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Some Galaxy S20 Ultra smartphone reviewers report multiple camera issues

02 Mar

The Galaxy S20 Ultra, the highest-end model in Samsung’s newly unveiled S20 smartphone family, features multiple cameras, including a 108MP sensor, forming what the company refers to as a ‘groundbreaking’ mobile camera system. The phone is only available for preorder at this time, but a number of units have been shipped to tech reviewers, some of whom are reporting various camera issues ranging from autofocus problems to excessive skin smoothing.

The Verge and PC Mag are among the reviewers to describe some issues with the Galaxy S20 Ultra’s camera system, including times where it hunts for autofocus, sometimes failing to lock on to the subject. As well, the camera is said to excessively soften skin and faces, producing a heavily processed appearance. PC Mag in particular reports that the Ultra’s 100x zoom ‘isn’t that usable’ due to producing a tight and shaky picture with focus issues.

Android Central‘s Hayato Huseman shared a video recorded with the Ultra, which shows it struggling to focus for around the first five seconds of the recording:

In response to complaints, Samsung told The Verge that as part of its effort to ‘optimize performance to deliver the best experience,’ it is ‘working on a future update to improve the camera experience’ offered by the S20 Ultra. That statement is quite vague, however, raising questions over whether these problems will be fixed before the phone arrives for consumers.

Michael Fisher of Mr. Mobile argued in a recent tweet thread that S20 Ultra reviews should proceed despite the promised update because, among other things, Samsung didn’t specify what its update will fix and when it will be made available. He also points out that the S20 Ultra is quite expensive (it costs $ 1400) and that ‘consumers deserve to know whether it’s worth that premium.’

Articles: Digital Photography Review (dpreview.com)

 
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Find great cameras for less money in our updated ‘best bargains’ buying guide

02 Mar

We’ve updated our ‘best bargains’ buying guide, which features both newer cameras that we think are great values, as well a few older models that are inexpensive yet still very capable.

Articles: Digital Photography Review (dpreview.com)

 
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Is the Nikon D780 right for you?

02 Mar

Is the D780 right for you?

Everyone has different requirements for cameras; what might be perfect for one person could be unworkable for another. With this in mind, we’ve taken a look at some common photographic use-cases to see how well we think the Nikon D780 will work for them. From travel to portraits, check out our handy guide to see how Nikon’s latest DSLR could stack up for the types of photography you enjoy.

All images taken by Dan Bracaglia

Travel

Image: Processed from Raw | ISO 100 | 1/250 sec | F2.8 | Nikon AF-D 50mm F1.8

Life on the road leaves little room for error when it comes to gear, so it’s best to have a reliable camera at your side. With a rugged, weather-sealed body, solid battery life and the addition of USB charging, the D780 should make for a trusty companion. It produces great JPEGs right out of camera, and sharing them right away is easy thanks to the camera’s Bluetooth and Wi-Fi connectivity.

We’ll admit though, there are smaller options out there, including Nikon’s own Z6 mirrorless camera, and there are even smaller options yet if you don’t need a full-frame sensor. But overall, the D780 is a great travel camera, especially when paired with one of many compact-yet-excellent F-mount lenses.

Video

The D780 makes a strong case for itself as a video camera. It comes with high-quality, oversampled 4K footage and great video autofocus, slow-motion Full HD capture, and retains separate settings for both stills and video – especially handy for shooters that dabble in both disciplines. There’s plenty of room for both headphone and microphone sockets, and the camera can output a 10-bit Log signal to an external recorder over HDMI. There’s focus peaking if you don’t want to rely on autofocus, and zebra warnings will help you control your exposure.

Perhaps the biggest knock against the D780 is simply due to its DSLR design. There’s no electronic viewfinder option, and since the mirror has to flip up to shoot video, you cannot use the optical viewfinder either. There’s also no in-body image stabilization, but a stabilized lens or enabling the camera’s electronic stabilization can smooth your footage out. Lastly, the tilting screen mechanism isn’t as versatile as a fully articulating one for those who want to start vlogging.

In the end, DSLR cameras face stiff competition in general from mirrorless cameras when it comes to video. But for users who have a good collection of F-mount glass, or those who want to use older AF-D lenses for video and get good autofocus, the D780 is your best bet.

Family and moments

Image: Out-of-camera JPEG | ISO 5000 | 1/160 sec | F2.8 | Nikon 35mm F2 D

Capturing fleeting moments of those you hold most dear can be a tricky task; the camera in question has to just work. Thankfully, the D780 has two great autofocus systems that aren’t likely to let you down. You get face-detection through the optical viewfinder and eye detection when you’re using the rear screen. Finally, nice JPEGs and easy sharing mean you can send that keeper of Aunt Betty laughing uncontrollably to her phone while the tears are still streaming down her face.

There’s not much to count against the D780 in this situation, though we’d recommend you dial down the high ISO noise reduction on the camera a bit. And there’s no denying that smaller, lighter options are available on the market that you may be more willing to bring along with you, wherever you go.

Landscape

Image: Processed from Raw | ISO 5600 | 1/160 sec | F5.6| Nikon 35mm F2 D

The D780’s 24-megapixel chip isn’t the highest resolution around, but it offers excellent dynamic range and solid detail capture if you’re not printing wall-sized posters. For hardcore wilderness photographers, the D780’s weather-sealing could be handy if inclement weather strikes, and the abundant controls should be pretty easy to operate with gloves. Excellent battery life means that you basically don’t have to worry about running out of juice, but if you do want to worry about it, remember you can top up with the camera’s USB-C port.

Unlike some competitors, the D780 doesn’t have any sort of resolution-boosting sensor-shift mode, but there’s a built-in focus stacking feature that could be handy. The tilting screen will make it easy to work from a tripod, and you can rely on the autofocus in pretty much any lighting conditions. There is some risk of shutter shock with longer lenses and slower shutter speeds, so be sure to enable the ‘Quiet’ shutter-release mode and the electronic front-curtain shutter in the menus if you find it to be a problem.

Portraits

Image: Converted from Raw | ISO 100 | 1/320 sec | F5.6 | Nikon 50mm F1.8 D

The D780 is an excellent choice of camera to capture the essence of others. There are tons of great lenses to choose from, and the JPEG engine does a great job capturing skin tones. The camera’s updated autofocus should also be accurate whether you’re using either the optical finder or the rear screen, but be aware that you only get eye detect on the latter and you could need to calibrate your lenses for the former to get the best results.

Keep in mind that, being a DSLR, the D780 is fairly sizable and could look ‘professional’ to some subjects and intimidating to others. High-end studio portraitists may also wish for more resolution, but we think the D780’s 24 megapixels will serve most users just fine indeed.

Lifestyle and people

Image: Converted from Raw | ISO 3200 | 1/250 sec | F1.4 | Tamron 35mm F1.4

For users looking to up their Instagram game, a good lifestyle camera needs to offer abundantly better image quality than a smartphone – broadly speaking, the D780 absolutely does. If you want real bokeh, baby, you got real bokeh, baby. On the other hand, a lifestyle camera should be easy to have on you at all times. In this regard, the D780 is a pretty chunky option for those used to only carrying a smartphone. And, though we think it’s a handsomely designed camera, the retro-chic appearance of some competitors may be more attractive to you.

But back to image quality – the D780’s excellent JPEGs are great for immediate social sharing with Nikon’s solid Snapbridge app, though you can also tweak Raw files in-camera to get even better results. Excellent autofocus, especially in poor light, will only serve to broaden the situations in which you can get just the right shot. If you’re not against carrying a full-frame DSLR around with you, the D780 is a solid option for this type of photography.

Candid and street

Image: Converted from Raw | ISO 250 | 1/160 sec | F2.5 | Nikon 35mm F1.8G

Ah, street photographers – those who cherish the quiet, the discreet, the cool. It’s obvious that the D780 isn’t the most subtle, blend-in-to-the-background sort of camera around. But that doesn’t mean it hasn’t got plenty going for it in terms of capability.

The D780 is super responsive, so you can quickly adapt to changing situations with ease (and check your settings on the top LCD). The tilting touchscreen makes it easy to shoot from the hip, and if you’re the type of person who likes to share your photos with those you’ve just photographed, the Snapbridge app makes it easy to send off the camera’s excellent JPEGs right away.

If you do want to try to make the D780 as unobtrusive as possible, you can enable the ‘Quiet’ shutter (which is only slightly quieter), or if you’re not worried about rolling shutter artifacts, you can shoot using a fully silent electronic shutter in live view mode.

Sport, action and wildlife

Image: Converted from Raw | ISO 25600 | 1/640 sec | F2.8 | Nikon 70-200mm F2.8

When it comes to capturing sports and action, the D780 has a lot going for it. This isn’t too much of a surprise – the D700-series has historically been pretty well-suited for this sort of work, provided you don’t need super-fast burst speeds. The fact is, 7 fps through the viewfinder is fast enough for a lot of different sports, and the D780 has a deep, 100-frame buffer which clears quickly thanks to dual UHS-II memory cards. In other words, it’s rare that you’ll find yourself waiting for the camera. Supporting all this is great image quality in both JPEG and Raw and a deep catalog of F-mount telephoto glass.

This brings us to the autofocus system – the 51-point viewfinder system is absolutely excellent in terms of reliability, but there’s no getting around the fact that the spread across the frame is pretty limiting these days.

Many competing mirrorless cameras have as near-as-makes-no-difference 100% autofocus coverage in their electronic viewfinders, which can be compositionally freeing. You can get a similar type of system on the D780 if you use the rear screen, but that can make for an unwieldy setup with large or heavy lenses. Ergonomically, we’d also love to see an AF joystick for moving the AF point around in the viewfinder – the eight-way directional pad is serviceable, but not ideal.

Weddings and events

Image: Out-of-camera JPEG | ISO 14400 | 1/320 sec | F2.8 | Nikon 85mm F1.8G

Being a very well-rounded camera, the D780 is a great choice for a wedding and event photographer. It’s got solid image quality in all lighting conditions, its 24MP of resolution tends to be plenty without eating up all your drive space, it’s rugged, has great battery life and dual card slots for instant backup of those irreplaceable moments.

The viewfinder autofocus system also works extremely well in low light, and though the eye-detection option in live view shooting is great, it’s not available in the viewfinder and live view tracking in general isn’t super reliable as light levels drop. But really, we’re nitpicking here. The D750 was already a camera long-favored by wedding and event shooters; the D780 should perform even better.

Is the D780 right for you?

There we have it – the D780 is an incredibly well-rounded camera that, if not the absolute best camera for any one of these use-cases, will at least perform very well across most photographic disciplines.

But what do you think? Is there a specific type of photography you dabble in that we don’t mention here? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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How Building a Portfolio Career as a Photographer Can Earn You Money

01 Mar

The post How Building a Portfolio Career as a Photographer Can Earn You Money appeared first on Digital Photography School. It was authored by Charlie Moss.

building-a-portfolio-career-as-a-photographer

When you’re starting in business as a photographer, it can be tough to find a reliable income. Often jobs will be unpredictable as to when they come in – and getting paid can be even more of a guessing game! Building a portfolio career is one way that you can counteract the unpredictability of being a freelance photographer.

Diversifying your revenue streams right from the start is a way to build a more predictable income. By having multiple diverse but related sources of income, you can mitigate ups and downs in each revenue stream while having a photographic career that allows you the freedom to shoot several different subjects.

building a portfolio career

ISO400, 35mm (50mm equiv.), f4, 1/80th sec

Lay the foundation

Start by mind-mapping around the fields of photography that you love.

Try to think of every possible source of photographic income that those fields might have, no matter how big or small. All of these could contribute to building a portfolio career.

Out of everything you’ve written down, highlight all of the income sources that could be done on a regular contract for someone else. The first income stream that you need to provide a solid foundation for is one that is both regular and guaranteed.

Ideally, this regular, but potentially low paid work will cover all of your essential bills. And when I say essential, I mean putting an extra jumper on and eating beans on toast all month.

building a portfolio career

ISO200, 35mm (50mm equiv.), f4, 1/80th sec

You could consider jobs like real estate photography, nightclub photography, or in-house product photography. None of these options will set your creative soul on fire, but they will still provide a stable foundation for you to start to build your career.

Build the walls

Now you start to do the kind of photography that you want to do. You’re looking for options in your mind-map of ideas that could be regular but might not be quite as reliable as your foundation income.

This might be where you consider incomes like freelance product photography, portraits, or weddings.

All these income streams can be a little unpredictable, at least for the first few years of your career. On top of that, some kinds of photography, like weddings, can be quite seasonal.

Image: Headshots have been a reasonably reliable income for me over the past five or six years. They...

Headshots have been a reasonably reliable income for me over the past five or six years. They’re great because I can do them either at home or on location, and I can be available at reasonably short notice!
ISO400, 100mm, f3.5, 1/125th sec, natural window light

Over time, this income can become more regular. You’ll find that clients come back again and again if they love the pictures and the service! Eventually, you’ll be able to drop the initial low-paid but regular work that you sought in favor of this better-paid income stream.

Put the roof on

Between your foundations and the walls, you’ve got the beginnings of a significant portfolio career. Now you want to look at the well-paid occasional jobs that buy the luxuries like foreign holidays or serious gear upgrades.

Look back at your mind-map once again and think about what large, one-off gigs there might be available to you with your current skillset. You might be able to offer portrait photography at a large business conference, for example, or be on a list of photographers who shoot portraits for magazine interviews.

You’re looking for the high-ticket jobs that are sporadic. They can’t provide a reliable income because of the very nature of the work, but they can offer you good-sized cash injections now and again. It could be a yearly job or one that comes up every few months. But the unpredictability means that you shouldn’t count it as part of your regular income.

building a portfolio career

Each month I try to set a day aside to create unique and creative stock imagery for use on book covers and the like. It doesn’t provide regular sales, but when these images do sell, they pay well!
Both images shot with a beauty dish in the studio.

Business networking meetings can be an excellent place to find these jobs that will help with building a portfolio career. Often you’ll talk to someone and hand over a business card, and you’ll hear nothing for months. But when they do eventually call, it can be for a sizable job, so make sure you have some sample quotes and an idea of what you might charge for different scenarios.

You don’t have to think of every possible situation and make a fantasy quote for it, but have a few that you can adapt with a couple of days notice for the kind of jobs you’d like to do.

Start a nest-egg

Once you’ve established a good income, it’s time to make your photos work harder and build a long-term passive income. You can start to look at options such as stock photography to assist you in building a portfolio career.

For almost the last fifteen years, I’ve been building up collections with various stock libraries. It is a slow process, but worth it when you start to see regular payouts a few years down the line.

You can shoot images specifically for stock libraries if you have some spare time to fill. Many libraries will regularly publish lists of the kind of content that they’re looking to obtain from photographers. If you shoot what’s on the list, you should start to see an income quite quickly. If they’re asking for various subjects, it means that clients are asking for them!

Image: These two images were shot back in 2007 and are amongst my best earners in all that time! The...

These two images were shot back in 2007 and are amongst my best earners in all that time! They consistently make me small but regular sales and have always done so. Both of these images were shot on my Mum’s kitchen table – just showing you can earn anywhere!

You can also reuse images from other shoots that you’ve done, sending them to the stock libraries once you’ve completed the job. Be sure to check your contract, or check with the client if they’re okay with you doing this, but people rarely say no.

An example might be that if you are booked to shoot a fantastic local food market, the client might also allow you to upload these images to stock libraries. You might then look into a specialist food stock agency if you’re shooting this kind of content regularly. In time, you’ll become well-known as a photographer in this field.

Above all, just get started

You can only start your photographic career if you’re willing to put yourself out there and start looking for work. The most important thing is to start somewhere, even if you’re not quite sure where the best place to start is. You can work out the details later.

Try to look for income streams in all of the brackets above. That way, you won’t be putting all of your eggs in one basket. You’ll be protected if one income streams dries up unexpectedly for a while.

Image: ISO200, 35mm (50mm equiv.), f2, 1/600th sec

ISO200, 35mm (50mm equiv.), f2, 1/600th sec

Conclusion

This approach to a photographic portfolio career has enabled me to alternatively increase and scale back my income as and when required. It also helped me to build a solid base that wasn’t tied to any particular location, which means I can work from almost anywhere in the world!

If you’re thinking about building a portfolio career for yourself in photography, tell us about what your specialisms will be in the comments below. We’d love to hear about your plans!

The post How Building a Portfolio Career as a Photographer Can Earn You Money appeared first on Digital Photography School. It was authored by Charlie Moss.


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10 Tips for Using a Graphics Tablet for Easier Photo Editing

01 Mar

The post 10 Tips for Using a Graphics Tablet for Easier Photo Editing appeared first on Digital Photography School. It was authored by John McIntire.

using-a-graphics-tablet-for-photo-editing

In terms of post-processing and retouching, there are a lot of basic techniques that you can use with a mouse (a trackpad is even worse) and a keyboard combo. However, once you get into the more complicated stuff, the amount of precision you need to apply becomes tedious and hard to do with that setup. This is where using a graphics tablet for photo editing comes into its own. Graphics tablets, such as those from Wacom, offer you an enormous amount of control and precision in your retouching. They can also speed up your workflow a lot.

If you’ve never used a graphics tablet for photo editing before, you may wonder if you actually need one.

Using a graphics tablet for retouching photos.

The answer depends on how much time you spend and the type of post-processing that you do. But I will say, this is one of those pieces of equipment that, once you’ve been using it for a week, you’ll wonder how you ever got on without it.

Using a graphics tablet for cleaner and more consistent lines.

Left: Not a mouse, but a trackpad. You can still see how the lines are sloppy and less controlled. Right: With a graphics tablet, more consistent lines become much easier to make.

While graphics tablets are (for the most part) intuitive to use and get to grips with, some of the finer aspects of their use can seem a bit tricky. This article will cover a set of tips to help you get the most out of your graphics tablet.

1. Setup

The first thing you should make sure you do with your graphics tablet is to ensure that it is set up properly.

Many devices have plug-and-play functionality and will seem to work by just plugging them in. This isn’t the case.

In most cases, while you may have use of the pen, the full functionality of your tablet won’t be open to you until you install and setup the relevant software.  Ensure any you install any relevant drivers for your tablet and if it has a software suite, go through all of the options and make sure it is set up in a way that works for you.

Image: A lot of tablets will seem to work without any software installed, but it is important to mak...

A lot of tablets will seem to work without any software installed, but it is important to make sure that you do install it, or you will be missing out on a lot of features.

Your preferences may change over time. If you find that something could be working better for you, do look in the software to see if any of the settings there can help you solve any issue you might be having.

2. Shortcut buttons

After you’ve set-up the basics, you can now move on to the shortcut buttons.

Most graphics tablets offer a number of programmable buttons that you can program and set to any function you choose. Some cheaper tablets might have only a few buttons, while some of the more expensive ones can be covered in them.

How you program them is up to you. A good way to approach this is to take a moment and examine your normal workflow in Photoshop. What actions do you make the most? Which of those actions would be easier (and suitable) to use at the click of a button?

Once you’ve done that, all you have to do is set-up the buttons in a way that suits you.

Image: You have full control over how your shortcut buttons are setup. Use these in any way that sui...

You have full control over how your shortcut buttons are setup. Use these in any way that suits the way you work.

Now, I don’t like using the shortcut buttons and they don’t suit me. The only one I use is the one that allows me to rotate the canvas. That may be the case for you too. That’s fine, and you shouldn’t feel obligated to use something that doesn’t suit your needs or approach.

3. Keyboard shortcuts

Keyboard shortcuts while using a graphics tablet make a powerful combo.

Even with a tablet, you will still use the keyboard a lot for Photoshop shortcuts. Be sure to memorize any that are relevant to you.

Whether you are using Lightroom, Photoshop or any of the other software packages, you will still be using the keyboard alongside your graphics tablet for photo editing.

These programs hold so much functionality that there’s no way that everything you can do could be contained to a few buttons. As such, do spend some time learning as many of the keyboard shortcuts as you can (or at least the ones relevant to your workflow).

Using both a stylus and a keyboard at the same time can seem counterintuitive at first, but you will quickly find it’s nothing to worry about.

4. Undo

Speaking of keyboard shortcuts, there is one that you already probably use more than any other. That, of course, is Ctrl+z (cmd+z) to undo your last action. Be prepared to use this a lot.

Using a pen allows you to work with precision strokes, and just like in drawing, not all of those strokes are going to be perfect the first time. There is nothing wrong with undoing something over and over again until you get it right, so do get comfortable with ctrl+z (cmd+z) and ctrl+alt+z (cmd+alt=z).

You could always set this to a shortcut button on your tablet if you think that option would be good for you.

5. Brush settings

When you start using a graphics tablet for photo editing, you unlock a few features in Photoshop that were previously unavailable to you.

The most important of these are the brush settings; specifically, they’re the pen pressure settings. By turning these on, you give yourself control of the brush pressure through how much pressure you apply to the tablet.

For example, if you have the Always Use Pressure for Size option clicked, then the brush size will change depending on how hard you press down with the pen.

If it’s the opacity option you are using, then a light touch will result in a low opacity from your brush. Turn them both on, and the effects combine.

Image: Taking control of the pressure settings is one of the most powerful aspects of using a graphi...

Taking control of the pressure settings is one of the most powerful aspects of using a graphics tablet for photo editing.

These settings are powerful, and on their own, one of the biggest reasons to use a tablet if you’re on the fence about them. Get to know these settings intimately as they will define your use of your graphics tablet for photo editing.

6. Tilting brushes

This is a bit of a wild card, as you might never use one of these brushes for retouching photos. However, because they exist, it’s good to know about them before you stumble onto them by accident and think your tablet is broken.

Using a graphics tablet unlocks features in Photoshop that are otherwise unavailable.

This charcoal pencil brush responds to the way you hold your pen. Here, all of these lines were made by holding the pen in different positions with all of the pressure settings turned off.

These brushes respond to the way you hold your pen and alter the shape and texture of their output. This replicates how a traditional artist would use a brush or pencil (or other tools) to create different strokes and marks.

If nothing else, it is a fun feature to play with, and if you can figure out how to use it with your photography, more power to you.

7. Digital art tutorials

Using a graphics tablet for retouching can be both intuitive and counterintuitive at the same time. If you have any art background at all (I do not), you will find it easier than other photographers without that kind of background, and you can skip this tip.

If, like me, you don’t have any experience with art (either traditional or digital), I highly recommend taking the time to watch and read some digital painting tutorials.

Some of the most useful types of tutorials are:

Drawing lines – These exercises will give you control over your stylus and help you get used to the pressure sensitivity of your tablet. They will also help you make more precise movements, which will overall help to increase the quality of your output.

Follow digital painting tutorials to get better at using a graphics tablet.

Following tutorials that teach you how to practice making lines and other marks will help you to gain confidence and experience with using your tablet.

Rendering – Digital painting tutorials that deal with painting with values can be an invaluable asset when your using techniques like dodging and burning. These techniques will help you blend your values better and teach you to make more controlled adjustments.

8. Brushstrokes and control

Now that you have watched some tutorials on the subject, don’t forget to actually practice them.

Taking the time to set up a blank canvas and practice your brush strokes with the various pressure settings will only help you to become proficient with your tablet faster.

The same goes for blending values for the retouching techniques that use them. Practice as much as you can, both inside and outside of retouching.

Practice using a graphics tablet as often as possible.

Don’t just follow the tutorials once. Practice a lot at first and then make it a point to practice some more at regular intervals.

9. Warm-up

This one is entirely optional, but if you’re feeling stiff and not getting the results you want, you can borrow another technique from traditional artists and do some warm-up exercises.

There’s nothing fancy here, just set up a blank canvas in Photoshop and spend time practicing your lines and rendering (two or three minutes might be plenty), or whatever else you will be using in your retouching session.

10. Practice, practice, practice

Image: The best way to get to grips with your graphics tablet is to use it a lot.

The best way to get to grips with your graphics tablet is to use it a lot.

Just like everything else in life, if you want to get proficient in using a graphics tablet, there is only one solution:

Use it.

Put in as much mileage as you can as quickly as you can. You should find that any challenges you face in the beginning are quickly put to rest.

The end

There you have it, 10 tips to help you get the most out of using a graphics tablet for photo editing. While there is nothing complicated here, I hope that you will have found something that will help you get the most out of your graphics tablet for photo editing in the early days.

If you have any tips that you feel I have left out, please leave them in the comments below.

The post 10 Tips for Using a Graphics Tablet for Easier Photo Editing appeared first on Digital Photography School. It was authored by John McIntire.


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Hands-on with the latest Nikon Z lenses, AF-S 120-300mm F2.8

29 Feb

Hands-on with the Nikkor Z 20mm F1.8S

The Nikon booth at WPPI is bustling with visitors hoping to listen to a free educational session or get their hands on some of the latest Nikon gear – we’ve at least done the latter, and taken some photos to share with you. Nikon announced these two Z lenses earlier this month and the 120-300mm F2.8E telephoto zoom last month, and this is our first change to get up-close and personal with them.

Let’s start off with the Nikon Z 20mm F1.8S, pictured here on a Z7 camera body. The 20mm F1.8S looks right at home in Nikon’s growing lineup of S-series prime lenses for its mirrorless system, with solid construction and a large, well-damped manual focus ring. The silver ring near the base is indicative of its ‘S’ designation.

Hands-on with the Nikkor Z 20mm F1.8S

A peek at the front of the lens reveals – well first of all, some dust – but also that the Z 20mm F1.8S uses a 77mm filter thread. The optical construction comprises 14 elements in 11 groups, with three ED and three aspherical elements. It also employs Nikon’s nano-crystal coating to combat flare.

The Z 20mm F1.8S can focus down to 20cm (7.87″) for a maximum magnification of 0.19x.

Hands-on with the Nikkor Z 20mm F1.8S

At the rear of the lens, we can see a rubberized gasket surrounding the large metal Z-mount. Like all of Nikon’s S-series primes, the 20mm F1.8S is sealed against dust and moisture. You can also get a glimpse of the lens’ nine aperture blades, which should produce some brilliant sunstars (we’ll investigate further when we get a copy to evaluate).

Hands-on with the Nikkor Z 20mm F1.8S

On the side is the sole control point on the Nikkor Z 20mm F1.8S aside from the focus ring – an autofocus A/M switch. The Z 20mm F1.8S balances very well on the current Z6 and Z7 bodies, and should be a particularly useful lens for astrophotography and video. Or, place it on a Z50 and get a 30mm-equivalent field of view on Nikon’s APS-C Z-mount offering.

The Nikkor Z 20mm F1.8S is expected to be available next month, March 2020 for a suggested retail price of $ 1049.95 USD.

Hands-on with the Nikkor Z 24-200mm F4-6.3

Next up, we have the Nikkor Z 24-200mm F4-6.3 lens. It’s intended as a do-it-all travel zoom, complementing the existing Z 24-70mm F4S and 24-70mm F2.8S lenses Nikon has already released for the Z system, and offering the greatest zoom range of any Z-series lens to date.

Hands-on with the Nikkor Z 24-200mm F4-6.3

Here it is at full zoom; its length nearly doubles, but thanks to a reasonable 570g (1.26lb) weight, it doesn’t become ungainly or off-balance on full-frame Z-series cameras. Also visible in this image is a ‘Lock’ button that keeps the lens locked into the wide-angle position for travel, to help combat ‘zoom creep’ from the occasional bump or jostle while you wander around. There’s also a slim but customizable and well-damped manual focus ring near the base of the lens as well.

Hands-on with the Nikkor Z 24-200mm F4-6.3

From the front of the lens, we can see that the Z 24-200mm takes 67mm filters. This lens has a complex optical formula of 19 elements in 15 groups, and uses a special Arneo coating to reduce flare. The minimum focus distance is 50cm (19.69″), giving a maximum magnification of 0.28x. A total of seven aperture blades should produce some pretty nice sunstars on this lens as well.

Hands-on with the Nikkor Z 24-200mm F4-6.3

A rear gasket on the Z 24-200mm F4-6.3 is physical proof of Nikon’s claims of ‘drip and dust resistance,’ which is always a nice touch on a lens that is really designed to travel with you wherever you go, for just about any focal length you might need.

This lens also comes with built-in stabilization, which Nikon says works in tandem with the in-body stabilizers on the Z6 and Z7 cameras. If you want to use this on a Z50 which doesn’t have an in-body stabilizer, you can still expect up to 5 stops of compensation. This will definitely come in handy when you get to the maximum 300mm equivalent reach on an APS-C sensor.

Nikon has said that the 24-200mm F4-6.3 will be available starting in April 2020 for a suggested retail price of $ 899.95 USD.

Hands-on with the AF-S Nikkor 120-300mm F2.8E

First announced back in September, then with a release date given in January, we’ve finally gotten a chance to see the Nikon AF-S 120-300mm F2.8E FL ED SR VR in the flesh metal. No surprise, it’s a pricey optic at $ 9499.95 USD, but one that we expect will be put to good use by a variety of sports, action and wildlife photographers. Those letters in the name stand for electromagnetic diaphragm, fluorite elements, extra-low dispersion elements, short-wavelength refracting element and vibration reduction. Oh, and there’s Arneo coating to combat chromatic aberrations as well as flare. In other words, there’s a lot of optical technology in this lens.

Here, you can see the lens mounted to the company’s latest sports DSLR flagship, the D6.

Hands-on with the AF-S Nikkor 120-300mm F2.8E

In this view, you can see the name plate, serial number and a window displaying focus distance on the top of the lens. There’s also a customizable ‘Memory Set’ button on the side.

But speaking of focus distance, the lens can focus down to 2m (78.74″) at all focal lengths, for a maximum magnification of 0.16x.

Hands-on with the AF-S Nikkor 120-300mm F2.8E

Around the side are all of the control options on this lens. There’s an autofocus mode switch, a focus limiter, vibration reduction switch, a memory recall switch and a switch for the focus confirmation beep. Mounted right on the tripod collar are also lugs to which you can attach neck straps; Nikon is touting this lens as one you could use handheld if needed.

Being able to use a lens like this handheld is always a plus – but bear in mind, it weighs 3.25kg (7.17lb) so a monopod is probably still a good bet for extended shooting.

Hands-on with the AF-S Nikkor 120-300mm F2.8E

Around the front, we have a massive front element with fluorine coating to help repel moisture and oil. The filter thread is pretty sizable at 112mm, but many users will simply keep the lens hood on, which somewhat tempers the need for protective filters.

The AF-S Nikkor 120-300mm F2.8E has an optical formula of 25 elements in 19 groups, and a nine-bladed diaphragm. Nikon claims a high degree of weather-sealing as you’d expect from a lens of this caliber.

That’s a wrap

And that’s a wrap from the Nikon booth at WPPI 2020 in Las Vegas. If you missed it, we also have a dedicated hands-on look at the Nikon D6, pictured above. Let us know what you think of Nikon’s latest lenses and cameras in the comments below.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma shows EF-M mount primes for Canon cameras at WPPI

29 Feb

Hands-on with Sigma’s APS-C primes for Canon at WPPI

Sigma’s DC DN EF-M primes have been the talk of the town for EF-M mount users for months now, but they’ve been in relatively short supply (we’ve only got the 56mm F1.4 in the DPReview offices so far). But during our time at WPPI, we got a chance to see all three in-person and find out how they balance on Canon’s latest APS-C mirrorless flagship, the EOS M6 Mark II.

Pictured above is the most compact of the three, and the most recently released – the 56mm F1.4 DC DN. Offering an equivalent focal length of around 90mm (remember, Canon’s APS-C crop is 1.6x), it’s a fantastic option for portraits. Actually, in the EF-M system, it’s really the only native option for portraits, though you can of course make do with the kit zooms or adapt DSLR lenses.

As you can see, the 56mm is light on external controls, with only a large, rubberized manual focus ring on the exterior that is smooth and well-damped.

Sigma 56mm F1.4 DC DN

Around the front of the lens is a 55mm filter thread, and down the barrel are nine aperture blades. The lens weighs 280g and feels dense without being heavy, and balances exceptionally well on the EOS M6 Mark II. It will focus down to 0.5m (~20″) with a maximum reproduction ratio of 0.14x.

The optical formula is composed of 10 elements in six groups, including one ‘super-low dispersion’ element. Unfortunately, there’s not much to see around the back of this lens. There’s no rear gasket for keeping out moisture or dust on any of this trio of lenses.

Sigma 30mm F1.4 DC DN

Up next is Sigma’s 30mm F1.4 DC DN. This lens is basically going head-to-head with Canon’s EF-M 32mm F1.4, but we don’t mind a bit of competition. The Sigma gives you a 35mm-equivalent focal length of 48mm, while the Canon gives you 51.2mm. That type of difference is unlikely to really influence your purchasing decision, though the Canon’s much greater magnification ratio (0.25x to 0.14x) and higher price point ($ 479 to $ 339) might.

In any case, the Sigma 30mm F1.4 balances quite well on the EOS M6 Mark II, being a bit lighter than the 56mm F1.4 but a bit longer as well. A well-damped rubberized focus ring is likewise the only external control.

Sigma 30mm F1.4 DC DN

The Sigma 30mm F1.4 DC DN has an optical formula of nine elements in seven groups, with one of those elements being aspherical and another being double-sided aspherical. There are nine aperture blades and the front filter diameter is 52mm.

We actually reviewed this lens back nearer to its release, and on a Sony APS-C camera, we found it to be excellent.

Read our review of the Sigma 30mm F1.4 for Sony E-Mount

Sigma 16mm F1.4 DC DN

Last and largest is the Sigma 16mm F1.4 DC DN. It’s actually one-and-a-half times longer than the 56mm F1.4, and the heaviest of the three by 125g, or more than a quarter of a pound.

This lens is likely to be of interest to EF-M users, who up until now had only one native wide-angle lens at their disposal: the excellent (but slower-aperture) 11-22mm F4-5.6 zoom. This 16mm F1.4 should be a great option for lower light shooting, events, astrophotography and more.

It balances fairly well on the EOS M6 Mark II, but is a bit front-heavy. It’s not a very comfortable combination in the hand on Canon’s grip-less EOS M200.

Sigma 16mm F1.4 DC DN

Down the barrel, past the 67mm filter threads, we see a nine-bladed aperture, just like the other two. This should be great for creating 18-point sunstars in landscape scenes. In addition to being the biggest, it’s also the most optically complex of the group, with 16 elements in 13 groups, including a total of seven specialty elements, and it can focus down to as close as 0.25m (9.84″) for a maximum magnification of 0.1x.

Hands-on with Sigma’s APS-C primes for Canon at WPPI

And that’s it for Canon’s trio of DC DN F1.4 prime lenses, now becoming readily available for EF-M mount. We find that these lenses make an enormous difference in the appeal of Canon’s mirrorless APS-C system, but what do you think? Are you planning to pick any of these up for yourself? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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ON1 announces upcoming Android, iOS mobile app set to ship ‘in the first half of 2020’

29 Feb

ON1 has announced it’s currently working on ON1 Photo Mobile 2020, a mobile app for Android and iOS that will be able to both capture and edit Raw images. The app will also sync with ON1 Photo RAW for desktop computers, with the ability to view, edit and sync images across devices.

Not much information is given on the teaser page, but from what information is available, it seems the app is part mobile camera app, part editing tool, with many features taken from ON1 Photo RAW. ON1 says the capture component of ON1 Photo Mobile 2020 will offer ‘pro-level controls you are familiar with on your interchangeable-lens camera’ and ‘is packed full of advanced features.’

As for editing on-the-go, ON1 says the app will offer ‘ the same power as […] in ON1 Photo RAW.’ Specifically, ON1 mentions the ability to enhance shadows, remove distractions, lighten/darken areas ‘and more.’ Put in more parallel terms, it sounds like ON1 Photo Mobile 2020 will offer highlight/shadow controls as well as a healing brush-style tool. Presets and local adjustments will also be available within the app.

The app will also sync with ON1 Photo RAW on your computer to ‘push edits […] back to ON1 Photo Mobile using ON1 Sync,’ a process that provides ‘a complete, open, photo editing and organizing system,’ according to ON1

ON1 says ‘ON1 Photo Mobile 2020 will be available in the first half of 2020’ for Android and iOS devices. No pricing information has been given at this time.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Shoot Pentax 110 lenses on Micro Four Thirds!

29 Feb

Between 1978 and 1985 Pentax sold the Pentax Auto 110 (and later, the Auto 110 Super), a miniature SLR system built around Kodak’s small-format 110 film cartridges. The 110 system is no longer with us, but thanks to an almost identical frame size, its lenses are a perfect match for the Micro Four Thirds system. Join us as we discover the joy of using vintage Pentax 110 lenses on a modern digital camera.

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

  • Introduction
  • Brief intro to the Pentax 110 system
  • Which lenses do we have?
  • Aperture
  • Sample images
  • Frame size and lens coverage
  • Sharpness
  • Should Pentax join Micro Four Thirds?
  • Conclusion

Sample gallery from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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ISO Has NOTHING To Do With Exposure! What?! (video)

29 Feb

The post ISO Has NOTHING To Do With Exposure! What?! (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Off the back of one of our previously published articles about the exposure triangle, one of our readers shared his video with us stating that ISO has NOTHING to do with exposure! So technically, does it belong in the “Exposure” Triangle?

What? I hear you say.

Well, check out this video from dPS reader, Chris Lee, aka pal2tech.

?

Chris states that ISO has nothing to do with the light hitting the sensor. It is, instead, “amplifying the electrical charge in the sensor’s photosites…each photosite then sends the electrical charge into the camera’s analog to digital converter, which then turns the voltage into a digital value.”

What? I still hear you say?

Also, Chris states that ISO does not create “noise” but only amplifies what is already there in the image. Phew.

Just watch the video. It makes way more sense, and it has good humor!

Thanks, Chris.

We’d love to hear your thoughts on this. Please share them with us in the comments below.

You may also like:

  • What Your Camera Can’t See
  • Your Camera’s Metering System Explained
  • Image Resolution Explained – Seeing the Big Picture
  • RAW Files: Digital Manifestations of the Emperor’s New Clothes
  • Color Management Can Be Easy
  • Understanding the Basics of Color

The post ISO Has NOTHING To Do With Exposure! What?! (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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