbox diffuser you see in the photos.

    Flash Softbox Diffuser Review
    1/200 of a second, f/5.6, ISO 100 Flash at 1/8 power.

    It has no wires, poles, or additional hardware making it really easy to set up and use on the go, in a studio, or anywhere your flash goes.

    Does it really work?

    Flash Softbox Diffuser Review
    The first image has the flash pointed directly at the subject. The second photo is with the flash softbox diffuser. The third image is with the additional diffuser inside of the softbox. Taken at 1/60 of a second at f/5.6 with an ISO of 400.

    Using the flash softbox diffuser for your flash is really easy, given that it simply pops out and attaches quickly.

    You can notice how the light gets softer just by adding the softbox to your flash. It goes further in softening the light with the additional white diffuser strip that is inside of the softbox.

    Flash Softbox Diffuser Review
    In the catchlights, you can see where the softbox is positioned. 1/125 of a second, f/5.6, ISO 125 with flash at 1/8th power angled down at the subject.

    In the images above and below, I angled the flash down at my model in a small bathroom. Using the flash softbox diffuser allowed me to be in a small space and use directional light on the subject without it being too harsh or creating undesired shadows.

    Flash Softbox Diffuser Review
    1/125 of a second, f/5.6, ISO 125 with flash at 1/8th power angled down at the subject.

    In the following images, I placed the subject in harsh sunlight to see how the softbox would fill in shadows or otherwise light the subject.

    Flash Softbox Diffuser Review
    Flash Softbox Diffuser Review
    Without the diffuser, with the softbox, with the extra diffuser inside the softbox. 1/100 of a second, f/8.0, ISO 100

    For these photos, I directed the flash straight onto the doll without the diffuser. The middle image is with the softbox diffuser on, and the third image is with the softbox diffuser and the added diffuser inside.

    Flash Softbox Diffuser Review
    1/100 of a second, f/8.0, ISO 100 with flash at 1/8 power with softbox diffuser on flash off-camera.

    You can see a big difference in how the light from the flash got softer. These are not retouched and straight out of the camera.

    Flash Softbox Diffuser Review
    Flash power at 1/16th power with the flash softbox diffuser. 1/200th, f/7.1 ISO 400.

    Here I used the flash at 1/16th power to fill in the shadows on the child. I also got really nice catchlights in his eyes that make the portraits pop a little bit more. The flash softens the catchlights making them appear more natural like a big window.

    Flash Softbox Diffuser Review

    Using the flash in darker lighting situations also proves effective. I photographed the toy in a dark room and used the flash off-camera and on-camera.

    Flash Softbox Diffuser Review
    1/200 of a second, f/8.0, ISO 160 flash was set to ETTL.

    Pros

    • Easy to set up and to use. The softbox works, does its job well, and has an added diffuser inside to help soften the light more if needed.
    • It’s really affordable, lightweight, and convenient to transport and use on-location.
    • It does the job of softening the light. Most of the control is either in the flash or in the camera settings.
    • Fits most flash systems due to the universal build.
    • Folds flat and comes with a pouch.

    Cons

    • The material on the outside is a little cheap.
    • The size means it’s not going to give you a large light source so you’ll get some fall off if you’re photographing larger groups.

    Who is this flash softbox diffuser for?

    This flash softbox diffuser is perfect for someone who is just getting into flash photography and learning about how to control and modify light. It is for someone who perhaps doesn’t have a lot of space to set up a full studio with bigger strobes or flash systems.

    Flash Softbox Diffuser Review
    1/200 of a second, f/5.6, ISO 100

    Being that the diffuser is lightweight and can be taken outdoors, it is also perfect for the photographer who shoots outside a lot. For example, on the beach, macro photography to get close to the subjects, or someone who shoots tabletop and still life.

    It’s perfect for the photographer who likes to keep their equipment simple and light when shooting or traveling.

    The flash softbox diffuser would also be a perfect addition for a tabletop and product photographer who shoots in small spaces or travels for shoots.

    Final verdict

    The flash softbox diffuser works as is expected and does soften the harsh light the external flashes sometimes gives.

    While the material the flash softbox is made from isn’t too convincing of its longevity, it is a great starter light modifier to help photographers control and soften lights for portraits.

    Flash Softbox Diffuser Review

    It is rather small in terms of size, which is a good thing and a bad thing. If you’re looking for something lightweight and portable, this is a good buy. However, the size limits the spread of light, then again perhaps with more flashes it could give a better effect.

    Flash Softbox Diffuser Review
    1/150 of a second at f/2.2, ISO 125, flash output power at 1/16 power.

    For the price, at less than $ 10, it is an interesting purchase to play with and experiment without making a major investment.

    The softbox diffuser would be more ideal for tabletop and product photography given the size.

    Flash Softbox Diffuser Review
    1/160 of a second, f/7.1, ISO 400 with flash a 1/16 power.

    Either way, it’s a fun accessory to add to your bag in the event you are starting to experiment with flash and light modifiers. And you can’t beat the price!

    The post Flash Softbox Diffuser Review appeared first on Digital Photography School. It was authored by Jackie Lamas.


    Digital Photography School

  • Canon RF 85mm F1.2L USM DS sample gallery

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    The ‘Defocus Smoothing’ or DS variant of Canon’s RF 85mm F1.2L uses a special coating to two of the lens’ 13 elements to give out-of-focus highlights a smoother appearance. And like its non-DS counterpart, it’s an outstanding portrait lens. We took advantage of a little time outdoors and some springtime scenery to put together a collection of preliminary samples – take a look.

    Articles: Digital Photography Review (dpreview.com)

  • Nikon, Olympus postpone upcoming financial results, citing COVID-19 challenges

    Both Nikon and Olympus have announced the companies will be postponing the announcements of their most recent financial results, both of which were originally scheduled to be announced in mid-May.

    In a press release on its website, Nikon explains the rationale for postponing the results of its fiscal year ending at the close of March 2020, which were set to be released on May 12, 2020. Nikon says the COVID-19 pandemic and subsequent stay-at-home orders have made it difficult to follow the accounting procedures within the company, which includes auditing the numbers to ensure accurate reporting. As a result, Nikon has pushed back the financial results release date to May 28, 2020.

    Olympus, too, has announced it will be postponing its financial results for its fiscal year ending at the close of March 2020. Like Nikon, Olympus says the COVID-19 pandemic has affected the timeliness of the results, saying ‘it is difficult to proceed with the scheduled accounting procedures implemented by the Company and its domestic and overseas affiliates as scheduled.’ Instead of an early May release, Olympus says it will release the latest results on May 29, 2020, just one day after Nikon.

    We could theorize other reasons the companies may be pushing back the results, but the truth of the matter is auditing the financials of a multi-national operation is an intensive task; one made very difficult when non-essential employees are being ordered to work from home to reduce the spread of the Coronavirus. That said, it’s unlikely to be good news if Canon’s most recent financial report is anything to go by.

    Articles: Digital Photography Review (dpreview.com)

  • CIPA’s latest numbers show camera production, sales slashed by half in March

    The coronavirus pandemic has hit the camera industry particularly hard with a dramatic downturn in both production and sales during March. Traditionally a period when sales of new products announced after the New Year begin to come on-line, this March saw production and shipments from Japanese companies drop to only 48% of levels reached in the same month last year.

    Figures released by the Japanese Camera and Imaging Products Association (CIPA) show world-wide shipments were only 47.8% of the volume last March, with the number shipped to Asia (excluding Japan and China) only 39.8% of last those shipped in March 2019. Shipments to ‘Other Areas’ (including the Middle East) are most healthy but still down to 68.2% of last year’s volume, and this region accounts for a very small proportion of sales. Shipments to the USA were at 44.7% and those to Europe were 48.3%, while Japan managed 54.5%.

    Production and shipped data for March 2020. Column 2 is for comparison to February 2020 and column 3 shows a comparison to March 2019. Column 4 compares Q1 2020 with Q1 2019

    It seems SLR cameras have fared far worse than mirrorless models, which may be partly down to the fact that there are fewer new SLR models around at the moment. Production of SLRs reached only 32.6% of the levels for last March, while mirrorless models reached 56%. China was the only region to receive more SLRs than mirrorless cameras, but that figure was still only half of what the country took last March.

    The CIPA figures are reflected in the sales reported by Stackline, which showed online camera sales in the USA were down 64% in March. With many camera shops with closed doors too, sales across the counter are also likely to be very poor. The market research company rated cameras no. 3 in its list of the 100 fastest declining product categories – with only briefcases and luggage doing worse. Unsurprisingly, disposable gloves were the fastest-growing product.

    Last week Canon reported a drop in camera revenue of 27% for the first quarter of the year – slightly ahead of that across the total Japanese camera market which recorded a drop in revenue of 31.1% compared to the same period last year. The revenue drop for SLRs shipped from Japan was 40.2% while that for mirrorless models was 25.8% in the months January to March 2020.

    Sales of lenses have held up a little better with the total volume produced in March dropping by 46.1% and those shipped falling by 44.8%. Production of full-frame lenses dropped by 34.5%, while those designed for smaller formats fell by 53% by volume. In better news, the value of smaller-format lenses shipped to the USA was up by 1.5% over the value shipped to the region in February – and I’ll take that as a positive.

    Articles: Digital Photography Review (dpreview.com)

  • A beginner’s guide to lighting tools – with stay-at-home-friendly DIY versions

    DIY studio lighting solutions

    One of the most important skills that photographers can learn is how to control and manipulate light. After all, it’s the very definition of photography! So if you aren’t already a master of photography lighting, use this quarantine time at home to explore and practice lighting techniques. In this article, I’ll show you some of the most popular lighting solutions that professional photographers use, and DIY versions that you can make with regular household products.

    This guide is geared towards those with little-to-no knowledge of lighting, but it can also be useful for professionals. Gear can malfunction at any time, and it is helpful to know how to hack quick solutions, especially on paid jobs.

    Light sources: Pro Photographer Version

    The lights that professional photographers use can fall into two broad categories: natural light and artificial light. Natural light simply means any available ambient light, most commonly sunlight. The plus side to natural light is that there is plenty of it available, and you can use it as-is or with modifiers such as a reflector (more on this below).

    However, the downside to natural light is that it changes throughout the day, and is not always consistent. Natural light at sunrise or sunset has very different qualities than that of midday natural light.

    While it’s beneficial for pro photographers to know how to use natural lighting, understanding how to use artificial lighting is also valuable since one cannot always rely on natural lighting to be available. Most photographers incorporate artificial lighting in the form of strobes, Speedlights, or LED panel lights.

    Strobes and Speedlights are external flashes that produce a bright burst of light at high power. In comparison, LED panels are external lights that are always on, giving you a real-time preview of what your subject will look like with lighting on. The main downside to LEDs is that they are generally not as powerful as strobes or Speedlights.

    Light sources: DIY Version

    The best DIY light source is a flashlight. This can be a dedicated flashlight or the one on your cell phone will do just fine.

    From here on out, we’ll talk about lighting modifiers. The most important thing to understand about a modifier is that it (naturally) can’t be any brighter than the light that already exists, so it is best to start off with the most powerful light you can find. For the DIY versions of these modifiers, don’t worry if your materials are wrinkled, stained or dirty. All we’re doing is using them to reflect light, so little imperfections are fine.

    Light Modifier: Reflector – Pro Photographer Version

    The most basic and inexpensive light modifier is a reflector. This tool manipulates light by bouncing it off of reflective surfaces. There are several different kinds of reflectors out there, but the handiest by far is the 5-in-1 reflector. This gives you five different tools to work with:

    • A silver side for highly reflective, neutral-colored light.
    • A gold side for highly reflective, warm-colored light.
    • A white side for reflecting soft light.
    • A black side for absorbing or blocking light.
    • A translucent panel for diffusing light.

    Light Modifier: Reflector – DIY Version

    5-in-1 reflectors are quite cheap, so get one if you can afford it. But if you want to use household items, you can recreate the effects of the 5-in-1 reflector with some common materials:

    Tools Needed

    • Tape, scissors, binder clips or clamps, large foam boards (most of these can be found in a craft or hardware store).
    • A silver side – aluminum foil works fine.
    • A gold side – this is more tricky to reproduce, but gold gift wrap could work.
    • A white and black side – white or black foam board is the best option.
    • A translucent panel – parchment paper (explained use is in the next section).

    Step 1: Cut the large foam boards into your desired size, but keep it in a rectangular or square shape to help it stay balanced. Determine the ideal size by figuring out what kind of photo subject you are trying to light. A larger photo subject = a larger foam board.

    Step 2: The foam board can be used as-is if you simply want a white or black surface to bounce light off of. Simply attach the binder clips or clamps to the bottom of the reflector to give it feet to stand on, and start using it.

    Step 3: If you have aluminum foil or metallic gift wrap, take it a step further by wrapping the foam board cutout with the reflective material. It doesn’t matter if the foil or gift wrap is wrinkled – all you want is the reflective quality of the material. After your foam board is wrapped and secured with tape, attach the binder clips or clamps for feet, and you’re ready to go.

    Light Modifier: Softbox – Pro Photographer Version

    Similar to the translucent panel of a reflector, a softbox diffuses light. It can turn harsh light with heavy shadows into soft, even light. Like all other lighting modifiers, softboxes vary in terms of size and shape. When choosing softboxes, consider the size of your photo subject – a larger softbox is needed to light larger subjects – and if your subject has any reflective surfaces. Softboxes can often be seen in reflections (ie. glass bottles, or a photo subject’s eyes). This may impact the shape of the softbox that you should use.

    Bottles of wine or other beverages are often shot with rectangular softboxes so that the reflection compliments the bottle’s form.

    Light Modifier: Softbox – DIY Version

    In the previous section, the use of parchment paper was not explained because you would use the parchment paper in much of the same way you would make this DIY softbox.

    Tools Needed:

    Tape or glue, Exacto knife (or scissors), large clamps, large foam boards, parchment paper (most of these can be found in a craft or hardware store).

    Step 1: Cut the foam board into a certain size, if desired, but it is best to use the largest foam board that you have available.

    Step 2: Cut out a generous portion of the middle of the foam board, leaving a foam board frame. This is easiest done with an Exacto knife.

    Step 3: Tear off a piece of parchment paper large enough to fill in the foam board hole. Tape or glue the parchment paper to the foam board frame.

    Step 4: Depending on the size of your DIY softbox, you may be able to balance it on a surface if you use large clamps as feet. If you have a really large softbox, use an assistant to hold it in place, or set your camera on a timer and hold the softbox yourself.

    To get the best light out of your DIY softbox, play around with the placement of your light source and the softbox. A good rule of thumb is that the larger the softbox, the softer the light quality. However, the proximity of the softbox to your photo subject also affects the light output – the closer your photo subject is to the light source, the softer the light appears.

    Light Modifier: Snoot – Pro Photographer Version

    The last type of photography lighting modifier I’ll discuss is the snoot. A snoot is a long tube that fits on the front of a light, producing a targeted beam of light, similar to a spotlight. Photographers often use snoots as a hair light in portrait photography to create separation between the subject and background.

    Light Modifier: Snoot – DIY Version

    There are many ways to DIY a snoot. Which tool is best for you really depends on the size of your light source, since the snoot needs to tightly fit around the end of your light. Assuming that you are using a relatively small flashlight, the cheapest and easiest way to DIY a snoot is to use the inner cardboard piece of a toilet paper or paper towel roll. Simply cut and toilet paper piece and rearrange it to tightly fit around the end of your light, and tape or glue the shape into place.

    And there you have it – plenty of ideas to experiment with around the house. Watch the video below to see these DIY solutions in action, and let us know your best household item lighting hacks in the comments!

    Articles: Digital Photography Review (dpreview.com)