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Cosina announces new Voigtlander Nokton 60mm F0.95 lens for Micro Four Thirds cameras

19 Feb

Cosina Japan has lifted the veil on its latest lens for Micro Four Thirds camera systems, the Voigtlander Nokton 60mm F0.95.

The manual focus lens, which is set for an April 2020 release in the Japan market for ¥145,000, is constructed of 11 elements in 8 groups, features an aperture range of F.095 through F16 and features a ten-blade aperture diaphragm. The minimum focusing distance is 34cm (13.4in) and it features a 77mm front filter thread.

Below are a few low-res sample images provided by Cosina:

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Cosina has also added a new aperture switching mechanism that will de-click the aperture ring for times when you don’t want the tactile and auditory feedback. The lens measures in at 82.5mm (3.25in) diameter and 87.7mm (3.45in) long, and weighs in at 860g (1.9lbs).

No pricing or availability information has been given for regions outside of Japan.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T200 pre-production sample gallery

19 Feb

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Fujifilm knows how to make a great enthusiast camera, but it hasn’t always gotten the entry-level quite right. Enter the X-T200: a beginner-friendly feature set that improves on its predecessor’s specifications in significant ways. We’ve been out shooting with a pre-production model both close to home and in a galaxy far, far away.

Articles: Digital Photography Review (dpreview.com)

 
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5 Tips for Using Color to Improve Your Photography

19 Feb

The post 5 Tips for Using Color to Improve Your Photography appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

tips-for-using-color

In this article, I’m going to give you five tips for using color.

Tips that will immediately take your photos to the next level.

Because here’s the thing:

Color is one of the most commonly neglected aspects of photography.

It’s also one of the most useful.

So, if you can learn to master color…

…your photos will instantly improve.

Let’s get started.

tips for using color blue and yellow

50mm | f/6.3 | 1/400s | ISO 250

1. Keep colors simple for the best compositions

When it comes to tips for using color, this is a big one.

Because colors are like compositional elements of their own.

And if you add too many compositional elements, you’ll overwhelm the viewer and cause them to turn away.

The trick is to keep the colors simple. Try to photograph scenes that only have a few obvious colors.

Three colors are okay, especially if one of them is dominant. In the photo below, you’ll notice strong blues and greens, with a slight orange on the building.

Image: 24mm, f/5.6, 1/1000, ISO 400

24mm, f/5.6, 1/1000, ISO 400

Two colors are even better.

And one color can work, too, such as when framed against a white backdrop.

In fact, when in doubt, reduce the number of colors. As you approach a potential composition, think about how you can simplify the colors.

That way, your composition will turn out looking beautiful: strong, simple, and artistic.

2. Use contrasting colors to add pop to your shots

Now that you know the most fundamental tip for using color in your photography, it’s time to look at specific combinations of colors that work really, really well.

The most popular color combination (and my absolutely favorite) is contrasting colors, like this:

tips for using color roseate spoonbill

400mm, f/6.3, 1/1250, ISO 250

You see, contrasting colors are colors that sit opposite one another on the color wheel.

(These are also known as complementary colors.)

And they look great together because they can create powerful tension in your photos. Plus, each complementary color works to make the other pop.

Some common contrasting color pairs are:

  • Green and red
  • Blue and orange
  • Purple and yellow

Now, the more equal the amounts of each contrasting color, the greater the tension in your photo.

Image: This color wheel shows the opposing (contrasting/complementary colors).

This color wheel shows the opposing (contrasting/complementary colors).

So you can play with the extent to which both colors are featured in order to create different looks.

A lot of green and a lot of red creates an obvious clash.

But a lot of green with a few spots of red feels much more balanced (though the red will still pop powerfully off the screen). That’s what I did in the photo above; I combined the red of the spoonbill with the green of the background, for a balanced image.

Make sense?

Note that you don’t have to be super precise about choosing complementary colors. Color contrast is a spectrum, not an absolute. So if you end up with a green and purple pair as opposed to a green and red pair, you’ll still get a sense of tension.

It just won’t be quite as strong as the true complementary colors.

3. Use analogous colors to add harmony to your images

As I explained in the tip for using color above:

Color contrast is good.

But sometimes you’re not looking to create tension in your photos. Sometimes you’re not looking to make aspects of your photo really stand out.

Instead, you might want to keep things looking peaceful throughout your image. Like this:

Image: 50mm, f/3.2, 1/400s, ISO 250

50mm, f/3.2, 1/400s, ISO 250

In cases like the one above, you should avoid contrasting colors, and instead use analogous colors.

These are colors that sit next to one another on the color wheel.

Some common analogous color pairs are:

  • Green and yellow
  • Purple and blue
  • Red and orange
  • Green and blue
  • Red and purple

And see what happens when you put some analogous colors together:

They convey a sense of harmony. Rather than clashing with one another, analogous colors keep the peace.

tips for using color dahlia

105mm, f/7.1, 1/250s, ISO 320

That’s why analogous colors are perfect for more subdued scenes, such as yellow and green trees standing together in autumn, or a blue flower resting alone in a field. The harmonious color combination will maintain that wonderfully serene feeling (as long as the rest of the composition is aimed at producing serenity, that is!).

Oh, and don’t be afraid of using three analogous colors together. You can always use combinations such as green, blue, and purple or green, yellow, and blue to create especially peaceful scenes!

So whenever you’re trying to capture a more subdued photo, look for analogous colors.

4. Keep your subject more colorful than the background to focus the viewer

If you’re capturing a photo with a clear subject, then you often want to make the subject pop off the background.

In other words, you want to focus the viewer. You want to keep their attention on the subject of the photo.

And you can do that by using color. You just have to make sure your subject features much more powerful colors than the background.

Image: 100mm, f/5, 1/125, ISO 250

100mm, f/5, 1/125, ISO 250

Here’s how it works:

Start by finding a colorful subject. The colors should be bold and saturated. For instance, a red flower, a blue building, a yellow car, etc.

And make sure it’s positioned in front of a boring background. Something with less color, even something that’s all white or all black.

The lack of color from the background, combined with the powerful color from your subject, will ensure that it’s the subject that catches the viewer’s eye.

This is one of my favorite tips for using colors, simply because it creates such powerful images. Whenever I see photos that use a colorful subject on a plain background, my eyes immediately go to the subject; everything is clear and simple.

Bottom line:

Don’t always feel like you need a colorful background to complement a colorful subject.

It often pays to keep the background much less interesting!

5. Include colorless areas to add a sense of balance

Here’s your final tip for using color in photography:

Don’t always feel like you need lots of color in your photos.

Instead, feel free to add in colorless areas: areas of black, areas of white, areas of gray.

Why?

Because colorless areas act like negative space in images that are full of color. They give the viewer a chance to rest. They balance out the overall composition.

Sure, a shot with areas of black or white often won’t look quite as eye-catching as a photo full of color contrasts.

But it’ll feel more balanced, which is what composition is often about.

For instance, a photo like this feels just right with a white background:

tips for using color building with blue

50mm, f/8, 1/320s, ISO 250

And if the background were, say, red, the photo would be overwhelming.

So don’t be afraid to include colorless areas in your photos. Put your subject on black. Put your subject on white.

Because even though color is a powerful tool to use, it’s also one that you need to tone down on occasion.

5 Tips for using color to improve your photography: Conclusion

Now that you’ve finished this article on tips for using color, you should feel confident incorporating different colors into your photos and using color combinations for stunning results.

So all that’s left to do?

Get out and start practicing. Try to find different color combinations. Experiment with different options, and carefully evaluate the results.

As long as you follow these five tips for using color…

…you’ll be capturing some stunning images in no time!

Do you have any other tips for using color that you’d like to share with us? Perhaps you’d like to share some of the images you take after reading this article? If so, please share them with us in the comments.

Image: 24mm, f/4, 1/500, ISO 250

24mm, f/4, 1/500, ISO 250

The post 5 Tips for Using Color to Improve Your Photography appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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5 Things to Do to Every Photo In Lightroom to Improve Your photos

19 Feb

The post 5 Things to Do to Every Photo In Lightroom to Improve Your photos appeared first on Digital Photography School. It was authored by John McIntire.

things-to-do-to-every-photo-in-lightroom

Lightroom, as we all should know by now, is a powerful tool that allows you to get the absolute most out of your raw files. For many photographers, it’s an all-in-one solution for their post-processing workflow. For others, it’s just a stepping stone before moving the file across to Photoshop. While there are no hard-and-fast rules as to what you do to your images at this stage, there are a few things to do to every photo in Lightroom that will make your workflow easier and can help to polish your images just a little bit more.

Five things to do to every photo in Lightroom.

Lightroom is an invaluable tool for both organizing and processing your images. There is no one-size-fits-all workflow, but there are a few things that you can do to every photo.

1. Color Profile

The first of the things to do to every photo in Lightroom is to set up the color profile of your image.

Under this tab at the top of the Basic module, you will find several presets (such as Landscape, Portrait, and Neutral) that try to emulate these settings within your camera.

Using these presets can help you to get a good start on your image. They will adjust the colors and contrast in your image to a half-decent starting point for the type of image you have. From there you can fine-tune in any way you want.

Things to do to every photo in Lightroom - Color Profiles

Using color profiles is a powerful way to manage the colors in your images. Whether you use a preset or a custom profile, this is a good tool to get familiar with.

 

Image: As you can see, using the Landscape preset on a portrait is something you don’t want to...

As you can see, using the Landscape preset on a portrait is something you don’t want to do very often, but the available options can be a powerful start to adjusting your images.

Where Color Profile really comes into its own is when you use an external tool to create custom color profiles. Tools such as the ColorChecker Passport from X-Rite allow you to create a custom color profile for any individual scene and lighting set-up. This enables you to attain accurate colors for each individual situation.

To use this feature, you will have to create your custom profile with the external software for the tool you are using. Then you import it into Lightroom, where you will find it under the Color Profile tab’s subsection labeled Profiles.

In the case of the ColorChecker Passport, this task is as easy as creating the profile and restarting Lightroom, where it will be waiting for you.

things to do to every photo in Lightroom - custom color profile

Creating a custom color profile (via the ColorChecker Passport) has ensured that the starting point for the image is an accurate representation of the colors as they were in real life.

2. White Balance

With your color profile set up, you can now turn your attention to the White Balance. I like to start each image off with as neutral a white balance as I can attain. You may drastically alter it later, but I feel the whole process is easier with a neutral white balance from the start.

If you are doing this by eye, you can use the Temp and Tint sliders in the Basic module to adjust as you will.

Pay close attention to any whites and grays in your images and try to get them looking as neutral as possible. When doing it this way, I like to zoom in as far as I can on blocks of tone and color (such as skin and backgrounds) to see what effect my adjustments are having.

Things to do to every photo in Lightroom - White Balance

The White Balance tool is basic, but it is still very powerful. I find starting with a neutral white balance works well (though this is not a rule).

If you’re using an external tool (such as a grey card) to set your white balance, you can do that instead with your preferred method.

Image: Using a grey card or other tool to get an accurate white balance can help save time and ensur...

Using a grey card or other tool to get an accurate white balance can help save time and ensure complete accuracy.

3. Sharpness

Another of the things to do to every photo in Lightroom is to turn the sharpness setting (under Details) to “0.” The reason for this is that using this feature in Lightroom treats sharpening as a global adjustment that affects the entire image. It also does it at the beginning of your workflow, whereas I prefer to do sharpening at the very end of the post-processing stage.

Things to do to every photo in Lightroom - Sharpness

The Sharpening slider in Lightroom doesn’t offer a great deal of control. Instead, use another method that allows you to fine-tune the effects at the end of your workflow.

By turning off the sharpening at this point, you grant yourself far more control over the process. Once you’re in Photoshop, you will be able to sharpen with far more precision than the slider in Lightroom provides you thanks to the various sharpening tools and other features such as Layer Masks.

Image: An example of a Layer Mask for a sharpening layer in Photoshop. This amount of control would...

An example of a Layer Mask for a sharpening layer in Photoshop. This amount of control would be very difficult to achieve in Lightroom.

Also, because the amount of sharpening you use will depend on the output (a large file for print will be sharpened more than a small file for web usage), using the sharpening in Lightroom at the beginning of your workflow may actually set you back.

If you don’t use Photoshop, you can always still set the Sharpness to “0” and when it comes time to export your images for whatever output you require, you can create a virtual copy of your finished image and sharpen that copy accordingly.

4. Noise

Unless the noise in your images is quite bad, the noise reduction tool in Lightroom is rather good.

Under the Details section, these sliders will allow you to reduce the impact of any noise in your images.

As with the other things to do to every photo in Lightroom mentioned in this article, it’s important to do this at the beginning stage of your image as the effect may dramatically alter the way your image looks as well as the approach you have towards it in further post-processing.

Things to do to every photo in Lightroom - Noise

Lightroom’s built-in noise reduction usually performs well. If there is noise present in your image, use it well. If there is no noise, leave it at 0 as you will risk losing some detail.

5. Lens Corrections

The last of the things that I suggest you do to every photo in Lightroom is to use the tool in the Lens Corrections section.

Checking the Chromatic Aberration box will go a long way to dealing with all but the worst instances of Chromatic Aberration. Lightroom does a very good job of this, and in most cases, you won’t have to do any more than to click this box.

If you do have to go further, the sliders under the Manual section will help you make short work of any Chromatic Aberration present in your images.

Things to do to every photo in Lightroom - Lens Corrections

The Lens Corrections tool allows you to fix Chromatic Aberrations and correct for the lens you used.

Checking the Enable Profile Corrections box is one of the most useful things you can do to do your images from the very start. As long as you are using a lens that has a Lens Profile in Lightroom (you can make one manually if it doesn’t), using this tool will make adjustments to your images that compensate for that individual Lens.

Distortion and vignetting are two of the most prominent things that this tool corrects for, and this can have a dramatic effect on how your images appear.

Image: Left: No corrections. Right: With lens corrections. The difference is subtle, but it is very...

Left: No corrections. Right: With lens corrections. The difference is subtle, but it is very much there. Applying the profile corrected both distortion and vignetting.

The end

While this is a simple list, it’s often very easy to overlook some of these steps once you are in Lightroom. The excitement of looking at your images and getting started with the adjustments once you’ve imported them is a hard thing to override.

However, taking the few moments that it takes to implement these steps can help you to achieve more natural and polished results with very little effort at the beginning of your post-processing stage.

In the end, I hope you find these things to do to every photo in Lightroom helpful with your photo editing journey.

If there is a step that you think that I should have included here, please feel free to add it to the comments.

The post 5 Things to Do to Every Photo In Lightroom to Improve Your photos appeared first on Digital Photography School. It was authored by John McIntire.


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PolarPro releases ‘LiteChaser Pro,’ a mobile filter system for the iPhone 11

19 Feb

PolarPro has released LiteChaser Pro, a mobile filter system for Apple’s latest iPhone devices. The kits, designed for compatibility with the iPhone 11, 11 Pro, and 11 Pro Max, offer a range of products that includes a line of neutralizing and polarizing filters, a filter and grip.

‘Since the launch of Apple’s iPhone 11 in September 2019, the goal was to develop a
complete creative system worthy of replacing your DSLR/Mirrorless camera and help
transform your iPhone 11 into the ‘A’ camera. Whether vlogging your travels or even
producing your own short film; and PolarPro met that goal with the introduction of the
LiteChaser Pro system,’ said Jeff Overall, Founder and CEO of, PolarPro ‘In the end,
the outcome is a complete creative system built specifically for mobile filmmakers and
photographers to deliver shots never before possible on iPhone.’

These are the filters created for the LightChaser Pro system:

ND8 (3-Stop) & ND64 (6-Stop)

These filters were designed to ensure you have the correct shutter speed to achieve more
cinematic looking footage.

Variable (3-5 stop)

This aluminum-framed variable neutral density filter is engineered specifically for mobile
filmmakers to lower shutter speeds to cinematic levels. Laser-etched stop indicators inform you of how much light you are reducing within the preset 3-5 range. The controlled stop range reduces cross-polarization on the two longer lenses.

Circular Polarizer

This filter helps capture deeper colors and reduce glare, reflections, and haze from your photos. Rotatable so you can control its effect based on your composition.

The LiteChaser Pro Case is made of rubber, has a reinforced frame, and an aluminum filter mount that is compatible with the range of circular, variable, and neutral density filters listed above. The Grip includes two 1?4”-20 thread mounts for a mobile tripod mount with features that allow you to add a light or mic. A rail system includes two 1?4”-20 thread mounts for a mobile tripod mount with features that allow you to add a light or mic. The rail system also adjusts to hand sizes and allows switches between landscape and portrait modes.

Launch pricing for kits is available for a limited time.

Kits
Photography Kit (Case, Grip, CP) Reg. – $ 119.99 | Launch – $ 99
Filmmaker Kit (Case, Grip, VND) Reg. – $ 149.99 | Launch – $ 119
Essential Kit (Case, Grip) Reg. – $ 69.99 | Launch $ 59
Filters
Circular Polarizer – $ 49.99
Variable ND 3-5 Stop – $ 89.99
Pre-orders are open now and shipping begins on March 28th.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm warns its customers to avoid sending undeveloped film through new airport scanners

19 Feb

Fujifilm has joined Kodak Alaris in warning its customers to avoid sending film through new scanners being deployed by the TSA in many airports throughout the United States. The advisory is brief and simply states, ‘Those machines may [be] more damaging to unprocessed film and Instax film than previous generations of scanners.’

The solution is simple: photographers are encouraged to pack their film products in a carry-on bag and to request a hand inspection of the items.

This is similar to the warning Kodak Alaris published in late January; the company received clarification from the TSA, which said that its screeners are trained to inspect film by hand. As well, the TSA has put warning signs near X-ray machines that may damage undeveloped film. The film should be packed in a clear plastic bag and removed from the carry-on luggage at the security checkpoint.

Articles: Digital Photography Review (dpreview.com)

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

18 Feb

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)

 
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How to Conserve your DSLR Battery When You are Running Low on Power

18 Feb

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.

conserve-your-dslr-battery-power

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.

conserve dslr battery canon

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

Conserve your DSLR Battery on off switch

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

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

conserve your DSLR battery image stabilization switch

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.

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

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.


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

18 Feb

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)

 
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How to Photograph Beautiful Winter Snowdrops (or Other Flowers)

18 Feb

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

how-to-photograph-winter-snowdrops-flowers

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!

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

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).

winter snowdrops

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.

winter snowdrops

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.

winter snowdrops

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.

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

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.

winter snowdrops

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.


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