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Instagram CEO reveals the simple reason the company doesn’t have an iPad app

Despite the popularity of both the social media platform and the gadget, Instagram still lacks an iPad app. This omission remains frustrating, particularly in light of the iPad Pro and its suitability as a laptop replacement for some photographers. In a recent Instagram story, the company’s CEO Adam Mosseri briefly discussed the topic, stating that Instagram wants to launch an iPad app.

The information surfaced in one of Mosseri’s Instagram stories; it was spied by The Verge editor Chris Welch who tweeted the details to his followers.

In addition to revealing that some Instagram users don’t see advertisements, Mosseri reportedly also said in the story that Instagram ‘would like to build an iPad app,’ but that ‘we only have so many people, and lots to do, and it hasn’t bubbled up as the next best thing to do yet.’

This, of course, has raised questions over whether an iPad app will ever be ‘the next best thing’ on Instagram’s list of priorities. The iPad’s 10th anniversary is in less than two months and device owners have been requesting a proper iPad app for years.

Articles: Digital Photography Review (dpreview.com)

February 18, 2020
How to Conserve your DSLR Battery When You are Running Low on Power

The post How to Conserve your DSLR Battery When You are Running Low on Power appeared first on Digital Photography School. It was authored by Megan Kennedy.

Cameras are amazing tools. However, without battery power, they aren’t particularly useful for image making. If you find yourself low on power, there are a number of ways to conserve your DSLR battery. In this article, we’ll look at a few options for stretching out the battery life of your camera when you are running low on juice.

1/15 sec, f/8, ISO 800

Lower LCD brightness

If you’re worried about trying to conserve your DSLR battery, the first thing to do is to turn down the brightness on the camera’s LCD screen. Although dimming the LCD screen can make it more difficult to review images, cutting down on LCD brightness can make a big difference in terms of battery life.

Turn off image preview

Image preview is a quick way to make sure your photographs are turning out. However, Image Preview also consumes a lot of battery power. When you need to conserve your DSLR battery, you can turn the Image Preview function off altogether. Of course, this means that Live View mode is a no-go on a low battery too.

Turn off your camera

1/60th of a second at f/1.8, ISO 1600

One of the most obvious ways to conserve your DSLR battery is to switch the camera off altogether! This won’t be of much use if you are in the midst of a shoot, but if you have a few minutes between subjects, turning your camera off can save a lot of battery.

Don’t delete photos on the fly

Going through and deleting images in-camera can put a significant strain on battery life. Deleting images in-camera can even increase the chances of corrupting the data on your memory card. Rather than trawling through and deleting your photographs to free up space, invest in a few extra memory cards instead.

Switch off sensor cleaning

Sensor cleaning is a mechanism that cleans the sensor whenever the camera is turned on or off. When activated, the camera uses ultrasonic vibrations to try and shake loose any pesky traces of dust on the sensor. While useful, sensor cleaning uses up a considerable amount of battery life each time it enters cleaning mode. So, if you are low on battery, turn this function off via the settings menu in your camera.

Avoid cold conditions

Batteries in cooler environments tend to drain quicker than those in warmer conditions. If you can’t avoid shooting in a chilly environment, many photographers make use of hand warmers and the like to maintain battery life.

Turn off image stabilization

1/250th of a second, f 3.2 ISO 800

Image stabilization (or IS) is a mechanism that is used to stabilize an image when hand-holding a camera. By counteracting camera movement, IS reduces the likelihood of unwanted blur in your photographs.

However…(you guessed it), image stabilization soaks up a lot of power.

Sometimes IS is crucial, but in circumstances where the camera is mounted on a tripod or a steady surface, or you are shooting at a fast shutter speed, make sure you switch the IS function off to conserve your DSLR battery.

Check up on battery health

Camera batteries have a limited life, meaning that they do eventually need to be replaced. Keep track of battery health by consulting the battery info in-camera. Keeping an eye on trends in a batteries’ life can help you determine in advance when it might be time for a new battery.

Consider getting a battery grip

A battery grip is an accessory that attaches to the base of a camera. It provides room for an extra battery, doubling your time between charges. Battery grips also provide an additional grip for portrait-orientated shooting and can ease the strain of hand-holding longer lenses.

A battery grip aids in hand-holding the camera in a portrait orientation. 1/200 f/6.3 ISO 100

If you are finding that you are constantly pressured by a lack of battery power, or you want to ensure you won’t be caught short, you may want to invest in a battery grip.

Conclusion

Camera batteries are a key ingredient in DSLR photography. By lowering LCD brightness and switching off image preview, sensor cleaning and IS or turning off your camera between subjects, it can be a little easier to conserve your DSLR battery in a pinch.

Refraining from deleting photos on the fly, avoiding cold conditions and keeping an eye on battery health can also help to stretch the longevity of a batteries’ life between charges.

Do you have a great tip for conserving battery life in a pinch? Go ahead and post in the comments!

The post How to Conserve your DSLR Battery When You are Running Low on Power appeared first on Digital Photography School. It was authored by Megan Kennedy.

Digital Photography School

February 18, 2020
Nikon releases major firmware updates for its Z6 and Z7 cameras, minor update for the Z50

Nikon has released a trio of firmware updates for its Z6, Z7 and Z50 mirrorless cameras. Aside from the Z50, the Z6 and Z7 updates bring a number of major new and improved features, including expanded CFexpress, animal-detection autofocus (AF) and more.

Firmware version 3.00 for both the Nikon Z6 and Z7 are identical across the board in the new features and functionality they bring to the camera systems. First, Nikon has added support for ProGrade and Lexar CFexpress (Type B) memory cards. Nikon has also added a new animal-detection AF, meaning the Z6 and Z7 ‘can now detect and focus on the faces and eyes of dogs and cats,’ even in movie capture mode.

Subject-tracking AF has also been improved, with the ability to activate it using the Fn1 or Fn2 buttons on the camera body or barrel of the lens when using compatible Z-mount lenses. Nikon has also changed the behavior of the camera when subject-tracking AF to make it more resemble the experience of shooting with Nikon’s signature 3D-tracking options found on Nikon’s DSLRs. In Nikon’s own words:

‘Subject tracking for still shooting in AF-C mode has been modified to provide a more familiar operational feel similar to that of 3D-tracking feature built into Nikon DSLR cameras. To enable the feature, users can hold the AF-ON button or half-press the shutter-release button to initiate. Subject tracking disengages when users take their finger off the button, causing the camera to switch back to the original focus point before subject tracking began. Additionally, the transition from the Auto-area AF display to the subject selection display can be assigned to a custom control button, allowing for a more customized user-experience.’

Other changes include a new custom settings, support for the focus limit switch on select Z-mount lenses (only the Nikkor Z 70–200mm F2.8 VR S offers it at this time), and improved responsiveness when switching to manual focus ‘when the focus or control ring on a Z mount lens is rotated during autofocus.’ Fixes have also been made for viewfinder brightness issues, Bluetooth connection issues on iOS and a rare phenomenon wherein horizontal lines could appear across photographs captured with the device.

Moving onto firmware version 1.10 for the Z50 mirrorless camera, Nikon has added the same focus limit switch option as it did on the Z6 and Z7, and movies shot in self-portrait mode are now filmed using full-time autofocus (AF-F), regardless of what option is selected for the current autofocus mode.

You can download the latest firmware updates for the Z6, Z7 and Z50 on Nikon’s website.

Articles: Digital Photography Review (dpreview.com)

February 18, 2020
How to Photograph Beautiful Winter Snowdrops (or Other Flowers)

The post How to Photograph Beautiful Winter Snowdrops (or Other Flowers) appeared first on Digital Photography School. It was authored by Charlie Moss.

Every year the forests and parks gain a touch of magic as the winter snowdrops emerge. For just a fleeting few weeks, their delicate flowers form beautiful white carpets that seem to flow in the weak winter sun. But sometimes, when we go out to photograph them, the results can be a little lackluster.

It seems like it shouldn’t be hard to take a great snowdrop photo, and yet many photographers really struggle to capture their beauty. Here are some of my top tips when it comes to the art of photographing these tiny flowers. Don’t forget your macro lens or close-up filters to get the best shots.

Get down low

When the flower you’re photographing doesn’t stand taller than the top of your boots, you’re going to have to get yourself and your camera down close to the floor for a worm’s eye view. For this reason, I always keep a couple of carrier bags in my camera gear. The alternative is wet knees and elbows, so I recommend you do the same!

ISO100, 35mm (50mm equiv.), f2.8, 1/550th sec

You can either rest the camera on the floor or use a very small tripod. Alternatively, some full-size tripods can invert, allowing you to get the camera down close to the ground.

Once you’ve got your camera down low, you can either use the screen to compose or the camera’s phone app (if it has one). I’d also suggest using manual focus for these kinds of shots; otherwise, you might find that your camera’s auto-focus locks on to errant blades of grass rather than the winter snowdrops themselves.

Choose interesting light

It’s hard to guarantee interesting light if you’re going out on location, but there are a few things that you can do to help swing the odds in your favor.

Heading out to your preferred winter snowdrops patch either first thing in the morning or during sunset can give you a better chance of having more interesting light. In the morning, you will also get the beautiful dew that makes specular highlights in the out of focus areas, adding extra magic to your photos (but you could also add “dew” with a spray bottle – I won’t tell anyone).

Left: ISO100, 35mm (50mm equiv.), f2.8, 1/320th sec. Right: ISO200, 35mm (50mm equiv.), f2.8, 1/4000th sec

Look for an opportunity to backlight the flowers with the sun. The light coming from behind can really highlight the thin white petals. You might want to add a small reflector or a pop of fill-flash to the front of the flower if you try this approach.

Of course, if you plan ahead, you could also grow winter snowdrops in a pot at home. That way, you can take them indoors when they start to bloom and spend as long as you like experimenting with different kinds of lighting!

Think about the depth of field

Your aperture choice can really make or break your snowdrop photo. Because it sets how much of your image is in focus, it’s the camera setting that requires the most thought for flower photos.

Deciding if you want a wide depth of field, or to focus on just one small part of the scene, is the choice that is going to make the biggest visual statement. It’s also one that you can’t reverse after the shot.

Both approaches have merit, and if you’re in any doubt, try shooting at a variety of aperture settings and choosing later.

My favorite way to shoot small flowers is with a shallow depth of field. This helps the viewer focus on just the subject without the background becoming distracting.

The image on the left was shot at f2, while the image on the right was shot at f8. Both were shot at ISO200, on a 35mm (50mm equiv.), lens.

A shallow depth of field also allows a single snowdrop to stand in isolation in your photograph, showing off its beauty. This approach can be especially good if the snowdrop is an unusual variety – some types of snowdrops can cost a huge amount per plant!

But if you’re trying to capture the vastness of a white carpet of snowdrops, then a larger depth of field can be more effective. That way, you can show the beauty of the mass of flowers without them all blending into one.

Post-process creatively

Many photographers shoot winter snowdrops every year, and a lot of images make it online. It’s easy to get lost amongst the crowd when it comes to photographs of snowdrops. Post-processing your images creatively can be both a good way to learn more about your software, as well as a chance to produce something truly unique.

ISO100, 35mm (50mm equiv.), f1.4, 1/1250th sec

You could go for post-processing that is as simple as a basic color grading. Emulating one of the different kinds of old film stocks might be a good place to start. Don’t forget to consider photographing with a black and white conversion in mind too – the white flowers really pop off a green grass background when you go black and white!

If you’re feeling adventurous, you could try adding textures to the image, or even following my method for layering multiple photographs in Adobe Photoshop.

There are no rules in flower photography, so let your imagination run wild when it comes to creative post-processing.

Try something abstract

These perfect clumps of little white flowers give you a great opportunity to try out something a little more experimental and off-beat. If you’ve not tried shooting abstract images before, just remember to approach the process with an open mind and try not to get hung up on what other people might think.

You could start off by trying an unconventional angle or using a tine depth of field to focus on just one part of the flower. Use the colors of the petals and the lines of the stems to create strong compositions where the subject itself is of secondary importance.

Both: ISO100, 35mm (50mm equiv.), f16, 1/4th sec

Alternatively, how about trying out some ICM – intentional camera movement?

Set a long shutter speed (I usually start around 1/4 sec) and give the camera a wiggle while the shutter is open. You may find that you need to use a very small aperture or add a neutral density filter to your lens to allow for the long shutter speed without overexposing the image.

The technique is gaining popularity amongst many abstract photographers, and everyone has their preferred wiggle method!

When it comes to this kind of image-making, the key is to approach it with no expectations and not to be disappointed if you don’t get amazing results the first time.

As always, practice does make perfect, and it takes more than one attempt to create a masterpiece!

Take your camera for a walk and shoot

As always, the most important thing is to get shooting and start somewhere. You’ve only got a limited window of opportunity to photograph the snowdrops, so make the most of it while they’re in full bloom.

ISO100, 35mm (50mm equiv.), f2.5, 1/480th sec

The easiest way to find displays of snowdrops will be to follow the social media pages of country houses or landscaped gardens near you. They often use their social media pages to notify subscribers of whatever seasonal flowers are at their best.

You could also ask on local photography groups if anyone has an idea for other hotspots to find snowdrops – they often crop up in woodlands and parks that have been around a long time.

Don’t forget that these ideas can apply to plenty of other kinds of flowers too. But you might find that none are quite such showstoppers as the delicate little winter snowdrops.

So, go out and shoot some winter snowdrops and share them with us in the comments below!

The post How to Photograph Beautiful Winter Snowdrops (or Other Flowers) appeared first on Digital Photography School. It was authored by Charlie Moss.

Digital Photography School

February 18, 2020

Panasonic interview: ‘If we stay united I think we will survive’

Yosuke Yamane, Director of Panasonic’s Imaging Business Division, pictured at the Consumer Electronics Show in Las Vegas, in January.

At last month’s Consumer Electronics Show in Las Vegas we sat down with Yosuke Yamane, Director of Panasonic’s Imaging Business Division, to discuss market reaction to the S1-series, full-frame strategy and the state of the L-mount alliance.

How have the S1 and S1R performed in the market?

It fluctuates month by month, but in the $ 3,000 / €3,000 price range, we have gained roughly a 10% market share, globally. That was the result we were hoping for.

With the S1 and especially the S1R we were targeting high-end customers in the full-frame market. Over the past eight months we’ve been able to penetrate that market and we are satisfied with the sales, so far.

We’ve had great reviews from magazines and websites, and we just won the Gold Award at the prestigious Camera Grand Prix, in Japan. Only one camera can be selected as best camera in a year, and we got the number one award. We’ve been in the industry for twenty years and this is the first time we won the Grand Prix award, so we’re very satisfied.

What kind of differences are you seeing between the kinds of people buying the S1 versus the S1R?

With the S1R, we were targeting high end stills photographers, whereas with the S1 we were targeting both video and stills customers. So-called ‘hybrid’ photographers. And the customers who are purchasing the S1R are mostly stills photographers, whereas S1 customers are shooting both video and stills.

These days a lot of professional photographers are stepping into the videography area, and we want to support those photographers with the S1.

Do you have any idea of how many S1 purchasers have paid for the SFU2 video firmware upgrade?

The S1 outsells the S1R, and roughly speaking, probably 20-30% of S1 customers are purchasing the SFU2 for the upgraded video customers.

The Panasonic Lumix S1 is a 24MP full-frame camera aimed at enthusiast photographers and videographers. Unsurprisingly, it has out-sold the more expensive S1R, but it’s interesting to learn that up to a third of buyers have paid for the SFU2 upgrade, which adds video features.

What kind of people are buying the S1H?

Videographers and cinematographers, as we expected.

Panasonic already has a range of high-end dedicated video cameras – what specific need was the S1H designed to meet?

These days, more and more filming is done using drones and gimbals. The S1H is designed to be more flexible for those [kinds of] unique requirements.

Where do you see the biggest opportunities for Panasonic, in the next few years?

We believe that our video features are one or two steps ahead of our competitors, and we have an advantage there. For example, with the S1H which we released a few months ago, the sales performance is exceeding our original expectations. But the video performance of the S1H was designed to meet the needs of high-end videographers and cinematographers, so for amateur or hobby videographers, the S1H may be over-specced.

Our video features are one or two steps ahead of our competitors

We believe that what the market is telling us is that in the near future, all those video features should be available from high-end to enthusiast-level videographers. That’s the demand that we need to meet.

Do you see more long-term opportunity in the full-frame market, compared to Micro Four Thirds?

One advantage of Micro Four Thirds is the deep depth of field. Which is also good for video. With that unique feature, we want to support both stills and video photographers. Whereas big sensor cameras have a shallower depth of field, which suits different requirements. Those two categories [of needs] are different, and we satisfy both.

We want to target different customers, and we will keep developing cameras for both categories – full-frame and Micro Four Thirds.

The S-system consists of some very high-quality cameras and lenses, but the current lineup includes some seriously chunky products – especially lenses. According to Mr Yamane, customers are asking for smaller products.

The fact is that the full-frame camera market in the US is expanding rapidly. But as you know, full-frame sensors are 4X bigger than Four Thirds, which means that the lenses also need to be big. Which means that [our] full-frame camera system, even though it’s mirrorless, is bigger than Micro Four Thirds. We believe that the two categories can co-exist. That’s why we keep pursuing both [product lines].

Some manufacturers, as you know, are making very small lenses, compatible with full-frame, but we think that to do this, they needed to sacrifice lens quality to a certain extent. That’s how they are able to make them so small. That means that those lenses are not fully utilizing the benefits of the full-frame sensor. When it comes to Micro Four Thirds, we can fully utilize the benefits of the sensor, and we believe that as a combination, the overall quality of Micro Four Thirds can be very good.

Which countries generates the biggest sales of full-frame, and Micro Four Thirds products respectively?

There’s not much difference, country by country, in terms of percentage of sales.

Panasonic now supports two interchangeable lens systems – Micro Four Thirds and L-mount – but they’re not directly cross-compatible. You’ve told me before that Panasonic will not create an APS-C lineup – is that still the case?

As of now, we have no plans to enter the APS-C market, because we know that Micro Four Thirds and full-frame can coexist without any cannibalization.

Promoting the L-mount alliance is very important for us because it gives our customers confidence in the [mount] over the coming years

If we moved into APS-C, there might be some overlap between Micro Four Thirds and APS-C, and between APS-C and full-frame, so I don’t think we’ll go in that direction.

What is your strategy to attract entry-level photographers to full-frame?

As you know, we have an alliance with Leica and Sigma. Between the three manufacturers, there are 47 lenses available. We think that with this combination of different cameras from the three manufacturers, and lenses, from the high-end to the mid-class, we are starting to satisfy entry-level to enthusiast users.

So you don’t mind if an entry-level customer comes into the L-mount via a Sigma or Leica camera?

Initially, we really wanted to appeal to high-end users, to show that we could make those high-end cameras. To prove the quality of our cameras. In the future, we’re going to introduce mid-class, and different ranges of cameras.

But those future cameras will still be full-frame?

Yes. Two different [L-mount systems] would be too much for us!

What are the most important priorities for evolving the S1 lineup, in the future?

Overall, we’ve had a lot of appreciative comments from high-end users. What’s hindering us in the lower-end segment is size, weight and price. So we need to understand those obstacles, and we’re considering the development of new products in order to penetrate into a wider market.

The S1 (left) has a sensor 4X larger than the GH5S (right). According to Mr Yamane, if the company expanded its lineup of L-mount cameras to include APS-C models, this might risk cannibalizing sales of its Micro Four Thirds bodies.

How has your relationship with Sigma and Leica evolved over the course of your alliance?

We meet periodically to [maintain] our relationship, and right now we’re discussing how to expand the L-mount system. We need some new ideas to expand the system to a wider variety of customers. We cannot disclose details, but [at the moment] we’re discussing changes to the communication protocol between the cameras and lenses.

The number of members of the L-mount alliance may increase in the future

Promoting the L-mount alliance is very important for us because it gives our customers confidence in the [mount] over the coming years. So for example, we’ll have joint booth areas at tradeshows, and maybe in stores we’ll have touch and try opportunities for consumers to try the products from all of the alliance members.

What has been the most important or valuable aspect of your collaboration with Sigma and Leica?

With Leica and Sigma, we [hope to be] offering L-mount cameras forever. If you purchase a camera from another brand, you have to rely [solely] on that brand. But we are three, and because of that we can give our users the assurance that the L-mount alliance is not going to disappear.

Is there a risk that some of your competitors might disappear?

It may be hard for some manufacturers to survive in this difficult industry, but we are a combined team, and if we stay united I think we will survive. Please understand that this is purely hypothetical, but the number of members of the L-mount alliance may increase in the future.

Is this something that has been discussed?

There are no concrete ideas, but we wouldn’t pass up such an opportunity.

Late last year, Panasonic teased an 8K camera, and hinted that this technology might make it into the Lumix line. That may yet happen, but according to Mr Yamane, it won’t be for a while.

Can you share any more details of the 8K camera that was talked about at IBC? There was a hint that this technology might start being included in Lumix cameras after the 2020 Olympics.

At this time, the only 8K camera we have planned is for the Olympic games, which is only a few months away. Our feeling is that the 8K era is a little bit delayed. But we want to catch that opportunity and we haven’t given up our pursuit of 8K cameras.

So there are no immediate plans to introduce 8K capture into the Lumix line?

We will be ready for 8K soon, but we can’t tell you the timing. We need a little bit longer before we can introduce 8K cameras. It won’t be [in the very near future].

Editor’s note: Barnaby Britton

I enjoy speaking to Mr. Yamane, whenever I get the opportunity. Like Mr. Yamaki of Sigma (the two are friends) he is reliably candid, and has a firm grasp of the many challenges and opportunities facing Panasonic. No executive can be expected to reveal concrete plans for future products or projects, but Mr. Yamane’s hints at more (and smaller) S-series products, and possible changes to the L-mount data protocol are intriguing.

Also intriguing (but understandably couched in purely hypothetical terms) was Mr. Yamane’s comment that the L-mount alliance might expand, to incorporate more than three members. With so much of the full-frame market still in the hands of just three manufacturers (Canon, Nikon and Sony) it’s interesting to imagine other players joining up to the L-mount, but hard to imagine who they might be.

Olympus has said (repeatedly, and recently) that it has no interest in full-frame, which really only leaves Fujifilm and Ricoh. I very much doubt that Fujifilm would see much potential benefit from supporting a third mount, incompatible with either of its existing XF and GF systems, and with potential overlap, but Ricoh? You never know.

Mr. Yamane’s claim of a 10% share of the €3,000+ market, globally, counts as strong performance

Away from hypotheticals, the S1 and S1R have been on the market for a while now: long enough for Panasonic to get an idea of how they’ve been received. Anecdotally, neither model seems to be selling in huge numbers (at least not in the US or UK: the two territories in which I’ve recently had the opportunity to speak to staff in specialist camera stores) but Mr. Yamane’s claim of a 10% share of the €3,000+ market, globally, counts as strong performance from a new line.

Of those sales, it seems that the S1 has the larger share. This is unsurprising since a) it’s cheaper, and b) it’s more versatile, with a deeper video feature set. Interestingly, up to a third of S1 buyers have opted to pay for a firmware upgrade which upgrades the camera’s video features even further. Meanwhile, the S1H is (no surprise) attracting the attention of dedicated filmmakers.

Panasonic knows how to make great video cameras, and the videography market is clearly of key importance to the company. What’s most encouraging from talking to Mr. Yamane is that he believes great video should be available throughout his company’s product lineup – not simply in the flagship products.

And 8K? Well, it looks like we’ll have to wait a little longer for that.

Click here to read more in-depth interviews

Articles: Digital Photography Review (dpreview.com)

February 18, 2020

US Judge rules against county seeking to ban drone flights in their parks

The Michigan Coalition of Drone Operators celebrates their victory outside of the Genesee County courthouse.

On February 10th, the Honorable Judge Joseph Farah handed down a ruling in favor of the Michigan Coalition of Drone Operators (MCDO) after Genesee County, in Flint, tried to establish an ordinance banning drones in their parks. The three-month-long legal battle was ignited after R. Jason Harrison was arrested in December 2018 for flying legally in a park. Harrison’s drone and accessories were confiscated and he was issued a misdemeanor.

Even though the ticket was dropped, Harrison sought the counsel of Dean Greenblatt, an aviation attorney licensed in both Michigan and Florida. Greenblatt had the following to say to DPReview regarding the situation:

‘I understand that this case is the first to attempt enforcement of statewide preemption statutes regarding drones. It is the first legal challenge in Michigan, and presumably the first legal challenge to a preemption statute anywhere in the country.’

What happened to Harrison isn’t unusual for remote pilots operating in a majority of states across the US. 33 of them don’t have the proper State Legislation in place. This allows local governments to establish their own laws regarding drone use. Even though the Federal Aviation Administration (FAA) has jurisdiction over national airspace, local municipalities in these 33 states can override the government agency by passing rules that regulate the land. Many public parks in California, for example, prohibit people from launching an unmanned aerial vehicle on their premises. This creates hassles for commercial drone operators and confusion for casual users less familiar with local ordinances.

Even though the Federal Aviation Administration (FAA) has jurisdiction over national airspace, local municipalities in these 33 states can override the government agency by passing rules that regulate the land.

There isn’t a central database or uniform resource dedicated to city-specific rules surrounding drone use. It’s not uncommon for someone to check in with an airspace application like Kittyhawk, AirMap, or UASidekick and believe they’re conducting a legal flight….only to be approached by a local law enforcement officer and told to land immediately. Conducting a Google search with the name of the city you plan to fly in along with the terms “drone” or “UAV” is necessary to find out if they have any UAS laws in place.

Michigan is one of the 17 states with a law that specifically prohibits local governments from creating or enforcing their own drone ordinance. MCL 259.305, which is part of Act 436 passed in 2016, specifically states the following about drone use: ‘[e]xcept as expressly authorized by statute, a political subdivision shall not enact or enforce an ordinance or resolution that regulates the ownership or operation of unmanned aircraft or otherwise engage in the regulation of the ownership or operation of unmanned aircraft.’

Genesee County argued that it was exempt from state law and amended its park rules in response to the charges brought against them by the MCDO. Newly-created legislation, to justify their ban of drones, stated the following:

‘Section P910615-Aircraft and Drones

No person shall, upon the property administered by the Commission: Make any ascent or descent, operate or possess any balloon, airplane, parachute, drone, manned or unmanned aircraft on Commission properties or waters, except in designated areas, without first obtaining written permission from the Commission or except as may be necessary in the event of an emergency.’

Judge Joseph Farah signed off on his ruling against the illegal banning of drones in Michigan state parks.

After a series of hearings that took place in October and November, Judge Farah ruled that the state of Michigan’s legislature was clear, binding, and could not be overridden by local lawmakers. Another person who would agree with this sentiment, and even take it a step further, is the FAA’s former Administrator, Daniel Huerta.

In a 2017 keynote address for the InterDrone conference, Huerta stated “legally, the (FAA) has regulatory authority over all U.S. airspace. But successfully blending unmanned aircraft into busy airspace will require state, local, and tribal governments to build upon existing federal efforts to develop and enforce safety rules.”

In a recent development, Genesee County made the decision to override Judge Farah’s ruling and risk being in contempt of court. This stems from their new claim that drone flights within the Class C airspace of KFNT, a ‘no-fly zone’ covering some of the county’s parks, were unlawful. This particular airport participates in the Low Altitude Authorization and Notification Capability (LAANC) making it possible for professionals and hobbyists to fly up to a certain altitude with real-time approval.

Greenblatt had the following to say about Genesee County’s newfound defiance: ‘any attempt to enforce a drone ban or “no-fly zones” as labeled in the “Amendment” will be met with a motion to hold the County in contempt and to enforce the injunction.’ Inaccurate and incorrect interpretations of airspace rules is the exact issue that led the State Legislature to enact the drone preemption statute; that is, to prevent a patchwork of local regulations by non-experts.

The MCDO did not seek out any monetary damages from Genesee County. Instead, the group hopes that Judge Farah’s ruling sets a precedent not only for the state of Michigan, but the other 17 states with similar preemption laws should someone find themselves in legal trouble. The final goal is for the remaining 33 states to take up similar legislation to prevent a patchwork of confusing local ordinances and protect the rights of those looking to legally operate drones in national airspace.

Articles: Digital Photography Review (dpreview.com)

February 18, 2020
Rokinon announces 16mm T2.6 and 35mm T1.5, two new carbon fiber cine lenses

Rokinon XEEN CF 16mm T2.6

Rokinon has announced a pair of wide-angle primes that add to Rokinon’s growing lineup of XEEN CF Professional Cine Lenses for Canon EF, PL and Sony E mount camera systems. The 16mm T2.6 and 35mm T1.5 round out Rokinon’s Xeen CF lineup alongside the previously-announced 24mm T1.5, 50mm T1.5 and 85mm T1.5 lenses.

As with the other three primes in the lineup, the ‘CF’ denotes the carbon fiber used in the construction of the lenses’ barrels for these lenses. The use of carbon fiber reduces the weight of the lenses compared to metal housing, with the 16mm and 35mm primes weighing .9kg (2lbs) and 1.1kg (2.4lbs), respectively.

Rokinon XEEN CF 35mm T1.5

Both lenses feature an eleven-blade aperture, a 95mm front filter thread, a 200-degree focus throw and dual-side focus scales made of luminescent material for easier viewing in low-light conditions. They also use Rokinon’s X-Coatings for improved control of internal reflections.

No pricing or availability information has been shared at this time, but all of the other XEEN CF lenses in Rokinon’s lineup retail for $ 2,495, so it’s not unreasonable to assume these will cost the same. DPReview has contacted Rokinon for more details and will update the article accordingly if we receive a response.

Update (February 17th, 2020): Updated to clarify the 16mm is a T2.6 lens, not a T1.5 lens, as suggested by the original headline.

Articles: Digital Photography Review (dpreview.com)

February 18, 2020
Research firm claims Sony had nearly half of the image sensor market share in 2019

Sony held nearly half of the image sensor market share in 2019, according to Japanese research firm Techno Systems Research (TSR). The detail was spied by PulseNews, which points out that Sony’s 49.1% market share greatly eclipsed the second biggest market share, 17.9%, held by Samsung. The South Korean company recently launched its 108MP Nonacell image sensor with its new Galaxy S20 Ultra smartphone.

The news isn’t surprising. In December, Sony revealed that its semiconductor business was working 24/7 through the holidays in an effort to keep up with the demand for its image sensors. The company is building a new facility in Nagasaki in order to boost production capacity due to this demand; it is expected to go online in April 2021.

Samsung remains the biggest competitor to Sony’s image sensor business. In 2018, the South Korean company announced that it would expand the production capacity of its own image sensor business and that its ultimate goal was to overtake Sony. Based on the TSR data, the company still has a long way to go toward reaching that milestone.

Still, Sony’s image sensor business may have a rocky future. Earlier this month, Sony expressed concerns about the ongoing novel coronavirus outbreak in China where the company has four large factories. According to Sony CFO Hiroko Totoki via the Nikkei Asian Review, the impact of the coronavirus on the company’s supply chains could potentially cause enormous disruption to Sony’s image sensor business.

Articles: Digital Photography Review (dpreview.com)

February 18, 2020
The Canon Rebel T8i/850D Revealed With 7 FPS Shooting and 4K Video
The post The Canon Rebel T8i/850D Revealed With 7 FPS Shooting and 4K Video appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon hasn’t given up on its DSLRs yet.

While we’ve seen the imaging giant shift its resources to mirrorless tech in recent years, it seems that Canon still plans to keep its DSLR lineup going.

At least for a little while.

Because the Canon Rebel T8i, also known as the Canon EOS 850D, was announced just days ago, along with specifications that give us a good idea of what the camera will offer and who it’s for.

If you’re an entry-level Canon DSLR shooter or a vlogger, then the T8i looks to be a fine (though not thrilling) option. You get an APS-C, 24.1-megapixel sensor with the potential to shoot up to ISO 25600 (ISO 51200 when expanded). You also get a DIGIC 8 processor, 7 frames-per-second continuous shooting, a 45-point AF system, and 4K/24p video.

Those familiar with the T7i/EOS 800D will undoubtedly notice the lack of major differences between the T8i and the T7i, because it seems that Canon went for a minor set of changes rather than a moderate upgrade.

That said, three key differences are:
- 7 frames-per-second shooting (7.5 fps in Live View) versus 6 frames-per-second shooting in the T7i
- A new processor (DIGIC 8 versus the T7i’s DIGIC 7). This is responsible for the improved continuous shooting speed.
- 4k video
Probably the biggest among these changes is the added 4K video, as many reviewers lamented its lack of inclusion in the T7i. But the T8i’s 4K video comes with a big qualification: Canon’s fantastic Dual Pixel autofocus, which performs extraordinarily well in Live View, won’t work. Instead, you must shoot at 1080p for access to Dual Pixel AF; otherwise, you’re stuck with contrast-detection AF, a system that’s historically much slower than its Dual Pixel counterpart.

In terms of image quality, we can expect something very similar to the T7i, which performed well but hardly managed to astonish. And while the 24-megapixel count is enough for most enthusiasts, I can’t help but wish Canon had pushed the T8i a bit further. We know that they can, having seen the 32.5 MP resolution capabilities produced by the APS-C Canon 90D.

As for speed, the extra frame per second probably won’t matter much to the average user of this camera. Either you’re doing more serious action work, in which case a frame-per-second more can be the difference between a failed shot and a nailed shot, or you’re an entry-level consumer or enthusiast in this camera’s target market, in which case the minor speed upgrade doesn’t matter much.

While the Canon Rebel T8i doesn’t yet have a release date, the camera should drop for $ 900 (including an 18-55mm kit lens), or $ 750 USD (body only).

So what do you think of the new Canon Rebel T8i/850D? Are you satisfied? Were you hoping for something more? Or do you want Canon to focus entirely on mirrorless? Share your thoughts in the comments!

The post The Canon Rebel T8i/850D Revealed With 7 FPS Shooting and 4K Video appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School
February 18, 2020
Flat Lay Photography – How to Make Yours Stand Out from the Rest

The post Flat Lay Photography – How to Make Yours Stand Out from the Rest appeared first on Digital Photography School. It was authored by Lily Sawyer.

If you’re on social media, you may have come across flat lay photographs. They have become very popular over recent years and can be successful scroll-stoppers on sites such as Instagram when done properly.

What is flat lay photography?

Simply defined, flay lay photography means a photograph where the subject/s are arranged on a flat surface and photographed from above. It is also sometimes called the bird’s eye view.

The surface and the lens are positioned parallel to each other from a vertical distance apart, and therefore, no angles are visible. The surface is flat, and the image shows a singular dimension taken from a parallel position above the surface.

However, this does not mean that your image should look flat. This article will discuss factors that contribute to achieving interesting flat lay photographs without the image looking necessarily flat, especially if that is not your intention.

f/2.8 ISO 1000 SS 1/125

What can you shoot in the flat lay style?

Because flat lay photography is a style or a format, you can shoot just about anything! The only consideration is the size of the subject.

If you had a drone camera, for example, then you can shoot landscapes and mansions in a flat lay fashion, much like aerial photography.

However, drone photography is not only limited to aerial photography. You can use a drone to capture normal objects in flat lay format. What is generally available to us are mobile phones and digital cameras, which are small. So they can limit the size of what we can shoot given the vertical distance requirements.

People

You can photograph people lying down on the grass or on the bed from above, and that would be considered flat lay.

Newborns are easier to photograph from this angle because they are small. You can capture their entire bodies plus a background from a short distance, such as the newborn images below.

f/4 ISO 1000 SS 1/125 Off-camera flash in a strip softbox to the side and a reflector on the opposite side

Objects

You can photograph just about any object in the flat lay style. Smaller objects grouped into a space together is the simplest way of doing this.

The photo below required very little styling, and I photographed it in a bright and evenly-lit space; hence there are no dominant shadows in the photo.

f/1.8 ISO 400 SS 1/160

Food

One of the most common subjects photographed in this style is food. A plateful of food is small enough to snap a picture of so quickly. It often requires minimum styling, especially if you are dining in a restaurant, as often the food is already presented well on the plates.

Instagram is peppered with food photos, both styled and unstyled, and flat lay can add the wow factor without much effort.

The photos below are unstyled and are quick snaps of the food served at a reception. I photographed these indoors with directional on-camera flash as the rooms had little light.

f/4 ISO 2000 SS 1/125

Flowers

I love photographing flowers. They are packed with texture and color and offer limitless styling possibilities. The top photo below, I shot on the floor in a hotel room. I wanted to capture the invitations styled with the flowers and needed more distance, so I used a wide-angle lens 24-70 at around 35mm.

Below is a photo of two bouquets taken from the bird’s eye view. These bouquets are fairly big, so I had to stand up and take the shot with the bouquets on the floor.

When taking flat lay photos using a DSLR and a heavy lens, it is quite difficult to keep all the gear steady while shooting straight down without a tripod. This is the reason why I rarely go below 1/125 sec shutter speed when doing so.

f/2.8 ISO 1000 SS 1/160

Jewelry

Another one of my favorite subjects to use when photographing flat lay style is jewelry. I love juxtaposing jewels and metallic textures next to soft fabrics of various kinds. The layering of textures injects lots of interest in an image.

This brings us to some tips on how to enhance flat lay images, so they don’t look boring and too flat.

f/2.8 ISO 400 SS 1/160

Tips

In my opinion, the handiest and easiest equipment to use when doing flay lay photography is your mobile phone. It’s light, has a versatile lens (which also has a fairly wide-angle), and you don’t even have to set the settings yourself! It’s super easy.

However, some phone cameras are better than others, so you can’t guarantee how good your photos turn out – especially when available light is fairly low.

Lighting

Whatever camera you use, the first, and in my opinion, the most important consideration to take is lighting. Make sure there is ample light, so your subject is well lit. You can opt for a bright and airy look with hardly any shadows, or choose a moodier look using shadows.

I like having directional light that casts some shadows because I feel they add another dimension to an image. The easiest way to check where your dominant light is coming from is to look at where the shadows fall.

On the baby photo below, the room was bright and airy. I positioned the baby on the bed, away from the window. However, the main light comes from a huge window on the left. As you can see, the shadows fall on the right. However, because it is quite a large light source, the shadows are subtle.

f/4 ISO 800 SS 1/160

I snapped the photos below using natural light coming from a window, but a smaller window this time to achieve a dark moody look.

f/2.8 ISO 400 SS 1/160

If you want to eliminate shadows altogether, you can use a reflector opposite the main light to counteract the shadows. Alternatively, use a lightbox to light the space evenly.

Layers

The photo below is a social media advert for a brand. I shot it with a mobile phone that has a mediocre camera. While I have applied a filter to it, both resulted in rather grainy photos. However, they were clear enough for the brand to be happy with them.

In terms of lighting, ample light came from a side window and a velux window above. However, I wanted more of an impact, so I created layers of color and objects.

There’s the dark blue background as the first bottom layer, the fairy lights and decorations on the table as the second layer, the product as the third layer, and finally, hands as the fourth and top layer.

Layering increases the dynamic in a photo and makes it more interesting.

mobile phone photo

Another way of creating layers is to use a very shallow depth of field. This creates an illusion of infinity for the background.

The below photo is of a rose on a vase with centrally-positioned rings to be the topmost layer of the image. However, you can’t see the surface where the vase sits because of the shallow depth of field and the use of a macro lens. In this case, I used the 60mm and shot at close range, which when using a macro lens, produces background compression and bokeh.

f/7.1 ISO 1000 SS/ 1/125

Composition

Composition is of utmost importance as it can make or break a photo.

Every photo has a certain type of composition used in them, whether intentionally or unintentionally.

Well-executed composition elevates the level of success of a photo because composition plays a significant role in engaging and connecting with the viewer.

The photo below uses the rule of thirds – one of the simplest yet strongest compositional structures there is. Alternatively, the photo below it shows a centered composition.

f/1.8 ISO 400 SS 1/200

It is easier to play around with composition when you have a variety of objects to use. Take the photos below where the labels and invitations were used along with the flowers to create different compositions.

f/2.8 ISO 200 SS 1/250

Color and contrast

The key to creating successful visual images when you are limited to a flat lay dimension is color and contrast.

A darker background creates a strong contrast against lighter or brighter objects, thereby allowing enough separation to give an illusion of multi-dimensionality, as shown in the photos below.

f/4 ISO 1000 SS 1/200

Where color might be too subtle to create a bold pop, utilize contrast with a variety of textures instead.

As shown in the photos below, delicate flowers lay against a weathered wood grain and pastel-colored invites against rough concrete.

f/2.8 ISO 200 SS 1/200

Style

There are a plethora of styles you can use when photographing flat lay. Illustrated in the photos below are two opposite styles: elegant and minimalist (top two photos) and homely and maximalist (bottom photo).

f/5.6 ISO 800 SS 1/200

f/ 5.6 ISO 2000 SS 1/160

For website purposes, I shot the photos below as a clean branding style against a seamless white background.

f/5.6 ISO 400 SS 1/125 using off camera flashes

Conclusion

I hope this article has given you ideas on the different ways you can capture an image using the flat lay photography style. Flay lay photography is a super-creative medium – the possibilities are endless. You can achieve some high impact photos if done successfully.

Do you have any other flat lay photography tips you’d like to share? Alternatively, do you have some flat lay photographs you’d like to share? If so, please share them with us in the comments section.

The post Flat Lay Photography – How to Make Yours Stand Out from the Rest appeared first on Digital Photography School. It was authored by Lily Sawyer.

Digital Photography School

February 18, 2020