LEE Filters has revealed its upcoming LEE85 Filter System designed for smaller cameras and lenses. The system features a Holder component with a locking dial for use with the related Adaptor Ring, which will be available in sizes from 37mm to 72mm, according to the company. The Holder is made from aluminum and works with the LEE85 ND Graduated and Standard filters and a clip-on Polariser.
LEE Filters presents the new LEE85 Filter System as lightweight and ideal for photographers who use small cameras and who want a compact, easily deployed filter system. The Locking Ring makes it possible to lock the Holder at a specific angle or allow it to freely rotate, depending on shooting needs. As with the larger LEE100 system before it, the LEE85 Holder can be configured with 1 – 3 filter slots using modular guide blocks.
The compatible ND filters have been designed with large tabs on the top; these feature clear labels and make it easier to insert and remove the filters from the Holder without leaving fingerprints. The LEE85 Polarizer, meanwhile, clicks directly onto the Holder and can be rotated. The entire system, including the Polarizer and up to four filters, can be stored in the included System Pouch with strap and belt loop options.
The company will offer the LEE85 Filter System in multiple bundle options: Discover Kit, Develop Kit, Aspire Kit and Deluxe Kit. All four options include the 58mm, 67mm and 72mm adaptor rings, as well as the LEE85 Holder, System Pouch and 0.6 Medium ND Graduated filter. Depending on the kit selected, buyers will also get things like the ‘Big Stopper,’ the LEE85 Polarizer, a 0.9 Medium ND Graduated filter and a cleaning cloth.
Buyers who need adaptor rings in other sizes will be able to purchase them separately. It’s unclear how much each LEE85 kit will cost at this time; the company says that its new filter system is due for release in the second quarter of this year.
Skylum has announced a new version of its Luminar 4 software, Luminar 4.2. The free update includes a major new feature, AI Augmented Sky. The new AI Augmented Sky feature allows photographers to place various objects directly into the sky, leading to new ways to create digital art. In addition to AI Augmented Sky, Luminar 4.2 includes new portrait tools and general performance improvements.
The new AI Augmented Sky feature can be found in Luminar 4’s Creative tab. This tool allows users to select objects from Luminar’s database or import their own. The included objects are: Aurora, Balloons, Birds (three choices), Clouds (six), Eagle, Fireworks (three), Lightning (two), Moon (two), Mountains (four), Plane (two), Planet (four) and Rainbow (two).
Luminar leverages its artificial intelligence to automatically detect the sky in a selected image and place the chosen object, including creating masks for foreground objects such as trees or buildings. Luminar also includes content-aware technologies, allowing the object and overall image to blend together naturally.
In the before and after comparison above, my original image had a completely bare sky. Using Luminar 4.2’s new AI Augmented Sky functionality, I added clouds and mountains to the image. The software did a good job masking out the trees along the horizon and matching the clouds and mountains to the existing scene.
You have control over the placement and size of the chosen object. You can also adjust its opacity, the color temperature and the strength of the software’s blending tools. If you have any issues with the automatic masking, you can also customize the mask manually with brush, radial, gradient and luminosity mask tools. The mask refinement strength and defocus can be adjusted as well through sliders.
In this before (top) and after (bottom) comparison, you can see that I added clouds and an additional hot air balloon to my image. I resized the added hot air balloon and placed it where I wanted for my preferred composition. When adding the clouds, the software identified the blue panel on the balloon as sky, which resulted in clouds appearing on the balloon. This was easily addressed by manually erasing that part of the balloon using the mask brush tool.
During my time with the software ahead of its public release, I experienced varying levels of success using the AI Augmented Sky feature. In some cases, the feature worked well, especially for adding clouds to an otherwise bland sky. Even when working around trees and other fine details, the software did well, especially when working with a blue sky. Around very fine branches, even when adjusting the strength of the mask, there were some occasional problems. I experienced less success when working with darker skies, including dark gray skies. Also, the software doesn’t automatically detect and mirror objects for reflections in water, which can make it difficult to create a convincing image in some cases.
Of the new AI Augmented Sky feature, Co-Founder and Chief Product Officer of Skylum, Dima Sytnyk, said, “We’re really excited to see how photographers use the AI Augmented Sky to create digital works of art. AI Augmented Sky can be used to make everything from subtle tweaks, like moving the moon in the sky, or to totally transform the world around us. The possibilities are endless!”
In addition to AI Augmented Sky, Luminar 4.2 includes enhancements to its built-in portrait tools. The software includes new architecture for the Face Features Detection Neural Network, which allows for the software to better detect different faces in multiple positions, bad or mixed lighting and faces with heavy makeup. Luminar 4.2 can also detect multiple faces in a group photo. By utilizing the software’s improved face detection technology, Luminar 4.2 can now help users restore skin in overly shiny areas and slim faces via a slider adjustment.
In this before (top) and after (bottom) comparison, you can see the impact of the new Shine Removal tool inside Luminar 4.2’s AI Skin Enhancer. The result was subtle in each image I processed.
These portrait enhancement tools join existing tools such as AI Skin Enhancer, face lighting, eye whitening, eye enhancement, dark circles remover, eye enlargement, eyebrow improvement, lip saturation, lip redness, lip darkening and teeth whitening. As with the AI Augmented Sky feature, the shine removal and Slim Face 2.0 features have automatic masks but can be manually edited.
The new shine removal tool can be found in the AI Skin Enhancer section of the Portrait tab in Luminar 4.2 and works on a 0-100 slider scale. The tool works well on different skin types and in my experience, did a good job of convincingly reducing the shine without adversely affecting texture or color balance in the image. It works better than simply reducing highlights in an image.
In this before (left) and after (right) example, I utilized the new Slim Face 2.0 tool. Even using 100 percent slimming, the final result is quite subtle. In this example, I was particularly impressed by how the software handled the model’s hand against her face and her hair partially obscuring her right eye. The face detection technology is highly impressive.
The new Slim Face 2.0 adjustment is found in the AI Portrait Enhancer section and is also a 0-100 sliding scale. While I’m unlikely to use this feature when processing portraits, its implementation is very good. The software does an excellent job of convincingly slimming a face while keeping proportions looking natural and maintaining the overall quality of the image file. I tried it on a variety of portraits and found it to do a good job in every instance. Alongside the existing AI Portrait Enhancer tools, the new Slim Face 2.0 function fits in nicely.
In addition to the key new features of Luminar 4.2, the software includes various upgrades and other enhancements. The Relight Scene technology in the AI Sky Replacement tool has been improved, providing better and more natural colors. There are also improvements to the ML Cache, which will increase the speed of interaction with the machine’s processor. Windows users will find faster previews on multi-core systems and third-party plugin implementation to be able to use plugins such as Aurora HDR, DxO Nik Collection and Topaz plugins inside Luminar 4.2. Luminar 4.2 also includes a new user manual, making it easier for users to find information on the software’s included tools and functionality.
In Luminar 4.2, the Relight Scene technology has been reworked, resulting in more natural colors. In the example above, I replaced the original sky with a very different sky and the software did a nice job changing the overall image to represent the change. It’s impressive how Luminar 4.2 is able to deal with not only the objects in the scene, but the reflection as well, including the ripples in the water.
Luminar 4.2 is available now as a free update for existing Luminar 4 users. If you are interested in trying Luminar 4 for the first time, you can download a free trial from Skylum. For a limited time, if you purchase Luminar 4 for $ 89 USD, you will also receive the Inspiration Looks pack, a $ 49 value, free of charge. You can also upgrade to the Plus Edition, which includes the Inspiration Looks pack and the California Sunset skies for $ 99. There is also a bundle with Luminar 4 (with bonuses) plus Aurora HDR 2019 for $ 169. You can learn more by visiting Skylum.
The post The dPS At-Home 7-Day Photography Challenge – Week One appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
Since many of us are self-isolating and stuck indoors due to the Coronavirus (Covid-19), we thought we’d make it a little less boring and stressful and give you (and us) an “At-Home, 7-Day Photography Challenge.”
That’s right – these are all things you can try in and around your home.
And, as always, we would love to see your results in the comments section. That way, we can connect and share, and keep ourselves occupied with something positive and creative!
At-Home, 7-Day Photography Challenge – Week One
Day 1
This one is great. How to Create Beautiful, Artistic Photos Using a Book
Day 2
Making the Shot: Your Guide to Creating Stunning High-Speed Splash Photos Without Flash
Perhaps if you can’t try this in your yard, try it in the bathroom
Day 3
How to Create Abstract Photos with Oil and Water and a Little Dish Soap
Day 4
Taking fun self-portraits in the mirror. 13 Fun Self Portrait Mirror Shots
Day 5
Onto the computer now. Play with overlaying textures onto your some of your favorite (or not so favorite) images. If you don’t have any textures, try Unsplash and download some to play with. How to Use Textures to Create Compelling Photographs
Day 6
Still on the computer – How to Turn Your Images into Kaleidoscope Patterns. This is a fun one.
Day 7
Now, most of us have one of these (though not me at the moment as I live in a tent – a story for another time…) – A refrigerator, or simply, the fridge. Show us what’s inside in a creative way. How to Take Cool Food Photos in Your Refrigerator
I can’t wait to see your images! And, also, feel free to share your stories too. Many of us are feeling isolated, so it’s so great to have this community to be a part of
The post The dPS At-Home 7-Day Photography Challenge – Week One appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
DxO PhotoLab 3 has been updated to version 3.2. The free update includes numerous improvements plus raw file support for five new cameras. Long known for its local adjustment tools, DxO PhotoLab 3.2 introduces new Duplicate and Rename features in the Local Adjustments Palette. The Repair Tool, used to remove distracting elements from your image, has a new display mode for better visibility. DxO PhotoLab 3.2 includes new multi-image keywords, plus Windows users now have access to renaming functionality.
Regarding improved local adjustment mask management, with the new Duplicate and Rename features, users can reproduce masks from image to image. Once applied to a new image, the mask can then be adapted as needed for each image. To aid in easy identification of individual masks you have created, DxO PhotoLab 3.2 adds the ability to rename your masks. You can also quickly move each mask with a single click when using the brush tool.
DxO PhotoLab 3.2 introduces new Duplicate and Rename functionality for local adjustment masks. Image credit: DxO
The simplified Repair Tool display mode interface has been redesigned to allow the user to see more of the background when removing objects. This means that it will be easier to make accurate and realistic looking repairs to your images. The area being retouched is now outlined with a thin line, as can be seen in the screenshot below.
The Repair tool in DxO PhotoLab 3.2 has a simplified repair tool user interface. This introduces a new thin white outline surrounding the area being retouched. Image credit: DxO
In prior versions of DxO PhotoLab 3, users could add and delete individual keywords. In PhotoLab 3.2, users can now differentiate between keywords that are tagged to multiple images. As mentioned earlier, Windows users can also now rename keywords.
In DxO PhotoLab 3.2, users can differentiate between keywords that are tagged to multiple images. Image credit: DxO
DxO PhotoLab is well regarded for its excellent and powerful optical corrections, which are customized by the DxO team for different camera and lens combinations. DxO PhotoLab 3.2 introduces support for five new cameras: The Canon EOS-1D X Mark III, Nikon D780, Olympus E-M1 Mark III, Leica D-Lux 7 and Leica Q2. Nearly 770 new optical modules have been added in DxO PhotoLab 3.2, which now includes more than 60 million different camera and lens combinations.
For existing DxO PhotoLab 3 users, the 3.2 update is available free of charge. For new customers, DxO PhotoLab 3.2 is available in Essential and Elite editions. To learn more about which version is best for you, click here to see a breakdown of version differences. With the new 3.2 update, DxO has introduced special pricing for new users. Until March 31, new users can purchase DxO PhotoLab 3.2 Essential for $ 99.99 USD or the Elite edition for $ 149.99. These are savings of $ 30 and $ 50 respectively. For more information or to download a free trial of the software, visit DxO.
It’s confirmed—just three weeks after announcing everything was set to go on as scheduled, Photokina 2020 has been canceled. In an email sent to DPReview, Koelnmesse GmbH, the organizers of the international trade show, announced the event won’t be taking place this year, due to ongoing concerns and restrictions put in place due to the COVID-19 pandemic, as well as other factors.
While the writing was on the wall for Photokina 2020, with CP+ being canceled and The Photography Show being postponed, Koelnmesse notes the recent restrictions put in place by the German federal government to shut down trade fairs and exhibitions amidst the COVID-19 pandemic sealed its fate. Koelnmesse says the next iteration of Photokina will take place in May 2022 and lists the following factors as the rationale for canceling this year’s event:
‘Even before the appearance of the coronavirus, the imaging market was already subject to strongly dynamic movements. This trend will now gain momentum and must be factored into plans for the upcoming photokina. Added to this is the fact that our customers’ resources are already under heavy strain in 2021 – as a result of general economic trends as well as rescheduled events on the global trade fair calendar. The orientation towards 2022 gives everyone involved time enough to design the next photokina with an eye to the needs of the market, and of our exhibitors and visitors.’
Below is the full statement from Koelnmesse GmbH:
Photokina 2020 is cancelled
After intensive consultation, Koelnmesse GmbH has decided to cancel photokina 2020, originally planned to be held 27 to 30 May 2020. The next instalment of the leading international trade fair for photography, video and imaging will be presented from 18 to 21 May 2022. The Imaging Innovation Conference will not be celebrating its première in 2020 as originally planned; a new date will be coordinated.
In general the management team of Koelnmesse has decided not to organise any own events on the part of Koelnmesse until the end of June 2020. This decision is supported by the crisis management team of the City of Cologne, which also recommended in its meeting on 18.03.2020 to cancel the trade fairs during this period.
This also happens against the background of the agreement reached on 16.03.2020 between the German federal government and the governments of the German states – laying down common guidelines for dealing with the coronavirus epidemic and explicitly including the general closure of trade fairs and exhibitions. This impairs the planning security for Koelnmesse and the participants of the trade fairs in Cologne far beyond the scope of the current scenarios. With this early announcement, Koelnmesse wants to give its exhibitors and visitors planning security.
The decision not to host the next edition of photokina until May 2022 was made with in view of several factors: Even before the appearance of the coronavirus, the imaging market was already subject to strongly dynamic movements. This trend will now gain momentum and must be factored into plans for the upcoming photokina. Added to this is the fact that our customers’ resources are already under heavy strain in 2021 – as a result of general economic trends as well as rescheduled events on the global trade fair calendar. The orientation towards 2022 gives everyone involved time enough to design the next photokina with an eye to the needs of the market, and of our exhibitors and visitors.
Kai Hillebrandt, Chairman of the Photo Industry Association [Photoindustrie-Verband e.V. (PIV)]: “It goes without saying that PIV completely stands behind the decision taken by Koelnmesse to cancel photokina 2020. The health of exhibitors and visitors is top priority at the moment. As the conceptual sponsor of photokina, we will do our utmost to assist the Koelnmesse with the planning of the next edition of photokina.”
Koelnmesse – Global Competence in Digital Media, Entertainment and Mobility: Koelnmesse is an international leader in organising trade fairs in the Digital Media, Entertainment and Mobility segments. Trade fairs like photokina, DMEXCO, gamescom, gamescom asia, INTERMOT and THE TIRE COLOGNE are established as leading international trade fairs. Koelnmesse not only organises trade fairs in these areas in Cologne, but also in other growth markets like, for example, China, Singapore and Thailand, which have different areas of focus and content. These global activities offer customers of Koelnmesse tailor-made events in different markets, which guarantee sustainable and international business.
Note for editorial offices: photokina photos are available in our image database on the Internet at www.photokina.com in the “News” section. Press information is available at: www.photokina.com/Pressinformation
Apple has unveiled its latest iPad Pro model. The tablet, as recent leaks first revealed, is joined by a new backlit Magic Keyboard with a built-in trackpad. Unlike the Smart Folio keyboard, the new Magic Keyboard for iPad Pro has a floating hinge design, offering users a more familiar laptop-like experience.
The iPad gained support for trackpads in iPadOS 13.4, according to Apple, finally giving users the experience they’ve been requesting for years. With the trackpad and hinge on the Magic Keyboard, iPad Pro owners can rapidly toggle from touch and gesture control to more traditional keyboard and trackpad control. The new option enables the iPad Pro to better function as a laptop replacement for owners who are tired of carrying both, but who grow weary of repeatedly lifting their arm to tap and swipe on the display.
Apple has repeatedly presented the iPad Pro as a highly capable device that could, for many consumers, serve as a laptop replacement. The lack of mouse support was the device’s biggest stumbling block in this regard, however — even a top Apple executive had acknowledged that having to use a touch screen in place of a trackpad was ‘a pretty fatiguing thing to do.’
Apple says that it ‘completely reimagined’ trackpad use for the iPad rather than copying it straight from macOS. ‘As users move their fingers across the trackpad, the pointer elegantly transforms to highlight user interface elements,’ the company explained in its announcement today. The trackpad includes support for Multi-Touch gestures, as well, eliminating the need for users to lift their hands to touch the display.
The new keyboard is joined by an updated iPad Pro model that features a more powerful A12Z Bionic chip with an eight-core GPU. Apple says its new hardware features ‘enhanced’ thermal architecture alongside tuned performance controllers and the company’s Neural Engine. Despite the performance boost, the new iPad Pro features up to 10 hours of battery life.
Other iPad Pro features include gigabit-class LTE connectivity, faster WiFi, an edge-to-edge Liquid Retina display with 120Hz refresh rate and 11in / 12.9in size options. The screen boasts P3 color support, the True Tone color management system and an anti-reflective coating. Apple has also packed a dual rear camera system into the new iPad Pro with 12MP Wide and 10MP Ultra Wide cameras; they’re joined by ‘studio-quality’ microphones and a LiDAR Scanner for what Apple says will be ‘a whole new class of AR experiences.’
In addition to the new iPad Pro and keyboard, Apple has also revealed an updated MacBook Air with double the storage and faster performance, as well as a new Magic Keyboard — the same one introduced on the 16in MacBook Pro. The new keyboard has a classic inverted ‘T’ arrow key design, plus there’s a new scissor mechanism with 1mm of key travel.
Rounding out the hardware announcements is an updated Mac mini with double the storage, putting the standard configuration at 256GB rather than 128GB. The 11in iPad Pro starts at $ 799, the 12.9in iPad Pro at $ 999, the new MacBook Air at $ 999 and the updated Mac mini at $ 799.
The Tamron 20mm F2.8 DI III OSD M1:2 lens for Sony E-mount boasts close-focusing capability and a 1:2 magnification ratio. It’s also incredibly affordable. Could this be a great wide angle macro lens for Sony shooters?
Also, subscribe to our YouTube channel to get new episodes of DPReview TV every week.
Introduction
Design and size
Sample images
Sharpness
Longitudinal chromatic aberration and bokeh
Macro use
Focus and lens breathing
Sunstars
Environmental portraits
Conclusion
Sample gallery from this episode
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The post Mastering Aspect Ratios in Photography appeared first on Digital Photography School. It was authored by Tim Gilbreath.
Aspect ratio is a phrase that you’d normally expect to hear when discussing movies or televisions, but as it is a measurement of image proportions, it’s also important in photography. It is also one of those things that is always there, even if you don’t think about it.
Aspect ratio in photography is a description of an image’s vertical and horizontal proportions expressed as two numbers separated by a colon, and composed of similar units of measurement, whether it be inches, centimeters, or feet.
You’ve seen these numbers before, such as 16:9, which is commonly known as widescreen format, and used to describe many TV’s and computer monitors.
16:9 would be an image (or in the case of a TV or monitor, a screen) that is 16 units wide and 9 units tall. Aspect ratio doesn’t describe actual size, as a 16:9 ratio could be 16 inches wide by 9 inches tall, or 16 feet wide and 9 feet tall. The numbers only describe the proportions.
Although it’s not in the scope of this article, movies and film sometimes also use what’s known as cinema terminology to express aspect ratios, such as 1.85:1 (cinema standard widescreen) and 2.39:1 (anamorphic widescreen).
Although you can convert these expressions to standard ratios, for our purposes, we’ll only stick with standard x:y expressions that relate to camera sensors or photographic images.
So why are aspect ratios important to photography?
Primarily, they are important because every image we shoot, as well as every camera we shoot with, has a base aspect ratio. Our camera bases the aspect ratio on the proportions of the sensor, which you cannot change.
However, you can change the resulting image’s aspect ratio, and most importantly, you can change it for creative reasons.
There are actually two types of aspect ratio in photography we need to familiarize ourselves with; the aspect ratio of the camera we’re shooting with, and more importantly, the final aspect ratio we will present our image in.
We, of course, can change the latter in post-processing, for whatever reason we decide.
Some cameras also have settings that allow you to change aspect ratio in-camera before shooting, but this is made possible by the camera software cropping. It’s always better to change the ratio yourself and crop later in post-processing.
Why would we want to change the aspect ratio of a photo?
The main reason – composition.
Changing the aspect ratio in Photoshop or Lightroom is essentially cropping the image to a specific proportion that makes the photo more pleasing to the eye. A wide, sweeping shot of a beach and sky will not look as wide and sweeping in a standard 3:2 presentation as it would in a 16:9 widescreen format. Composing the image in widescreen proportions gives the scene a more open, cinematic feel.
Let’s take a look at the most popular aspect ratios in photography, and what they are commonly used for.
Breakdown of aspect ratios in photography
3:2 ratio
The 3:2 ratio is probably the most commonly used aspect ratio in photography, due to the fact that it is the standard proportions used with modern DSLR camera sensors.
The reason for this is because it is also the ratio used by classic 35mm film cameras. Digital camera sensors were originally designed to replicate that ratio.
An image captured with a DSLR in native 3:2 format. Modern DSLR cameras usually capture images in this format. EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode
Before photography, artists generally used a set of proportions similar to this because of its visual appeal. The 3:2 format is a great general use ratio, and allows for a fairly wide feel while still capturing vertical elements of a scene.
4:3 ratio
The 4:3 ratio is a classic format that has its roots in digital point and shoot cameras, which were developed to basically match the proportions of video monitors of the time.
The format is used in point and shoots, many compact cameras, and micro four-thirds systems.
The 4:3 format allows for more vertical space and can better focus attention in on a specific area of a scene. Here we’ve used the 4:3 ratio to remove distracting portions of the scene and isolating the flower and mushroom. EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode
Just as with old TV and video monitors, the 4:3 format has a taller, slimmer look that appears more square to the eye. It is a good creative choice when you need to capture vertical elements of a scene.
16:9 ratio
The 16:9 ratio is more commonly known as the “widescreen” format.
It was developed as a replacement for the old 4:3 ratio during the advent and implementation of HDTV. Most TV’s and monitors now are created with this format in mind.
The longer, more horizontal format is great for displaying landscapes and other vistas, and creates a cinematic look and feel when used in photography.
This image is expansive in native 3:2 format, and contains too much empty space. EXIF: Canon 60D, EFS 24mm 2.8 STM, 24mm, f/8, 1/320 sec, 250 ISO, Manual Mode Adjusting the aspect ratio to 16:9 allows for a much more flowing, cinematic look and feel. This format is especially good for displaying wide fields of view. EXIF: Canon 60D, EFS 24mm 2.8 STM, 24mm, f/8, 1/320 sec, 250 ISO, Manual Mode
1:1 ratio
The 1:1 ratio, or square format, might be mistaken as a newer format, as it is well-known for its use on the Instagram platform (although photos are no longer forced in that format with the service). However, square images are also the usual ratio for medium-format cameras, as well as a few toy cameras.
This format is a good choice for cropping close and isolating a subject or a scene that doesn’t involve an expansive landscape.
Returning to our mushroom photo, the 1:1 (or square) format lets us crop in close to a particular subject and remove any distracting elements. Here, we are focusing on the mushroom itself, and nothing else. EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode
5:4 ratio
The 5:4 ratio formatted images are primarily used in large-format photography, as many of those cameras use sheet film with dimensions of 5×4 inches.
From a creative standpoint, images using this ratio are almost as tall as they are wide, and are great for capturing vertical elements of a scene.
The 5:4 ratio is very similar to the 4:3. Again, we can use it to remove distracting elements on the sides of a scene. EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode
2:3 ratio
Finally, the 2:3 ratio is a specialty aspect ratio that is used for images in vertical or portrait orientation.
It is primarily used for portraiture, when elements of the scene (in most cases, a person), align in a vertical orientation.
You can also use vertical formats like 2:3 for landscape photography to capture tall elements within the frame, such as trees and mountains.
This image was framed and captured vertically, and later cropped in post-production to 2:3 format, to accentuate the height of the trees and the vertical expansiveness in the scene. EXIF: Canon 60D, EFS 24mm 2.8 STM, 24mm, f/8, 1/80, 400 ISO, Manual Mode
Creative cropping
Before the advent of digital photography and software, aspect ratios of the camera being used generally dictated what ratio the image would be in.
In the digital age, however, we have the ability to simply and quickly crop in whatever photo software we’re using.
Changing aspect ratio of an image in Adobe Lightroom. Not only are several presets available to you, but you can enter a custom ratio as well.
Conclusion
Instead of being bound to a specific format, you can change it. Therefore, changing the look and feel of an image for creative reasons, even after pressing the shutter and recording the image on the sensor.
So now you know a little more about aspect ratios in photography, and why it’s important. What formats do you find yourself using? Do you alter the aspect ratio during post-production? Leave us your comments below!
The post Mastering Aspect Ratios in Photography appeared first on Digital Photography School. It was authored by Tim Gilbreath.
The post How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide appeared first on Digital Photography School. It was authored by Theodomentis Lucia.
Earlier today, I thought about playing some videos that I shot on my digital camera during my last vacation. Sadly, every time I tried to play them on VLC or Windows Media Player, I got a gray or green display on the screen instead. I realized that my videos were corrupt and thought of digging up and finding an ideal solution for it. To be honest, after some failed attempts, I was finally able to repair my corrupted videos. If you have also encountered a similar situation in the past, then you may learn something from my experience.
Read on to find out how.
What could have caused your videos to become corrupt?
Before we head into the details on how to repair corrupted videos, it is important to discuss a few things in advance. You should know the major reasons why a video gets corrupt or damaged so that you can avoid it in the future.
These reasons include:
The transfer process of videos from your digital camera to the computer could be halted mid-transfer.
You may have restarted the system while the video was still playing in the background.
Sometimes, a third-party tool like a video editing software can also end up corrupting a file.
The location (drive or partition) where your video is stored could be corrupted.
The meta content or the header of the video might be tampered with as well.
If you have forcefully tried to change the video extension or type, then it can corrupt the file.
The audio-video components of the file might not be synced properly or could be missing.
You have played the video with an unsupported media player, or there could be an issue with the video encoding.
Other logical issues related to video playback, picture, sound, etc. can also cause this problem.
How can you repair corrupted videos on Windows or Mac?
If your videos have been corrupted, then you need to look for the right tools to fix them.
Since there are so many tools out there to repair corrupted videos, I asked a friend of mine, who is an expert in the field. He recommended Recoverit Video Repair, so I decided to give it a try as well.
Ideally, Recoverit is a dedicated application to recover the lost or corrupt data of all kinds. However, it also has a dedicated video repairing tool that can fix various issues related to a video file.
After getting to know these features, I wanted to give Recoverit a try and found its click-through process pretty easy.
Once you have installed the Recoverit Video Repair application, you can follow these steps to fix your corrupt files.
Steps to repair corrupted videos and files
Step 1: Launch the Video Repair tool
If you have some videos to fix, then just launch the Recoverit application on your system and launch the “Video Repair” tool from its home page. Also, attach your digital camera to the computer and move your damaged videos to the system.
Step 2: Add corrupt videos to repair
Once you launch the Recoverit Video Repair application, you can just click on the “add” button to load the corrupted videos.
This will further launch a browser window, letting you locate and load the videos that are damaged. If you want, you can load multiple videos and repair them at the same time.
Step 3: Start the repairing process
After you have added the corrupted videos to the application, the interface will let you know. You can view the details of the added videos and even remove them from here.
If you are ready, then just click on the “Repair” button to commence the repairing process.
Step 4: Wait for the repairing process to be over
As soon as you click on the “Repair” button, the application starts fixing the loaded videos and displays the progress. Kindly be patient as of now and let the application complete the process.
Once the repairing process is completed, Recoverit will let you know by displaying the following prompt.
Step 5: View the repaired videos
You can now preview the results of the repaired process by clicking on the play icon adjacent to the video.
This opens a pop-up window with a video player that will let you play the repaired video. In this way, you can check the results of the application before saving the videos.
Step 6: Save the repaired videos
If you are satisfied with the results, then click on the “Save to Folder” button right next to the video.
If you want, you can also click on the “Save All” button to save all the videos. This opens a browser window, letting you select a secure location to save the videos.
Step 7: Run an advanced video repair (optional)
In the case that you are not satisfied with the standard video repairing results, then click on the Advanced Video Repair feature, which you can find at the bottom of the video player.
To run an advanced repair, you need to load a sample video to the application. The sample video should be shot on the same device as the corrupted video and must be in the same format.
After loading the sample video, you can start the advanced video repair process and view its results as well.
Conclusion
When using Recoverit, it’s easy to repair corrupted videos. Recoverit is able to fix all sorts of issues related to videos like missing fragments, gray/green screens, video not loading error, and so on and supports a wide range of video formats like MOV, AVI, FLV, 3GP, MP4, MKV, MTS, and more. It can fix all kinds of videos shot on a wide range of devices like digital cameras, drones, camcorders, and smartphones.
The video repair tool is available in three different purchase options – $ 29.95 a month, $ 39.95 a year, or $ 49.95 (lifetime purchase) for the Windows version. If you get it now, you can get 30% off Recoverit for windows or 30% off for mac.
Download and Get 30% off Recoverit video repair now by using the exclusive coupon code: LENOP09
Disclaimer: Recoverit is a dPS paid partner.
The post How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide appeared first on Digital Photography School. It was authored by Theodomentis Lucia.
The post Dragging the Shutter for Creative Portraits appeared first on Digital Photography School. It was authored by John McIntire.
There are a lot of great techniques that allow you to add an element of movement or other visual interest to your images at the time of capture. Some of these include multiple exposures, multiple flash exposures and placing objects in front of your lens.
Dragging the shutter while using flash is another one of these techniques and it’s very easy to use.
Dragging the shutter when using flash is an easy and fun technique to add some interesting effects to your photos. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1 sec, f/9, ISO 100, Manual Mode, Spot Metering.
Dragging the shutter
While it might sound complicated, dragging the shutter is simply using a slower shutter speed than you normally would while using flash.
With flash, your exposure is dictated by your aperture as the flash fires at a much, much faster speed than the sync speed on your camera.
On the left, you can see the image with just flash. On the right, the shutter speed was changed to 1 second allowing the camera to record the modelling light throughout the exposure. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1/60 sec (Right: 1 sec), f/9, ISO 100, Manual Mode, Spot Metering.
By slowing your shutter speed down, you are allowing your camera to record ambient light as well. You will still freeze anything lit by the flash in the frame, but anything lit by the ambient will be recorded with any movement from either the subject or yourself.
Be aware that because your shutter speed is now allowing ambient light to record in your frame, your exposure will be brighter than it was with just the flash recording.
What you need
You don’t need much to use this technique. These images were made with a medium-sized modifier on a strobe and a white reflector.
A camera with manual settings
A flash with a modeling light if in a dark studio
Another ambient source of light if you don’t have a modeling light (i.e. speedlights).
How to set it up
For a technique whose results can seem complicated, setting it up and getting started is quite straightforward. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1.6 sec, f/9, ISO 100, Manual Mode, Spot Metering.
Step 1: Light and pose your subject as desired. Because this is the pose that the flash is going to record, treat it as you would a normal shot as this will be the main focus of your image.
Step 2: Choose your aperture.
You can either choose your aperture based on the effect you want and set the flash power accordingly, or you can meter your flash and choose your aperture based on that reading.
Step 3: Choose a shutter speed slow enough to allow your subject to move after the flash has fired. This is variable and will depend on how your subject reacts to the technique and the end result that you want. Somewhere between half a second and one second is a good start when dragging the shutter.
Left: The shutter speed is 1 second. Right: A shutter speed of 2.5 seconds allowed for the subjects second pose to be recorded more clearly. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1sec (Right: 2.5 sec), f/9, ISO 100, Manual Mode, Spot Metering.
Step 4: Make sure that your subject knows to change their pose as soon as the flash fires. Then hold that second pose (that’s one way to do it) until the shutter closes again.
You are not limited to one movement. Here the subject move her head to each side on a verbal cue. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 2.5 sec, f/9, ISO 100, Manual Mode, Spot Metering.
Step 5: Take a photo.
When the flash fires, it records the first pose your subject is in. After that, and after your subject moves, everything, including the movement and the second pose, is being recorded by the ambient light.
Step 6: Make adjustments.
Now that you have a test shot, you can evaluate how your image looks and adjust your shutter speed settings. Is your subject not moving fast enough or is the ambient not recording enough? Slow down your shutter speed. Is the ambient recording too much? Choose a faster shutter speed.
Once you have a shot, evaluate it on the back of the camera and make, or instruct your subject to make, any adjustments to help get the desired effect. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1 sec, f/9, ISO 100, Manual Mode, Spot Metering.
You can also tweak any instructions you’ve given your subject.
If their poses are too close together, ask them to make sure they’re moving further from their initial position. Are they moving so slow that they’re not arriving at the second pose before the shutter closes? Let them know, and show them the back of the camera.
Since dragging the shutter like this relies on so many variables, communication between you and your subject is key.
Step 7: Take some more.
Dragging the shutter in this manner can be a tricky thing to get right. Keep going until you are sure you have something.
Dragging the shutter can be a very hit and miss technique. Take as many photos as you can to ensure that you get the result you are after.
Sometimes, magic happens and you might get it in the first few frames, but other times you’ll bang away at it for ages before everything seems to click. Since no two images will ever be the same, don’t be afraid to keep going until you’re confident with the result.
Step 8: Keep experimenting.
When the subject realized that this stool spins, she suggested we see what it looks like. Experimenting like this is a good way to find something new. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1.6 sec, f/9, ISO 100, Manual Mode, Spot Metering.
There is so much that you can do with dragging the shutter like this. Instead of your subject moving their heads, have them hold their pose and cover their face with their hands once the flash has fired.
Instead of taking a second pose, have them keep moving their head for the duration of the exposure. Alternatively, instead of having your subject move, try moving the camera.
The choices are limitless. Not everything will work, but memory is cheap. Try it anyway and see what comes out.
In the end
Dragging the shutter is not a complicated technique, but it is one that offers a wealth of opportunities if you like the effects it can provide. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1 sec, f/9, ISO 100, Manual Mode, Spot Metering.
Dragging the shutter with flash is a very easy technique to use, but it is unpredictable. That’s what makes it so fun. No matter what you do, no two images will be alike, so experiment a lot and see what you can come up with. If you have an idea that you don’t think will work, try it anyway. You’ll never know until you do.
Give this technique a try and share your results with us in the comments section below.
The post Dragging the Shutter for Creative Portraits appeared first on Digital Photography School. It was authored by John McIntire.
