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  • 1 Year with the Fujifilm X-T3 – Was It Worth Buying?

    The post 1 Year with the Fujifilm X-T3 – Was It Worth Buying? appeared first on Digital Photography School. It was authored by Suzi Pratt.

    1-year-with-the-fujifil-x-t3

    It’s been just over 1 year since the Fujifilm X-T3 debuted. This popular APS-C mirrorless camera replaced the beloved X-T2, but it also added lots of video features, leading many to declare the X-T3 the best hybrid mirrorless cameras of 2019. After shooting for 1 year with the Fujifilm X-T3, I’ll share my thoughts on the camera in this article.

    Why I Chose Fujifilm

    Throughout my 10-year career as a professional photographer, I have always reached for a full-frame camera. During the DSLR days, I bounced between the Nikon D700 and Canon 5D Mark III.

    When it came time to go mirrorless, I went with the Sony a7R III. As a concert and event photographer, I am often prohibited from using flash and always need the option to shoot at high ISOs. I also value quick, accurate autofocus. In both of those regards, the Sony a7 series made the most sense when I went mirrorless in 2018.

    So how did Fujifilm get into the picture? My husband and I jumped into videography together at around the same time. He was attracted to Fujifilm for its film simulations and ergonomics that are similar to film cameras.

    When the Fujifilm X-H1 came out, he jumped on it because of its superior video features, including IBIS (in-body stabilization).

    As we started shooting videos together, we found it difficult to quickly and accurately match the colors of his Fujifilm to my Sony camera. Since he already had a large Fujifilm lens collection, it made sense for me to simply pick up a camera body so that we could share lenses. So the X-T3 ended up in my hands primarily as a video camera.

    1 Year with the Fujifilm X-T3 - Was It Worth Buying?

    Ergonomics

    If you have never shot with a film camera or Fujifilm camera before, they can take some getting used to. Prior to the X-T3, I had never shot with a camera that wasn’t a full-frame DSLR. It took me a couple of weeks to get used to using the top dials to set my shutter speed and ISO. It took even longer to get accustomed to the aperture ring on the lens.

    After a year with the X-T3, I am much more comfortable with its dials and settings, but I dislike the fact that I need two hands to shoot with this camera. On virtually any other DSLR or mirrorless camera, you can adjust all settings using just one hand, making it faster to shoot on the fly.

    Fujifilm X-T3 one year later

    X-T3 as a video camera

    I intended to use the Fujifilm X-T3 primarily as a video camera. Fortunately, those features worked out perfectly, and one year later, the X-T3 is still my favorite for shooting videos.

    This camera can shoot 4K video at up to 60 fps in 10-bit 4:2:0 color, and you can select a bitrate of up to 400Mbps for frame rates of 30p and below. That’s a lot of jargon, but it essentially means that the X-T3 is capable of outputting high-quality video footage.

    In my experience, the video is razor-sharp, and thanks to Fujifilm film simulations, the colors look stunning straight out of the camera.

    The X-T3 offers F-log recording to produce a flat video that can be color graded in post-production. However, film simulations are so good that you don’t need to color grade these videos. Saving time in editing was the main reason that drew me to Fujifilm, and I’m happy to say that it did not disappoint.

    Previous Fujifilm cameras omitted essential videography features such as a headphone jack of monitoring audio. Not so with the X-T3. This camera has both a mic jack and headphone jack built into the camera, allowing you to capture high-quality audio. The only thing that this camera is sorely missing is IBIS or in-body image stabilization for capturing steady video. Thankfully, image stabilization is present in many Fujifilm X lenses, but you still need to pop the X-T3 on a gimbal to get ultra-smooth footage.

    Image: Fujifilm X-T3 with Fujifilm XF 18-55mm F2.8-4 lens. Focal length 18mm (in 35mm: 27mm), 1/250...

    Fujifilm X-T3 with Fujifilm XF 18-55mm F2.8-4 lens. Focal length 18mm (in 35mm: 27mm), 1/250 sec, f/6.4, ISO 320, Aperture Priority

    X-T3 as a photo camera

    Even though I intended to use the X-T3 for video, I inevitably used it for photography. Thanks to the relatively compact size of the camera, and the accompanying Fujifilm X-Series lenses, the Fuji X-T3 is a solid travel camera.

    Also, similar to videos, photo colors look stunning straight-out-of-camera when using film simulations, and you arguably needn’t shoot in RAW to save room on your memory cards.

    Autofocus (AF) is vastly improved on the X-T3. The camera offers phase-detect AF with 425 selectable AF points spanning over the entire frame. Continuous autofocus does a great job of locking onto and tracking subjects, and there is also face and eye autofocus that works well.

    In continuous shooting mode, the X-T3 can shoot at up to 11 frames per second (fps) using the mechanical shutter, or 30 fps with the electronic shutter. This is a crazy fast speed that rivals top sports photography cameras.

    Fujifilm X-T3 one year later

    Fujifilm X-T3 with Fujifilm XF 18-55mm F2.8-4 lens. Focal length 18mm (in 35mm: 28mm), 1/180 sec, f/3.6, ISO 800, Aperture Priority

    Wish List

    I base most of my wish list features on my experiences shooting with full-frame cameras, such as the Sony a7r III, which I think pulls off these features better.

    First, is autofocus.

    Even though the X-T3 has much-improved autofocus, it isn’t as fast and accurate as Sony’s. Eye autofocus, in particular, is much more effective on Sony.

    Second is low light performance.

    On my Sony, I’m comfortable shooting at ISO 6400-8000, whereas I won’t push the X-T3 past ISO 4000. To a degree, this isn’t a fair comparison. Full-frame cameras will always shoot a cleaner image at higher ISOs, but there’s always room for improvement.

    Finally, the battery life on the Fujifilm X-T3 quite frankly sucks.

    I generally need 3 batteries for a full day of shooting on the X-T3, whereas a single battery will get me through 1+ days of shooting with the Sony a7r III.

    I understand that increased battery life often results in a larger battery and, therefore, a larger camera, but it would still be a welcome addition. In the meantime, you can increase the battery life by using the Fujifilm battery grip, or you can charge the camera via its included USB-C port.

    In Conclusion

    All-in-all, you can’t go wrong with the Fujifilm X-T3. It produces incredibly sharp photos and videos with incredible colors straight out of the camera.

    The camera and its accompanying lenses are compact and quite durable, especially when considering their price points, which are relatively lower when compared to other camera brands.

    There are cameras out there that have better features such as autofocus, but the Fujifilm X-T3 will suit the needs of most photographers out there.

    Have you used the Fujifilm X-T3? Have you spent more than 1 year with the Fujifilm X-T3? What are your thoughts? Please share them with us in the comments.

    Fujifilm X-T3 one year later

    Fujifilm X-T3 with Fujifilm XF 18-55mm F2.8-4 lens. Focal length 18mm (in 35mm: 28mm), 1/90 sec, f/2.8, ISO 2000, Aperture Priority

    Fujifilm X-T3 one year later

    Fujifilm X-T3 with Fujifilm XF 18-55mm F2.8-4 lens. Focal length 32.9mm (in 35mm: 49mm), 1/60 sec, f/3.6, ISO 2000, Aperture Priority

    Fujifilm X-T3 one year later

    Fujifilm X-T3 with Fujifilm XF 35mm F2 lens. Focal length 35mm (in 35mm: 53mm), 1/90 sec, f/3.2, ISO 2000, Aperture Priority

    Fujifilm X-T3 one year later

    Sony A7R III with Sony FE 55mm F1.8 lens. Focal length 55mm (in 35mm: 55mm), 1/60 sec, f/9, ISO 1600, Aperture Priority

     

    You may also like:

    • Fujifilm Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR Lens Review
    • Best Fujifilm X-Series Kit for Urban Portraits
    • The Fujifilm X-Pro 3: Marvellous or Mistake?
    • Fujifilm GFX100 Camera Review
    • The Best Fujifilm X-Series Kits for Travel Photography
    • Fujifilm X-T3 versus Fujifilm X-H1: The Best Mirrorless Camera for You?
    • Gear Review: Fujifilm 50-140mm vs 55-200mm

     

    The post 1 Year with the Fujifilm X-T3 – Was It Worth Buying? appeared first on Digital Photography School. It was authored by Suzi Pratt.


    Digital Photography School

  • Ricoh unveils HD Pentax-D FA 70–210mm F4 ED SDM WR telephoto zoom lens

    Ricoh has announced the HD Pentax-D FA 70–210mm F4 ED SDM WR, a new telephoto zoom lens for its full-frame K-mount DSLR camera systems.

    The lens, which strongly resembles the Tamron 70-210mm F4 Di VC USD, is constructed of 20 elements in 14 groups, including three extra-low dispersion (ED) elements and two anomalous dispersion elements. It features a minimum focusing distance of 95cm (3.1ft), a nine-blade aperture diaphragm, uses Pentax’s high-definition (HD) multi-layer coating on its elements and features a weather-resistant design that works alongside Pentax’s weather-resistant DSLR cameras to provide a tight seal against the elements.

    Powering the autofocus is a ring-type supersonic direct-drive motor (SDM) and a quick-shift focus system makes it easy to switch from autofocus to manual after the shutter has been half-pressed. The lens measures in at 175mm (6.9in) long, 78.5mm (3.1″) diameter and weighs 859g (1.89lbs) with the lens hood on.

    The HD Pentax-D FA 70–210mm F4 ED SDM WR will be available starting February 15, 2020 for an MSRP of $ 1,100.

    Ricoh announces compact, lightweight, high-performance telephoto zoom lens for use with 35mm full-frame digital SLR cameras

    New HD PENTAX-D FA 70–210mm F4 ED SDM WR provides great portability in a variety of applications, from nature and scenic photography to active fieldwork

    PARSIPPANY, NJ, January 22, 2020 – Ricoh Imaging Americas Corporation today announced the HD PENTAX-D FA 70–210mmF4ED SDM WR zoom lens for use with PENTAX K-mount digital SLR cameras. This high-performance telephoto zoom lens features a compact, lightweight body with weather-resistant construction for great portability in a variety of outdoor applications.

    Featuring a highly portable design, this high-performance zoom lens covers the image circle of 35mm full-frame digital SLRs, and provides a focal length range of 70mm to 210mm ideal for handheld outdoor photography. A constant f/4 maximum aperture ensures consistent brightness throughout the zoom range and enables increased control over depth of field for selective focus effects. When used with an APS-C-format camera, its focal length range is extended to the equivalent of 107mm to 322mm in the 35mm format. The new lens has a minimum focusing distance of 0.95 meters and a maximum magnification of 0.32 times, providing greater macro coverage than previous models. It also features a Quick-Shift Focus System that enables an instant shift to manual-focus operation after locking a subject in focus during autofocus operation.

    This lens is ideal for active field photography in a wide range of outdoor applications including scenic photography, landscape shooting with a beautiful bokeh effect in the fore- and background, close-up photography of animals and plants, and sports and wildlife photography where its outstanding portability really comes in handy.

    A high-grade, multi-layer high-definition (HD) coating has been applied to the optical elements of the lens, enabling the capture of high-contrast images with edge-to-edge sharpness and minimizing flare and ghost images. A super-protective (SP) coating, highly repellent to water, grease and dirt, has also been applied to the lens’ front surface, making it easy to wipe off stains or fingerprints.

    Pricing and Availability

    The HD PENTAX-D FA 70–210mmF4ED SDM WR will be available for sale on February 15, 2020, at www.us.ricoh-imaging.com and retail outlets nationwide for a manufacturer’s suggested retail price of $ 1099.95.

    Articles: Digital Photography Review (dpreview.com)

  • Flickr increases Pro subscription price after warning the company is losing money

    Flickr has notified its Pro subscribers about a price increase that brings the current annual rate to $ 60, a ten dollar increase over the previous $ 50 annual fee. Customers are also offered other plan options, such as a monthly subscription for $ 7, a three-month subscription for $ 19 and a two-year subscription for $ 118.

    The price increase is not surprising in light of CEO Don MacAskill’s impassioned plea for more Flickr Pro subscribers published in mid-December. In it, MacAskill explained that parent company SmugMug didn’t acquire Flickr because it is a wealthy company — in fact, MacAskill says, ‘Flickr was losing tens of millions of dollars a year.’

    Despite the work that SmugMug put into Flickr, MacAskill had explained that the company was still losing money and that it needed more of its users to sign up for the Pro subscription. This subscription offers a number of benefits for users, including unlimited storage, ad-free browsing, discounts from partners, access to advanced account states, priority exposure in the service’s Explore section and more.

    The price increase went into effect yesterday, on Tuesday, January 21. Existing Pro customers are given the option of immediately renewing their plan at the lower price using a link in the notification email sent to users. In explaining why it decided to increase the price, Flickr points toward MacAskill’s December letter and states that the company ‘cannot continue to operate at a loss.’

    Articles: Digital Photography Review (dpreview.com)

  • How Can You Get Thermal Imaging On A Cell Phone?

    Would you like to be able to view and save thermal images using your smartphone,     whether for work or just for fun?  Thanks to technological advances, it is possible today to do this without buying a very expensive dedicated camera. Read on to learn all the options you have to get thermal imaging on your cell phone. To Continue Reading

    The post How Can You Get Thermal Imaging On A Cell Phone? appeared first on Photodoto.


    Photodoto

  • DynaLite Lighting company shuttered after 50 years over struggle to remain competitive

    DynaLite Lighting, the New Jersey-based company founded in 1970, has filed for Chapter 7 bankruptcy and will shut down operations. The company’s CEO Peter Poremba revealed in the news in a statement on the DynaLite website, saying, ‘It is with sincere regret and heavy heart that I announce that DynaLite…has closed its doors.’

    Poremba cites the ‘decline in the photography market’ as the reason for shuttering the company. His full statement reads:

    It is with sincere regret and a heavy heart that I announce that DynaLite Inc. has filed for chapter 7 bankruptcy and has closed its doors.

    For over 50 years, DynaLite has been providing lighting solutions for photographers. We are extremely proud of what we have accomplished and the careers we have helped. Unfortunately, due to the current decline in the photography market, we have found it difficult to remain competitive.

    I want to thank you all for the years of support. It has been a pleasure servicing the photographic community.

    DynaLite sold a large variety of products during its time, including power packs, mono lights, heads, lighting kits, portable lights, light modifiers and more. The photographic lighting industry has seen a large uptick in companies offering affordable products over the years, no doubt making it harder for some businesses to stay afloat.

    Though many products are still listed on the DynaLite website, it doesn’t offer a way to directly purchase them. However, existing inventory remains available to buy from third-party retailers like Adorama.

    Articles: Digital Photography Review (dpreview.com)

  • Do Photos Lose Quality When Airdropped?

    There are plenty of features present in iOS, or Apple devices in general that make the experience “magical,” and AirDrop is one of them. First introduced with iOS7, the file-sharing technology has made life so much simpler with regards to sharing files. As a photographer, AirDrop is invaluable! Not having to rely on cables, dongles, or even an Internet connection Continue Reading

    The post Do Photos Lose Quality When Airdropped? appeared first on Photodoto.


    Photodoto

  • 5 Things You Can Do in Capture One You Can’t Do in Lightroom

    The post 5 Things You Can Do in Capture One You Can’t Do in Lightroom appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

    capture-one-or-lightroom

    If you’re a Lightroom user, you may be wondering:

    Are there any Lightroom alternatives that can take your editing to the next level? Are there any editing programs that can offer you something more?

    The answer is a resounding yes:

    Capture One Pro.

    capture-one-or-lightroom

    You see, Capture One is a step above Lightroom in several key respects. While Capture One isn’t for everyone, if you’re looking to expand your post-processing capabilities, Capture One may be the way to go.

    So in this article, you’re going to discover five things you can do in Capture One that you can’t do in Lightroom. It’s certainly not an exhaustive list, but it should give you a sense of Capture One’s power, and why you might consider it as a RAW editor.

    Let’s get started.

    1. You can create a session-based workflow for efficient organization

    I’m a big fan of Lightroom’s catalog-based editor. I like Lightroom’s method of quickly organizing photos with Collections and Albums.

    But Capture One’s session-based workflow option is well thought out and amazingly useful.

    Here’s how it works:

    First, you have a photography outing or a photo shoot of some kind, then you head into Capture One and create a session.

    capture-one-or-lightroom

    Now, every session involves a parent folder. And within that parent folder, Capture One creates four additional folders:

    • A Capture Folder
    • A Selects Folder
    • An Output Location folder
    • A Trash Folder

    5 Things You Can Do in Capture One You Can't Do in Lightroom

    So when you begin your session, you can import all of your photos from the day into the Capture Folder. This is where all of your photos can reside until you go through them. When you do, you can move the best shots into the Selects Folder and the worst shots into the Trash Folder.

    Once you’ve edited all of your Selects Folder photos, you can create JPEG or TIFF files, which you export into the Output Location folder.

    Note that you can create a new session whenever you do a new photoshoot. That way, you can use the same session-based process on every single photography outing.

    And your photography workflow will stay quick and efficient.

    Plus, you can access every session from within Capture One, as part of the Library.

    Cool, right?

    2. You can do layer-based editing for advanced post-processing control

    One of the biggest things missing from Lightroom that you can find in other post-processing programs?

    Layers.

    Now, Adobe has found some nice workarounds; the Graduated Filter, Radial Filter, and Adjustment Brush tools are very powerful and give enough fine-tuned control to satisfy plenty of users.

    However, if you really want to selectively edit your photos, layers (and the masking functions that go with them) can’t be beaten.

    With Capture One’s layer options, you can apply masks using a brush, a gradient, and more. You can make any basic global Capture One adjustment via a layer, then quickly turn it into a local adjustment.

    5 Things You Can Do in Capture One You Can't Do in Lightroom

    Plus, layers are useful for compartmentalizing different edits. If you’d like to keep your exposure adjustments separate from your color adjustments, put them in separate layers. If you’re like to make multiple exposure adjustments, but aren’t sure which ones you’ll end up using, put them in separate layers. Then quickly toggle on and off layers to see how the adjustments affect the final image.

    Of course, you don’t have to use layers in Capture One. If you’re more a fan of Lightroom’s sliders, then there are some options for more selective editing compared to Lightroom, including the enhanced color adjustments I talk about in the next section:

    3. You can do enhanced color toning with Capture One’s Color Balance tool

    Color toning is one of the most important adjustments I make to my own images, and it’s one of the simpler tweaks you can make to really improve your photos.

    So it’s pretty important that you’re able to control color as much as possible.

    And while Lightroom offers its (extremely useful) HSL sliders and split toning tool, the Color Balance tool is one of my favorite things about Capture One, from its interface to its control to its power:

    capture-one-or-lightroom

    You see, with the Capture One Color Balance tool, you can alter the Highlight, Midtone, and Shadow colors. You can do basic split toning by pushing blues into the shadows and golds into the highlights. Or you can go for a more advanced three-toned color grade using the Capture One color wheels.

    Plus, color toning in Capture One is very intuitive!

    Instead of doing toning while referencing an external color wheel, you can quickly select complementary colors off the wheel and see how they look. And if you don’t like those, well, you can switch to a different pair or harmonious colors, or a color triad, all within the Color Balance interface.

    It’s a lot of power in a very simple tool.

    4. You can create presets for individual editing tools

    Lightroom is known for its preset-creation capabilities.

    But did you know that Capture One lets you create presets for individual tools?

    If you hit upon a set of values that you like, simply tap the hamburger icon in the right-hand corner of any tool:

    capture-one-or-lightroom

    And select Save User Preset:

    5 Things You Can Do in Capture One You Can't Do in Lightroom

    Then, the next time you get stuck using that tool, you can scroll through your saved presets and see if anything sticks out at you.

    Capture One also provides you with a number of already-uploaded presets, so you’re free to check those out, as well:

    5 Things You Can Do in Capture One You Can't Do in Lightroom

    By the way:

    While Capture One user presets are nice to use, they’re certainly not a substitute for broader preset editing. Which is why Capture One includes preset functions just like Lightroom (but called Styles).

    5 Things You Can Do in Capture One You Can't Do in Lightroom

    So you get the best of both worlds:

    Tool-specific presets, and image-focused Capture One styles.

    5. You can rearrange the interface for streamlined editing

    Here’s one more great feature that Capture One offers:

    You can arrange your editing interface – and I’m not talking about toggling on and off a few editing panels.

    Instead, with Capture One, you can remove tools completely from the editing interface. You can bring them out so that they float in the main editing window, or you can stick them back into entirely different sections of Capture One.

    capture-one-or-lightroom

    This is especially useful if you have a particular editing workflow that you tend to follow. Instead of hunting around for each tool every time you edit a photo, you can arrange your editing tools in a neat stack. Then, when it’s time to edit your photos, you can go straight down the sequence, doing one edit after another until you’ve finished.

    Being able to rearrange the editing interface is also nice if there are certain tools that you never use, and just want to get rid of.

    Hate the Levels tool? You can remove it in seconds.

    And you’re also free to remove entire tabs. If you never want to use a Capture One style, you can delete the whole Adjustments tab.

    5 Things You Can Do in Capture One You Can't Do in Lightroom

    Note that Capture One even has several tool tabs that you can add into the Capture One interface, such as a Composition tab and a Black and White tab.

    Really, the options are endless!

    5 things you can do in Capture One you can’t do in Lightroom: Conclusion

    Now that you’ve finished this article, you know all about the power of Capture One, and what it offers compared to Lightroom.

    Bottom line:

    Capture One is an impressive RAW image editor and one that packs a lot of punch.

    So if you’re looking to increase your editing power, testing out Capture One is a good decision!

    For those of you who have tried Capture One, what are your thoughts? What did you like or dislike compared to Lightroom? Share your thoughts in the comments!

    The post 5 Things You Can Do in Capture One You Can’t Do in Lightroom appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


    Digital Photography School

  • Panasonic Lumix DC-S1H 4K sample reel

    As part of our upcoming review, here’s our 4K sample reel, shot using the Panasonic Lumix DC-S1H at Seattle’s Emerald City Soul Club.

    All footage is DCI 4K, 23.98p in the 400Mbps mode, with the exception of a short 60p clip, marked in the video. The camera’s Cinelike D2 color profile was used throughout, with minimal color grading subsequently applied.

    Interview footage was all shot from a tripod, using the Panasonic 24-70mm F2.8 lens. The bulk of the in-club footage was shot using an L-mount Sigma 24mm F1.8 Art, and mounted on a DJI Ronin-S gimbal unless otherwise noted. All clips were manually focused due to the extreme low-light nature of the club.

    Articles: Digital Photography Review (dpreview.com)

  • Creative Water Photography – A Step-by-Step Guide to Making Water Monsters

    The post Creative Water Photography – A Step-by-Step Guide to Making Water Monsters appeared first on Digital Photography School. It was authored by Ramakant Sharda.

    creative-water-photography-making-water-monsters

    Have you ever watched an alien movie and wondered how they created those monsters? You’d need a very powerful computer, animation software, and some special skills to create an animated or moving monster. However, you can easily create a series of still monsters by using water. I’ll show you how some creative water photography can enable you to create your own water monsters. It’s simple to do, with great effect!

    So let’s get started!

    creative-water-photography-making-water-monsters

    1. What you need to make water monsters:

    To do your creative water photography, you will (obviously) need a camera. You can use any DSLR or Mirrorless camera. In fact, you can use a point-and-shoot camera if it is capable of firing an external flash.

    A standard lens, like a 24-70 mm, is good, as you don’t want your splash to go out of the frame. You also don’t want water splashes on your camera.

    In addition to a camera, you will need an external flash and a cable or wireless trigger to fire the flash. Then you’ll need a large diffuser. You can use the translucent part of a five-in-one reflector, or you can use a butter paper sheet and paste it on a wooden frame. A reflector is a better choice here, as you don’t need to make a wooden frame, and it also won’t get damaged if some water spills on it.

    You’ll need a light stand to affix the flash and a tripod for the camera.

    If you have a portable water tub, you can do this shoot in a room. However, if you don’t have one, you’ll have to do it outside.

    Also, you’ll need to wait until night, as you can’t do this shoot in daylight.

    You’ll also need an assistant to throw the water so you can click the beautiful water monsters.

    Creative Water Photography – A Step-by-Step Guide to Making Water Monsters

    2. Setup:

    The setup is pretty simple.

    If you are shooting your water monsters indoors, place your water tub in the room and hang the diffuser behind it.

    Set the flash a little bit farther away from the diffuser. If you have a round studio light reflector, use it. It’ll give you a nice, round light effect. If you don’t have one, that’s okay. You can just use the flash.

    Fix your camera on the tripod and place it far from the water tub. You don’t want water splashes on your expensive camera, so you’re going to use it on full zoom. If you don’t have a 24-70mm lens, you can use a 100mm lens and place the camera farther.

    See the image below to view the setup.

    creative-water-photography-making-water-monsters

     

    3. Camera and other settings:

    Now you have done that, let’s talk about settings.

    Place a stick at the center of the water tub and manually focus on it. Don’t forget to set your camera on manual focus after that.

    Now you need to finish your camera settings and flash settings. First, we’ll do flash settings.

    Change your flash to manual mode and set the power to 1/32. We’re doing this because when the flash is on lower power, it produces the shortest burst of light, which helps to freeze the subject. You can’t go above 1/32 power, as then you’ll start getting motion blur.

    Now set the camera to manual mode.

    Set your ISO to 100, aperture to f/16, and shutter speed to 1/200 sec or whatever your camera sync speed is. These are the settings I used in all my shots, and they’ll work for you, too.

    An aperture of f/16 will give you enough depth of field, and the entire splash will be in focus. Make sure you’re shooting in RAW, too, as this will help in post-processing later.

    If you are firing your flash using a radio trigger, set it up. Or if you are using a cable to fire it, attach the cable.

    Now your setup is ready, so let’s talk about the workflow and start creating these beautiful water monsters.

    creative-water-photography-making-water-monsters

    Workflow:

    Earlier, you placed a stick in the tub of water. Now remove it and replace it with something like a glass so that your assistant knows where the focus point is and throws the water accordingly. Also, tell your assistant about the area where your frame is so they won’t throw the water outside the frame.

    Now all you need to do is press the shutter when your assistant throws the water.

    They can throw the water in different ways. For example, they can fill both hands with water and throw it upside. Just make sure their hands don’t enter the frame.

    Your assistant can use a mug or glass to throw the water, or they can throw it using two or three cups together.

    Different methods of throwing water will give you different results.

    Even if you use the same method of throwing, you’ll get different pictures every time.

    Take at least 100 photos – the more, the better.

    creative-water-photography-making-water-monsters

    Post-processing:

    Post-processing is quite simple.

    First, select good photos from the pictures you’ve taken. If you have clicked 100 pictures, you’ll get 10-12 good photos.

    Now open the RAW files in “Camera Raw” and change the white balance to 3000. It’ll convert your gray picture to a blue tone.

    If you’re an advanced photographer and you can set custom white balance settings in your camera, set it to 3000 kelvin before the shoot. Then you won’t need to do it in post-processing.

    Creative Water Photography – A Step-by-Step Guide to Making Water Monsters

    Now you just need to clean up some extra water droplets, crop if needed, and sharpen it. Your water monsters will be ready.

    When you’ve finished editing the photos, check out the other images one more time. You’ll find some images that you can merge and use to make something unique. For example, I made this butterfly using three images.

    creative-water-photography-making-water-monsters

     

    So, let’s do some creative water photography and make these amazing water monsters!

    We’d love to see your results, too, so please sharing them in the comments.

    Also, if you run into any problems, just comment on this post, and I’ll help you solve them.

    Creative Water Photography – A Step-by-Step Guide to Making Water Monsters

    The post Creative Water Photography – A Step-by-Step Guide to Making Water Monsters appeared first on Digital Photography School. It was authored by Ramakant Sharda.


    Digital Photography School

  • ‘It should cost…’ The three main ways you’re wrong about camera prices

    Every time a camera is launched, our comment section is flooded with comments saying ‘it’s too expensive,’ irrespective of what the price is set at. Are all the camera makers utterly out-of-touch with reality, or is there something else going on?

    I’m going to explain the three main misunderstandings that I see prompting these comments. I’m not advocating for higher prices, nor trying to suggest that manufacturers never get it wrong, but just trying to highlight why cameras are priced the way they are.

    A new model is always going to cost more than the outgoing one

    Prices decline with time. No matter what your pricing strategy, an older product (particularly in a fairly fast-moving marking like electronics) cannot demand as high a price at the end of their lifecycle as they can at the beginning.

    This may sound obvious, but the consequence is that a new model will always look expensive compared with the model it replaces.

    The D780 was launched at the same price as the D750, so is cheaper in real terms. But heavy discounting of the D750 makes the new camera look very pricey.

    This is the error we most often see: ‘How can they charge $ 2200, when I can buy the old model for $ 1400?’

    To which the response is: ‘How can they not?’ If you offer your new model at the price of the outgoing one, then what does its price look like, at end-of-life? Do you then have to match that price with the next generation model? That approach would end up with you giving cameras away within a couple of product generations, which isn’t exactly a winning strategy in an already contracting industry.

    Prices decline with time, so new cameras tend to be released at around the same cost that the old one was launched at. The alternative (launching to match the current market prices) is a pell-mell race to the bottom.

    So cameras tend to be released at around the same prices that the preceding model was launched at. After all, camera makers are companies: they exist to make as much profit as they can. Their job is to maximize the amount of money they generate from each product.

    The main exception to matching the previous model’s launch price is if the new model has been stripped-down to hit a lower price point or re-positioned to attract a different audience.

    Case study: The stripped-down mass-market special

    Sony’s a6000 was launched for $ 799 with a kit zoom: around $ 200 lower than the existing NEX-6 model. It gained a couple of additional features and updates but also saw a drop in viewfinder resolution and had less substantial feeling construction: distinct hints that it wasn’t a like-for-like replacement model.

    Sony’s insistence on assigning similar names to all its models doesn’t help, but the pricing alone makes it easier to recognize the a6300 as more of an NEX-6 replacement than an a6000 update. Sure enough, both the a6000 and a6300 continued alongside one another for the next few years: one targeting the ‘price conscious’ consumer, the other offering better build, an NEX-6 level viewfinder and 4K video, for people who were comfortable to spend a bit more.

    Manufacturers will occasional try to re-position a particular model, making it cheaper or more expensive, perhaps trying to make room for a new model.

    Case study: two models in the place of one

    Panasonic’s GX8 had a significantly higher spec and was launched for $ 200 more than the preceding GX7. This created the space for a less expensive GX85 to sit underneath. Looking at the launch prices suggests that Panasonic thought there were two different types of customer buying the GX7: some that wanted a small, mid-priced model and some who wanted something more ambitious, and were willing to pay for it.

    However, the next model refresh saw the GX9 launched back at the same price as the GX7 (and called the GX7 III in some markets). ‘This isn’t a GX8 replacement at all’ complained some would-be buyers. The pricing indicated that they were probably partly right.

    The lesson in all of this is that you can better interpret a manufacturer’s intentions by comparing the price of a new model to the launch price of the outgoing model, not its depressed end-of-life price.

    Case study: getting the price wrong

    Manufacturers don’t always get their pricing right, of course. Nikon entered the prime-lens APS-C compact market in 2013 with the Coolpix A, an attractive camera with a 28mm equivalent F2.8 lens. Perhaps emboldened by Fujifilm’s success selling its X100 models for $ 1299, Nikon priced its camera at $ 1099.

    Around a month later, Ricoh launched an APS-C version of its much-loved GR, also with a 28mm equiv F2.8 lens, for $ 799. The Coolpix A was a pretty good camera (though we preferred the GR), but without the retro appeal, hybrid viewfinder and burgeoning reputation of the Fujifilm, or the establish fan-base of the GR, that $ 1099 price tag looked awkward.

    Without access to sales data, we can’t know for certain how many units were sold at full price but by the second half of 2014, the price had collapsed to just $ 580. A lot of people got a bargain at that discounted price, but it’s noticeable that Nikon hasn’t shown any further interest in that niche.

    Of course, sometimes manufacturers will keep old models on the market at a newly lowered price (the Sony a7 II and a7R II, for instance). This makes life a little more complex but should really just focus your attention on what really matters: ‘does the new model offer enough compelling improvements to overlook the older model?’

    Your country probably isn’t being ripped-off, even if the US launch price seems cheaper

    The RX100 VI was launched for $ 1298 in the US and the equivalent of $ 1450 in Europe. But that’s not the whole story.

    The other complaint we regularly see is that the launch price in country ‘X’ is higher than a direct conversion of the US dollar price. There are two main reasons for this.

    The first is that US prices tend to be quoted without sales tax, whereas most other countries tend to include sales tax/VAT/GST in consumer-facing communications. As a results, US prices tend to look less expensive simply because the price quoted isn’t the price most people are legally expected to pay. Your local tax level may be more expensive, but that’s more likely to do with your country’s history, style of government and degree of healthcare provision and social support: none of which can be blamed on camera makers.

    The second factor is that price competition varies greatly between countries. US prices tend to stay at or near the Manufacturer’s Recommended Sales Price until the manufacturer chooses to adjust it. Countries with more competition between retailers tend to see prices quickly fall away from the initial asking price: early adopters end up paying full price, but anyone buying a few months (or sometimes weeks) later, will get a much better deal.

    Case study: why are cameras more expensive in Europe?

    Sony’s RX100 VI had an initial MSRP of $ 1298 in the US and €1299 in Europe. This looks bad: €1299 was worth $ 1450 in July 2019. Outrageous, right?

    But, if I went to buy one today, I’d end up paying $ 1429 after tax in the US ($ 1298 plus my 10.1% local sales tax rate). If I lived in Germany and bought the same model from a large internet retailer, I’d have to pay €1180, including VAT, which is equivalent to $ 1315.

    So, although the launch price in your country may look outrageous, compared with the US price, that doesn’t mean you’ll get ripped-off. The last two times I’ve looked at buying cameras in the US and UK, I found the year-old model I was shopping for to be less expensive in the UK, even with higher local taxes. I’ll concede that this was before the pound plummeted following the Brexit vote: but again, that’s not really the fault of camera makers.

    Some things are supposed to look expensive

    Marketers have all manner of theories about how to price their goods, and different strategies for maximizing the amount of profit they can make from a specific product. Very few of these have much to do with the costs involved in developing, manufacturing, distributing and supporting that product. Most strategies set the price high enough to make this money back, but there are exceptions even to that.

    So there’s little point looking at a product and saying ‘they’ve removed ‘x,’ so it should be cheaper,’ or expecting the price to relate in any way to your estimation of the costs involved.

    For instance, a premium pricing strategy holds that it’s sometimes beneficial to price your goods so highly that you end up selling fewer than you could, but at greater profit: the high price and resulting scarcity in itself contributes to the perceived value of the product.

    A premium pricing strategy holds that the high price in itself contributes to the perceived value of the product

    ‘That’s silly,’ you might think: ‘that wouldn’t work on me.’ But it does. Like it or not, you respond to pricing. Read through the comment section of the launch of any Leica product: you’ll see an audience dramatically polarized between ‘it’s not worth that’ and ‘if you could afford it, you’d understand.’ The same goes for luxury items, whether they be Range Rovers or Rolex watches: if they weren’t expensive, they wouldn’t have the same cachet.

    This discussion is almost entirely divorced from whether the products themselves are any good (to the degree that any assessment can be entirely rational and dispassionate), it’s primarily a reflection of differing personal responses to the price.

    Perceived value is entirely personal and both responses are equally right and wrong: a premium product isn’t worth its exaggerated price to the person who doesn’t care about prestige, scarcity, brand history and reputation or the degree to which something is hand-built, but it is worth it for someone to whom those factors contribute to the item feeling special, or more meaningful.

    Is it worth it?

    Which ultimately brings us to the question that’s really at stake: not ‘is it too expensive?’ but ‘does it appear to represent good value to me?

    Again, manufacturers are for-profit companies. They aren’t aiming to offer the product you want at a price you want to pay: they’re trying to price it at the maximum amount you’re willing to pay.

    In other words: it’s always going to be a bit more expensive than you’d like.

    Articles: Digital Photography Review (dpreview.com)