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Slideshow: International Garden Photographer of the Year’s winner and finalists

11 Feb

International Garden Photographer of the Year’s winner and finalists

On February 7th, the winners and finalists for Competition 13 of the International Garden Photographer of the Year (IGPOTY) awards were announced at the Royal Botanic Gardens, Kew. Over 20,000 entries were received from amateur and professional photographers all over the world. The winner of £7,500 and the title of Overall Winner is Albert Ceolan of South Tyrol, Italy. “Over the last few years, IGPOTY has been a source of inspiration for me as well as a great pleasure for the eyes and the soul. The thought that one of my images will be shown as overall winner in these mythical gardens fills me with enthusiasm and pride,” said Ceolan when his was given the news.

“Albert has documented a scene which is simultaneously shocking as it is well composed. The photo cleverly shows both the destruction and the remaining trees symbolising hope. IGPOTY introduced the new category ‘Plants & Planet’ for this very reason to stimulate discussion and arouse awareness of changing global weather and our current climate emergency. By running this category – IGPOTY entrants helped to plant 78 new trees via WeForest in the Brazil project, which focuses on reconnecting remaining patches of the Atlantic forest through forest corridors so that wildlife can continue to reproduce and thrive,” said Tyrone McGlinchey, the competitions Head Judge.

This year, IGPOTY introduced a new photo project, ‘Square Crop,’ along with a new main category ‘Plants & Planet.’ Image above is ‘Autumn Fragility’ by Jane Simmonds.

IGPOTY was established in 2007 and is now one of the world’s most renowned photography competitions. Winning entries are exhibited around the United Kingdom, Europe, and the world. As always, it was difficult to choose only 15 photos to display on DPReview. All winners, finalists, and commended entries across the 9 categories and 4 photo projects of this competition can be viewed here.

IGPOTY Overall Winner: ‘The Vaia Storm’ by Albert Ceolan (Italy)

About this photo: This photograph documents the natural destruction of pine forest by storm ‘Vaia’ in late October 2018. Wind speeds peaked at over 120mph, which led to the felling of over 14 million trees and claimed 17 human lives. In the background stands the magnificent Mount Catinaccio, bearing witness to the storm at just under 3,000 metres high.

Location: The Dolomites, South Tyrol, Italy

IGPOTY 1st Place, Abstract Views: ‘Fish Pond Fantasy’ by Maggie Lambert (United Kingdom)

About this photo: Scarborough Art Gallery was reflected in the garden’s fish pond, which created an intriguing mix of hard and fluid surfaces and various textures, overlaid by the shapes of pondweed and fishes.

Location: Scarborough Art Gallery, North Yorkshire, England, United Kingdom

IGPOTY 3rd Place, Abstract Views: ‘Tragopogon porrifolius’ by Viktor Sykora (Czech Republic)

About this photo: I used a scanning electron microscope to produce this detailed abstract view of a Tragopogon porrifolius seed. To gain the abstract element I used advanced filters and applied false colours.

Location: Prague, Czech Republic

IGPOTY 1st Place, Beautiful Gardens: ‘Summer Reverie’ by Jacky Parker (United Kingdom)

About this photo: Echinacea ‘Salsa Red’ were the brilliant red stars of this beautiful summer palette of colours taken at the gardens of the New Forest Lavender Farm. I captured a double exposure to soften the grasses and create an evocative botanical daydream.

Location: New Forest Lavender Farm, Wiltshire, England, United Kingdom

IGPOTY Commended, Beautiful Gardens: ‘Notes of Tea Garden’ by Ming Li (China)

About this photo: Fujian Province is home to many tea plantations, this one looked even more amazing with its colours and patterns from a bird’s-eye view, which I achieved using my drone.

Location: Fujian Province, China

IGPOTY 1st Place, Breathing Spaces: ‘Larch Basin Dawn’ by Thorsten Scheuermann (United States)

About this photo: The light of dawn on the horizon was enough to make the burnt autumn colour of the Larix (larch) trees in the North Cascades Mountains glow.

Location: North Cascades National Park, Washington, United States

IGPOTY Finalist, Breathing Spaces: ‘Mountain Arrows’ by Mauro Battistelli (Italy)

About this photo: In this vast desert landscape the sharp shards of the mountains contrasted wonderfully with the yellow and green hues of the foliage below.

Location: Salta Province, Argentina

IGPOTY 1st Place, Greening the City: ‘Burst’ by Brandon Yoshizawa (United States)

About this photo: The sunset gave its parting burst over Seattle illuminating the highways and making the intertwined trees and foliage glow across the city.

Location: Seattle, Washington, United States

IGPOTY 2nd Place, Plants & Planet: ‘Grass Tree’ by Anne Neiwand (Australia)

About this photo: This amazing individual specimen of Xanthorrhoea (grass tree) is endemic to the harsh conditions in South Australia. I chose to create a panoramic image to incorporate more of the landscape and emphasise the connection between every plant and our planet.

Location: Ikara-Flinders Ranges National Park, South Australia, Australia

IGPOTY 2nd Place, The Beauty of Plants: ‘Summertime’ by Danièle Dugré (Germany)

About this photo: I captured this photograph last summer at BUGA (Federal German Garden Show) in Heilbronn.
There was almost 40 hectares of wasteland between the old course of the River Neckar and the canal which have been redesigned using every type of gardening skill.

I was very impressed by these beautiful backlit flowerbeds, interplanted with tactile grasses, that poured out the scent of summer.

Location: Heilbronn, Baden-Württemberg, Germany

IGPOTY 1st Place, Trees, Woods & Forests: ‘Swamp Elder’ by Thorsten Scheuermann (United States)

About this photo: A stately Taxodium distichum (swamp cypress) tree stood at home on a calm, autumn afternoon in the wetlands surrounded by a ring of their characteristic roots or as I like to call them – knees above water.

Location: Louisiana, United States

IGPOTY 1st Place, Wildflower Landscapes: ‘The Beauty of Spring’ by Zhigang Li (China)

About this photo: The Napahai Nature Reserve, which at an altitude of around 3,300 metres above sea level, is a winter resting spot for tens of thousands of migratory birds as well as a summer pasture for herdsmen.

It was Spring when I captured this pastoral scene full of colourful wildflowers, shapes and textures.

Location: Mountains in Diqing, Yunnan, China

IGPOTY 1st Place, Wildflower Landscapes: ‘Heaven’s Route’ by Mauro Battistelli (Italy)

About this photo: I captured a long exposure on this picturesque coastline, with wild Echium anchored on the clifftop in the foreground, and the sea beyond was foaming around the unique rock formations.

Location: Playa de la Arnía, Cantabria, Spain

IGPOTY 2nd Place, Wildlife in the Garden: ‘The Meeting’ by Henrik Spranz (Croatia)

About this photo: I captured a chance morning meeting between these two Aporia crataegi (black veined white butterflies) as they perched on a flower head of Dianthus carthusianorum subsp. sanguineus.

Location: Pazin, Istria, Croatia

IGPOTY Highly Commended, Wildlife in the Garden: ‘A Spider’s Path’ by Carlo Cinthi (Italy)

About this photo: For such a tiny spider in the garden, every raindrop became a giant obstacle as it continued its journey along this blade of grass.

Location: Milan, Italy

Articles: Digital Photography Review (dpreview.com)

 
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Instagram allegedly raked in $20 billion in ad revenue last year

11 Feb

YouTube, the most popular video platform on the Internet, didn’t manage to make as much revenue in 2019 as image-based social network Instagram, according to a new report from Bloomberg. Sources claim that Instagram made $ 20 billion in ad revenue last year compared to YouTube’s $ 15.1 billion in ad revenue during the same time period.

The $ 20 billion figure, assuming it is accurate, is almost unfathomable compared to the $ 715 million Facebook paid for Instagram when it acquired it in 2012. Facebook does not officially disclose Instagram’s ad revenue separately from its other products; the company hasn’t commented on the report. As of 2018, Facebook said that it had more than 1 billion users on Instagram.

At $ 20 billion, Instagram would have represented more than a quarter of Facebook’s 2019 revenue, according to Bloomberg. Facebook has made a number of changes to Instagram since acquiring the service, the most recent being its decision to hide public ‘likes’ on the platform. Sources claimed late last year that Facebook decided to hide ‘likes’ so that users will post more often, boosting ad revenue as a result.

Articles: Digital Photography Review (dpreview.com)

 
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Gary Fong warns of counterfeit Lightsphere flash diffusers

11 Feb

Photographer Gary Fong, the creator of the Gary Fong Lightsphere, has published a video that warns about counterfeit Lightsphere products being sold on Amazon. Fong showcases the authentic product alongside the counterfeit product, highlighting differences that will help consumers spot the fake, as well as issues with the counterfeit product’s design.

The Lightsphere is a collapsible flash diffuser that is made from clear material sporting horizontal rings. The counterfeit version sold on Amazon, Fong points out in his video, is made from flimsy material that doesn’t hold its shape. As well, the counterfeit product is made from material dyed white rather than left clear, which impacts the diffuser’s performance.

As the video explains, the differences between the real diffusers and counterfeit diffusers are nearly indistinguishable.

In addition, the dome doesn’t stay fixed in the counterfeit product and instead easily falls out. The entire product, including the package, shows multiple signs of being fake, including poor print quality on the diffuser’s strap, a shiny rather than a matte box, a product insert that has poor print quality and poor image quality on the package’s label.

Fong shows images to prove that not only did Amazon sell this product, but in fact presented it as its ‘choice’ to buyers and shipped it directly from its own warehouse. In order to avoid a fake product, consumers can purchase the Lightsphere directly through Gary Fong’s website, though it should be noted that not all Lightspheres sold by Amazon are fake.

Articles: Digital Photography Review (dpreview.com)

 
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Vision Research launches its latest high-speed camera, the Phantom VEO 1310

10 Feb

Vision Research has released its latest high-speed camera, the Phantom VEO 1310. The new camera, which is part of Vision Research’s robust ‘VEO’ lineup, can capture 720p video at up to 14,350 frames per second (fps).

The new camera isn’t the highest-resolution phantom on the market, but it still offers plenty in the framerate department. Below is a list of the framerates and resolutions the Phantom VEO 1310 can record at:

  • 1280 x 960 at 10,860 fps
  • 1280 x 720 at 14,350 fps
  • 960 x 960 at 13,333 fps
  • 640 x 480 at 30,030 fps
  • 320 x 120 at 423,350 fps

The camera features a native ISO of 25,000 D in Mono and 6,400 D in Color mode. It offers 18 µm pixel size, 12-bit color depth and has a minimum global shutter framerate of 50 fps.

The Phantom VEO 1310 comes in two models: Light (L) and Full (S). Both models offer SDI and HDMI video out, 12V battery input and include the option to add on a 10Gb ethernet adapter for remote operation. The difference between the two models is that the ’S’ version of the VEO 1310 offers six extra I/O ports (F-sync, TC in/out, trigger, strobe and a ready port), includes a CFast 2.0 port and offers on-camera controls, whereas the ‘L’ version lacks all of the above.

On both models, the lens mount is user-changeable with options for C-mount, Canon EF-mount and PL-mount lenses, with full electronic control support. The camera is made in the United States and comes with a handle, cheese plate, battery mounts (with the ’S’ model) and a case with custom foam cutouts.

Details on pricing and availability are unknown at this time. We have contacted Vision Research and will update this article with more information if and when we receive it.

Articles: Digital Photography Review (dpreview.com)

 
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Godox TT685 Thinklite TTL Flash Real-World Review

10 Feb

The post Godox TT685 Thinklite TTL Flash Real-World Review appeared first on Digital Photography School. It was authored by Matt Murray.

godox-tt685-thinklite-flash-review

One of the only things I missed when I moved from Nikon to Fujifilm a few years ago was the quality of speedlights available for X-Series cameras. I never truly appreciated how good the Nikon Creative Lighting System was until I couldn’t use it anymore!

This is no longer a problem though: in the last couple of years, we’ve seen feature-packed speedlights introduced by manufacturers such as Godox.

In this review, I test out the Godox TT685F speedlight flash on my Fujifilm X-Series gear. If you’re not a Fujifilm shooter, keep reading anyway, as Godox makes a version of the TT685 for every camera system.

Image: Many Fujifilm shooters are happy that there’s finally a third-party flash with both TTL and H...

Many Fujifilm shooters are happy that there’s finally a third-party flash with both TTL and HSS (high-speed sync). Fujifilm X-T3 with XF 56mm f1.2 R lens with Godox TT685F on-camera. 1/300s at f/2.2 ISO 200.

Why Godox?

There’s a wide range of third-party flashes available for different camera systems on the market today. Ten years ago, I would only ever buy a flash made by my camera manufacturer and would generally avoid any third-party flash made in China.

How times have changed – the quality and range of features on third-party flashes these days are outstanding, and prices have fallen significantly.

I first heard about Godox flashes through word of mouth in Fujifilm Facebook groups. Godox is based in Shenzen, China, and has been around since 1993. They make photographic lighting products under their own Godox brand, and also under other names such as Flashpoint.

Introducing the Godox TT685

Image: The Godox TT685F

The Godox TT685F

The Godox TT685 is a powerful, feature-packed speedlight at a very attractive price point, around $ 110USD.

It’s available for all major systems. If you’re looking at buying one, make sure you grab the right one for your camera. The last letter in the model number gives it away: TT685F is for Fujiilm, TT685C is for Canon, TT685S is for Sony, TT685O is for Olympus/Panasonic, and TT685N is for Nikon.

What’s in the box

The flash comes attractively packed in a sturdy cardboard box with key details of its specifications. Inside the box, you’ll find the flash, a small black mini stand for attaching the flash to light stands, a black protective case, and an instruction manual in Chinese and English. The manual is also available on the Godox website.

Image: Unboxing the contents of TT5685F

Unboxing the contents of TT5685F

TT685 specs

The specifications of the Godox TT685 are truly impressive. Here’s a summary:

  • Runs on 4 x AA batteries. Each set will give you about 230 flashes.
  • Recycle time varies between 0.1 and 2.6 seconds.
  • It can be used as an on-camera flash, as an on-camera master to trigger other off-camera flashes, and as a slave flash off-camera.
  • The flash head tilts between -7 degrees (slightly backward) to a 90-degree angle.
  • The flash head rotates 360 degrees.
  • Allows high-speed sync up to 1/1800 second.
  • Full TTL (through the lens) mode for Fujifilm X-Series cameras.
  • Manual flash can be adjusted from 1/1 to 1/256 power in third-stop increments.
  • Runs on a 2.4Ghz radio connection – very impressive given more expensive flashes in the market run on optical line-of-sight only.
  • Capable of firmware updates via a USB port.

Build quality

The build quality of the Godox TT685 is very good. It looks and feels a lot like my old Nikon speedlights, especially the slightly larger SB-900. With batteries in, it weighs around 500g, a little on the heavy side on a mirrorless camera, but not too bad.

The TT685 has a familiar dot matrix LCD screen on the back, which displays all the settings and information you’ll need when using the flash. As well as the on/off switch, there’s a middle dial, which is useful in manual mode to dial settings up and down. It also has a number of buttons, including one for changing the flash mode, one for putting the flash into slave mode, and another that lights up red. This serves as both the test flash button and also an indicator that the flash is ready to fire.

Image: The red button on the bottom left shows the TT685 is ready to fire.

The red button on the bottom left shows the TT685 is ready to fire.

Near the flash head, there’s the standard catch light panel and wide-angle diffuser panel.

Image: Catchlight panel (top) and wide-angle diffuser panel (over flash head)

Catchlight panel (top) and wide-angle diffuser panel (over flash head)

Ease of use

Setting the Godox TT685 up is easy. Pop the batteries in and attach it to your camera by sliding it on the hot shoe with the dot matrix panel facing you. Rotate the circular lock ring on the base of the flash until it locks up. You’re ready to go!

It’s easy to move the flash up and down from an upright position to facing your subject head-on, but I found it a lot more difficult to rotate the flash 360 degrees. It’s not hard to do; it was just a bit stiff and felt like it wasn’t meant to rotate at first. I had to check that it did rotate in the camera manual as I didn’t want to break it.

Using the flash in all modes is pretty easy. It turns off after 90 seconds of idle use, but pressing your camera shutter halfway or pressing any of the buttons on the flash wakes it up.

Image: It was quite dark here, but I’m really happy with the way this image came out. Fujifilm X-T3...

It was quite dark here, but I’m really happy with the way this image came out. Fujifilm X-T3 with XF 56mm f1.2 R lens with Godox TT685F on-camera. 1/600s at f/4 ISO 200.

Three modes

The Godox TT685 has three modes: TTL, Manual and Multi. You can easily cycle through these by pressing the mode button on the flash.

Having a third-party flash that supports TTL on Fujifilm is wonderful; many other third party speedlights in the past did not.

TTL stands for “through the lens.” This is a way that the flash can work with the camera to determine the best flash output for any given scene and, therefore, the best exposure.

Image: The TT685F mounted on the Fujifilm X-T3.

The TT685F mounted on the Fujifilm X-T3.

You can adjust this with the flash exposure compensation feature. This is similar to how you may shoot in full auto mode or aperture priority mode in your camera (allowing it to make exposure decisions) but then adding exposure compensation to suit the scene.

The TT685 range of speedlights also supports high-speed sync (HSS) up to 1/8000s, which is the fastest mechanical shutter speed on many X-Series cameras, including the X-T3.

HSS can be very useful in bright conditions outside, especially if you want to shoot shallow depth of field. Many flashes don’t support HSS, so their sync speed is typically only 1/200 or 1/250 second, which can be limiting.

In TTL mode, you can also select second curtain sync, where the flash fires at the end during longer exposures instead of at the start. This can be useful in night scenes to expose traffic trails or lights in the background while the flash lights up your subject in the foreground right at the end.

Image: The Godox TT685F was fired by the X1T-F wireless trigger for some off-camera flash. It was po...

The Godox TT685F was fired by the X1T-F wireless trigger for some off-camera flash. It was positioned on a lighting stand, firing backward into an umbrella with a softbox attached. Fujifilm X-T3, XF 56mm f1.2 R lens, 1/120s, f/4, ISO 200.

In manual flash mode, you are selecting how powerful the flash fires, from 1/1 full power to 1/128 power. You can use the dial to move up and down in 1/3 stop increments. This mode is very useful when you want more precise control over your lighting. It was also the way flashes were used for years before TTL.

You can also use stroboscopic flash in Multi mode. Use it to illuminate a moving subject against a dark background: each time the flash fires in rapid succession, the subject is shown moving across the frame.

Although I didn’t test this feature of the TT685, I’m looking forward to trying it out one day.

Using the flash in slave mode for off-camera flash

Off-camera flash (OCF) is something that beginning to intermediate photographers often want to learn. The good news is that it’s never been so easy.

Image: The TT685 in slave mode- note the color of the LCD panel has changed to orange.

The TT685 in slave mode- note the color of the LCD panel has changed to orange.

Putting a flash in slave mode used to be a nightmare.

I remember being on a Nikon training course in London in 2006 with my brand new D200 camera and SB800 speedlight. At the first break, the trainer asked if we had any general Nikon questions. Before he could finish the sentence, three or four people asked if he could teach us how to set our speedlight up in slave mode!

Image: The Godox TT685 in slave mode shown with my Fujifilm X-T3 with the XT1-F wireless trigger att...

The Godox TT685 in slave mode shown with my Fujifilm X-T3 with the XT1-F wireless trigger attached.

We all wanted to trigger our flashes off-camera by the built-in pop-up flash, but the interface of the flash and user manual left us all scratching our heads. As he explained the process, we wrote detailed notes so we wouldn’t forget. It was a question I was then asked by a number of photographers over the next couple of years, as it was not easy to work out.

What a contrast we have to the Godox speedlights!

To trigger the TT685 off-camera, you’ll need to use another Godox flash or the Godox X1T wireless trigger.

Image: My son illuminated by natural light, backlit by the Godox TT685F in manual mode (1/64 power)...

My son illuminated by natural light, backlit by the Godox TT685F in manual mode (1/64 power) mounted on a lighting stand. Fujifilm X-T3 with XF 50-140mm f2.8 R LM OIS WR lens. 1/150s at f/4 ISO 200.

The X1T is a small, light, wireless trigger made from plastic that sits on the hotshoe of your camera, triggering Godox flashes set up in slave mode. Like the flashes, there’s a different version for each camera system, denoted by a letter at the end of each model.

It’s so easy to use the X1T-F wireless transmitter. The first time I ever tried it with a smaller Godox flash, the TT350F, I spent about one minute reading the manual, and within another 30 seconds, I had the flash set up in slave mode. Voila!

The wireless trigger is excellent – you can fire Godox flashes from up to 100 meters away, which is quite amazing. In my test, I fired it from 50 meters away with no problems.

Image: In this shot, I’m about 50 meters away from my son with my Fujifilm X-T3 and the XF50-140mm f...

In this shot, I’m about 50 meters away from my son with my Fujifilm X-T3 and the XF50-140mm f2.8 R LM OIS WR lens (zoomed all the way in). The flash fired with no problems!

Usability

Using the flash for basic on-camera/off-camera TTL and manual mode firing is all pretty straightforward. You can easily cycle between modes, vary the intensity of the flash in manual mode, change groups and channels without having to work too much out.

For some of the more advanced functionality of the flash, you’ll definitely need to read the manual. I’ve played around with it by randomly pressing some of the other buttons, and I got lost a couple of times.

Quality

I’m very happy with the quality of the images I’ve taken with the Godox TT685. It certainly feels like it could compete with the best flashes on the market quite comfortably. I’m not sure it has the best recycle time on the market, but other features, such as its use of wireless technology, make up for it.

Value for money

Around $ 110 USD, the TT685 is excellent value for money. The range of features you get with this speedlight, notably high-speed sync, the ability to use it as an off-camera flash, and the fact it runs on a wireless signal, are all winners in my book.

Alternatives

Godox makes a range of flashes to suit different needs and budgets. Two alternatives to the TT685 are the TT350 and the V860II.

The TT350 is a smaller, lighter flash that runs on two AA batteries. This was the first Godox flash I bought, and at first, I was impressed by the small size and good price point. However, over time, it proved not to be as powerful as bigger flashes, and the recycle times between flashes seemed quite poor.

Image: In this shot, I used the Fujifilm X100F with the Godox X1T-F wireless trigger to fire an off-...

In this shot, I used the Fujifilm X100F with the Godox X1T-F wireless trigger to fire an off-camera Godox TT350F speedlight.

 

The V860II is practically identical, except it runs on a rechargeable lithium ION battery, allowing faster recycle times. I chose the TT685 due to the cheaper cost, but also because I prefer using multiple sets of rechargeable AA batteries.

Conclusion

The Godox TT685 is a must-have piece of kit for photographers wishing to use a flash on-camera or experiment with off-camera flash. It has an excellent range of features, good build quality, and has a competitive price point.

Usability is good too, only with more complex operations will you need to read the user manual. Turning the TT685 into a slave for off-camera use is straightforward and done with a press of a button.

Image: The TT685F mounted on a lighting stand.

The TT685F mounted on a lighting stand.

Using wireless technology, Godox flashes all talk to each other seamlessly, and you can trigger flashes in slave mode up to 100 meters away. This is vastly superior to much more expensive speedlights that rely on line-of-sight transmission.

If you’ve never used a flash or a speedlight in your photography, there’s probably never been a better time to throw yourself in the deep end. I highly recommend the Godox TT685F.

Have you tried out the Godox TT685F flash? If so, share with us your thoughts in the comments.

The post Godox TT685 Thinklite TTL Flash Real-World Review appeared first on Digital Photography School. It was authored by Matt Murray.


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Street Portraits vs Street Photography: What is the Difference?

10 Feb

The post Street Portraits vs Street Photography: What is the Difference? appeared first on Digital Photography School. It was authored by Simon Bond.

street-photography-vs-street-portraits

One of the most popular and accessible forms of photography you can practice is street photography. In this article, you’ll learn about one of the key questions that get asked in this area of photography. That is when do you ask a person’s permission to take their photo? The answer to that question divides street portraits vs street photography.

Read on to find out about both areas of street photography, and how they relate to each other.

What is street photography?

This can be a difficult area of photography to define because street portraits can easily be mistaken for street photography.

It’s also true that it’s possible to practice street photography and still have permission from your subjects.

So what sets this area of photography apart?

Well, the simple answer is that street photos should be natural and not staged. So what does it take to get a good street photo?

Image: YOu can even use a fisheye lens for street photography. People’s faces aren’t rea...

YOu can even use a fisheye lens for street photography. People’s faces aren’t really shown here, yet there is a story.

The equipment

The camera body you use here is important for street photography that occurs in low light situations, where you’ll want to use a higher ISO.

The choice between DSLRs or mirrorless cameras is a personal one. However, the smaller size of mirrorless cameras is an advantage.

You really want to keep to one lens, so you can keep things lightweight while you’re on the move. There is an understandable desire to use different focal lengths, though, so consider returning to the same location twice, and with different lenses.

So which is the ideal lens for street photography?

Image: A lens of 135mm means you need to stand quite far away to include the context in your scene.

A lens of 135mm means you need to stand quite far away to include the context in your scene.

  • 50mm – This is many street photographers’ lens of choice. That’s because it has a similar field of view to a person’s eye. That field of view is also wide enough to give your scene context, and you have a large enough aperture with a prime lens to photograph in low light. Keep in mind the crop factor for DSLR cameras that have a crop sensor, as it will change the effective focal distance of your 50mm lens.
  • Wide-angle – Then there are those photographers who like to have even more stories in their scene and will look to use even wider lenses. That might even mean a wide-angle zoom lens. You’ll now be getting very close to the people you photograph, making it harder to avoid them noticing you.
  • Telephoto – On the other end of the spectrum are those who prefer to photograph from a distance. This allows you to photograph the scene without the chance of people posing, as they’re much less likely to see you. On the other hand, you’ll compress the scene. If you don’t stand even further back, you won’t show very much context in your photo.
Image: Market’s make great locations for street photography. They are even better at night, wh...

Market’s make great locations for street photography. They are even better at night, when there is more atmosphere.

The location

Street photography is the exploration of your urban environment, so it needs to happen in this setting. The photo might happen away from the street itself, for instance, in an indoor market, but this would still be considered street photography.

The best place to practice this will be a place that allows for plenty of moments of capture. With that in mind, locations like markets, train stations, or high streets would work.

The subject

Now you know the location for street photography, the next thing to think about is the subject. There are plenty of photos you can take from the location suggested above that aren’t street photos.

A photo that shows only fruit is more of a food detail photo than a street photo. That said, does every street photo need to include a person’s face? The answer to that is, no, it doesn’t. But there does need to be a narrative element to it.

A photo that just shows people’s feet can certainly still contain a story. However, in most cases, you’ll want to see a person going about their daily life, and that means including their face.

Image: A street portrait will see your subject fully engaging with the camera.

A street portrait will see your subject fully engaging with the camera.

What is a street portrait?

A street portrait is one that shows the person’s face. It’s almost certainly posed, and it will be taken on the street. There is an authentic element to it. You’re not taking a model out with you, and you never know if the person you ask will give you permission to take their photo.

Once granted permission, you’ll be able to control many elements of the photo. You might be able to ask your subject to stand in front of an interesting background, turn their face towards a light source, or control their facial expression.

The equipment

This type of photo, once again, will be taken with a good quality mirrorless or DSLR camera. The lens should be a prime lens with a large aperture to give you the choice of blurring the background. However, you don’t have to use bokeh when you can control where your subject stands.

The type of lens you could use would be the same ones portrait photographers use with a model. So a 50mm, 85mm, or 135mm prime lens is ideal.

You might even consider using off-camera flash to have further control over your photo – this is, after all, a posed photo now.

The location

This will be a location where people congregate and go about their daily lives. It’s likely you’ll take a mixture of street portraits and street photos in the same location. With that in mind, refer to the advice given above for locations for street photography, since this is broadly the same for street portraits.

Image: In this photo I asked the man to move to a better position for the light.

In this photo I asked the man to move to a better position for the light.

The subject

Now you’re looking for people who have personality in their appearance. Look for people who really tell the story of the place they are in. Do this through the clothes they’re wearing, the imperfections on their face, and the backgrounds you can find to place behind them.

One crucial aspect of this type of photo is gaining permission.

You’ll need to decide which types of personality are most likely to give you a positive response. You’ll also need to adapt the way you approach people, as different people may respond differently to varying ways you could break the ice. However you do this, always remain professional, and courteous. Perhaps bring a portfolio of your work and a business card with you to give yourself added weight.

Model releases

It’s worth mentioning model releases when it comes to photographing people. While it’s true that in many countries you’re allowed to photograph people in public places, you can then only use those photos for editorial and personal use. There may come a time you wish to use your photos more commercially.

If that’s the case, then you’ll need a model release. Even if you don’t use the photos for commercial reasons, getting a model release is always good practice.

In the case of street portraits, this should be easier to do since you’ll already be in conversation with the person in question.

Image: You can use the background for a street portrait, so it adds context to the rest of the photo...

You can use the background for a street portrait, so it adds context to the rest of the photo.

Street portraits vs street photography, time to decide.

Now you know your street portraits vs street photography.

Which form of photography do you prefer, both as a photographer and a viewer? How often do you ask people on the street for their permission before taking the photo?

Do you have a favorite set of equipment for either of these photography genres?

Here at digital photography school, we like hearing your opinions, so please share them in the comments.

Likewise, please share your photos that show street photography or street portraits in the comments section.

 

 

The post Street Portraits vs Street Photography: What is the Difference? appeared first on Digital Photography School. It was authored by Simon Bond.


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Leica releases major 2.0 firmware update for its Q2 compact camera

10 Feb

Leica has released a firmware update for its Q2 that adds and improves a number of features for the prime lens compact camera. Firmware version 2.0 for the Leica Q2 addresses nearly every facet of the camera, from shooting modes to mobile transfer speeds.

First up are the autofocus (AF) improvements. Leica has added selectable AF field sizes (small, medium and large) that can be changed by a long tap when Touch AF is activated. Leica has also made it so Touch AF + Release works across all AF modes and has also made it so if a face isn’t detected in Face Detection AF Mode, the AF-Mode will temporarily switch to Field AF instead of Multi-field until a face is detected. Tracking AF has been improved across the board as well.

Speeds across the entire workflow have been improved, too. DNG and DNG+JPEG write speeds are twice as fast and transferring images to mobile devices via the Leica FOTOS app is now up to 50-percent faster.

Leica has also added a new top-level menu screen for a more complete overview of settings, made it so auto-ISO is changed to ‘prioritize correct exposure’ and added a menu option so you can choose between 60 fps or 120 fps refresh rates for the electronic viewfinder. In Leica’s own words, ‘For fast moving subjects, set 120 fps for a more fluid display of movement (lower resolution), or choose 60 fps for full resolution.’

You can read more details and download firmware version 2.0 for the Leica Q on Leica’s download page.

Articles: Digital Photography Review (dpreview.com)

 
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How to Create a Portfolio Template in Photoshop and Profit from Layer Types

10 Feb

The post How to Create a Portfolio Template in Photoshop and Profit from Layer Types appeared first on Digital Photography School. It was authored by Ana Mireles.

Create-a-Portfolio-Template-in-Photoshop

Your portfolio is your presentation card. It should always be current with your latest works, coherent with your style and accessible to your clients. Perhaps there’s one on your website, another one printed, and one for pitch presentations. All of them need to be up to date. So, how do you keep up with that? Create a portfolio template that is easy to update that you can scale to different formats.

Keep reading to learn how to create a portfolio template in Photoshop.

Create a Portfolio template examples

While Photoshop is a fantastic photo editing software, it does have some tools that are useful for graphics work too. This will relieve you of the task of having to learn another program like Illustrator. One of the best things for creating a portfolio template is profiting from the characteristics that each type of layer can offer. You can use Vector Layers for your design and logos, Text Layers for all the information, and Smart Objects for your images.

Let’s go through it step by step.

The fundamentals

First of all, what is a Layer?

When you open a new project, whether this is a blank canvas or a photograph, it opens as an image layer by default. This is the base that you build upon. You can then add as many layers as you need.

Imagine that the Layers are paper sheets that you can stack. Each one will then modify, add or block the content of the ones below. The properties of each layer depend on the type of layer it is.

 

Photoshop Layers in Perspective

Layers are one of the most versatile and useful tools in Photoshop.

There are many types of layers, some are stand-alone layers like images or vectors. Others work only in combination, as Adjustment Layers.

The important thing to understand is that each one has different characteristics that can be used to simplify your life. Here I’ll discuss the ones I find most useful to create a portfolio template.

The template

Designing your template

The first thing you’ll need is to draw the design of the template. Here, you can decide the elements and colors you want to use. Because this is a template, it should be able to fit most images and situations. So, you might want to keep it simple, but this is up to you.

In any case, every element that you design is best drawn with the Shape tool. Doing this creates a vector layer by default. To make sure of this, check that the menu in the options bar is set to Shape.

Create a Portfolio Template with Shapes

This is important because, unlike images, vectors are independent of resolution. This gives you the advantage of modifying the elements without losing quality, as you would do with pixels. This is why most graphic programs, like Illustrator, work with vectors. Shapes and vector layers are also great for creating your logo.

Adding a logo

If your logo consists of many shapes, select all of them and turn them into a Smart Object by right-clicking on top and then choosing Convert to Smart Object from the menu.

This is a different type of layer, not only can you scale it as many times as you want – just like the vectors – but you also retain the source data so that you can work non-destructively.

Because of this, every time you open your Smart Object, you’ll still find all the original shape layers to work on them independently.

Create a portfolio template with smart objects

Another cool feature from smart objects is the possibility to link one or more copies.

This means that every time you modify your logo, it will automatically apply the changes to all the copies. This is useful if your design includes more than one logo. To do this, create a copy of the layer by dragging it to the Duplicate Layer button at the bottom of the panel.

Create a logo with smart objects

If you want to keep your copies working independently from each other, you can create a copy of the smart object that it’s not linked. Do this by using New Smart Object via Copy. You can find it in the menu that pops up when you right-click on the layer.

Create a portfolio template with logo

Adding text

This is as straightforward as it sounds. When you use the Text tool, it creates a Text Layer. Keep in mind that because it’s a different kind of layer, not all the tools are available for use. For example, you can’t use the filters.

If you want to use them, you will get a prompt asking you to “rasterize the layer.” This will turn it into an image (a pixel layer). You shouldn’t do this if you want to be able to edit the text in the future. If you do want to rasterize your layer, make a copy of it first and turn off the original by clicking on the “eye” next to the layer in the Layers panel.

Create a Portfolio Template Rasterize Layers

Another useful tip when designing your template is to confine the space for your text, so it doesn’t ruin your design if you change or add content later.

Instead of just clicking and typing, click and drag a rectangle text box where you want the text to be. That way, whatever you type adjusts to that space. I usually put one next to the image to add all the information like title, technique, and project. Then I can update it for every image.

Create a portfolio template

Adding images

The photos are the stars of your project, so you want to make sure to work non-destructively on them. The best choice for this is the Smart Object. 

To add your photo as a Smart Object layer, you have to go to Menu->File->Place. Because in my design, I added a rectangle to serve as a frame for my images, I can now add a Layer Mask to fit it inside without losing any information.

create a portfolio template for your photography

You can do this by placing the smart object directly on top of the rectangle shape designed at the beginning. Now create a Clipping Mask by pressing Cmd+Alt+g (Ctrl+Alt+g on PC). The Mask will reveal the image through the frame without cutting it or changing any of it.

Create a portfolio template

To update the images, you can open the Smart Object and place the new one there so that you don’t change the Layers or Masks of the template.

Save and close

Because you used Vectors, Texts, and Smart Objects, you can change the resolution from web to printing as many times as you want while keeping the quality of it. Just be sure to save each page of the portfolio separately, so you don’t overwrite your template.

Conclusion

I hope that you have found How to Create a Portfolio Template in Photoshop and Profit from Layer Types useful for creating your own portfolio templates.

Remember, save each template as a PSD file so that you can go back and utilize them again when you want to update your photos or text. Saving as a PSD file retains all of your layers so that you can access them and change them easily. If you save it as a JPG or another lossy format that flattens the layers, you will no longer have the ability to edit them.

If you have any other tips for creating a portfolio template, please share them with us in the comments below.

 

The post How to Create a Portfolio Template in Photoshop and Profit from Layer Types appeared first on Digital Photography School. It was authored by Ana Mireles.


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7 Mistakes Beginner Photographers Make The Camera Can’t Be Blamed For

10 Feb

The post 7 Mistakes Beginner Photographers Make The Camera Can’t Be Blamed For appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

7-mistakes-beginner-photographers-make

There are many mistakes beginner photographers make. It’s healthy to make mistakes so long as you learn from them. Be willing to understand why your photos are not turning out how you wanted them to. Don’t be quick to blame circumstances or your camera gear when you mess up.

Here are some common beginner photographer mistakes you can’t blame the camera for.

1. Poor composition

Poor composition is one of the main mistakes beginner photographers make. Not getting close enough to your subject, results in having too much unnecessary space in your pictures.

Sometimes being too close can ruin a composition too. Are you cutting off your subject’s feet?

Be mindful of what’s inside your frame. Ask yourself if everything you see is relevant to the picture you are taking? If it’s not, fix the mistake. Move closer, zoom or change your position.

Leaving excessive space above a person’s head is the most common compositional mistake I see beginner photographers make. Often what’s above a person’s head is not relevant to the photograph. Get closer or tilt your camera angle down to minimize this space.

mistakes beginner photographers make

© Kevin Landwer-Johan

2. Rushing your photography

Take your time, and you will take better photos. Being impatient will never make you a fabulous photographer. Whatever style of photography you engage in, being patient will benefit you.

Grabbed moments don’t often capture the best photographs. Of course, there are exceptions, but typically it pays to prepare yourself and anticipate action before it happens. Doing this, you can set your camera and line up your composition.

Using manual mode will help you slow down. You will visualize that you are photographing differently. This is because you are forced to think more about every aspect of taking your pictures.

During our photography workshops, I love to teach people how to slow down by using manual mode. Most people I teach develop their skills quickly. Their photos are well exposed and composed because they are working more slowly.

mistakes beginner photographers make

© Kevin Landwer-Johan

3. Distracting backgrounds

Having distracting backgrounds is another mistake beginner photographers make. It’s easy to concentrate on your main subject and not see what’s behind them until you look at your photos later.

When you do see that you have a distracting background, there are several options to avoid this.

  • Use a longer focal length lens.
  • Move your subject somewhere else.
  • Change your camera angle or location.
  • Use a wide aperture to blur the background.

A longer focal length lens will reduce the amount of background you see. Move back from your subject and use a longer focal length. You will see the background differently than using a wider lens.

Moving your subject or your camera location will change what’s behind your subject. Sometimes you will not be able to move your subject. When you can’t, you’ll have to move. This sometimes means you need to compromise with the lighting or composition.

Blurring a background can sometimes be the best way to avoid distractions. You’ll need to open your aperture wide to achieve this, except when you are using a long lens or focusing very close to your subject.

Young Woman in the Park mistakes beginner photographers make

© Kevin Landwer-Johan

4. Not looking for alternative angles

Taking a picture from the first angle you think of, is not always going to make the best photo. This is another common mistake beginner photographers make.

Move around – even a little. Shift your camera from side to side. Tilt it higher or lower. Pay attention to the relationships of elements in your composition as you do this. At times, even a very slight alteration of your camera angle will result in a more striking photograph.

Always consider taking both a vertical and a horizontal perspective with your camera. When you can’t make everything fit the way you want, use a Dutch Tilt. Turning your camera to an off-kilter angle to accommodate your subject can work very well.

When you find something interesting enough to photograph, take more than one or two frames. Looking at a subject from different angles will help you visualize it in fresh ways. I think one of the advantages of using prime lenses is that you are more likely to move about to change your composition. You cannot stand in the same spot and zoom, so you will be more inclined to seek out different points of view.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

5. Not giving people enough direction

How often do you avoid giving directions to the people and have them pose awkwardly? These are common mistakes beginner photographers often make.

Communicate well with the people you photograph. Talk to them about what you are doing and how you want them to look in the photo. Start with some easy, relaxed poses so they’ll be more confident with you.

If you leave them to come up with poses on their own, they may not be very interesting.

People will feel better when you give them direction, particularly if you do so with relaxed confidence. Be clear about what you want them to do and speak to them politely.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

6. Failing to relate to your subject, whatever you are photographing

When photographing people, it’s important to develop a rapport with them. Give them instructions so you can get the photos you want. Moreover, connecting with these people.

If you spend your time looking down fiddling with your camera settings, your subject will most likely feel awkward. You might want to adjust your camera settings, so they are technically perfect. But when you fail to relate to your subject, you will not capture the most interesting photo.

This is most important when you’re photographing people, but not exclusive. Whatever your subject, you’ll make more appealing photos when you include feeling.

Think about why you are photographing something.

What attracted you to take these pictures? How can you incorporate this feeling into the photos you take?

Many beginner photographers will find this challenging. However, as long as you are aware of how you relate to your subject and seek to develop this, you will become more skilled at it.

Muddy female Ceramic artist

© Kevin Landwer-Johan

7. Being fearful to take photos

Many beginner photographers will hesitate to go after the pictures they want because they are fearful.

If you want to photograph something dangerous, where there’s a high degree of risk, being fearful is natural and healthy. For example, it wouldn’t be wise to get close to a bear cub or a poisonous snake in the wild. These situations require fear to motivate us to keep our distance.

Not photographing people because you are fearful that you might impose is entirely different. You can’t know how someone will respond until you ask if you can take their photo. It’s taken me years to learn this, and still, at times, I hesitate.

Tame the negative, fearful thoughts in your head. When you see something you want to photograph, consider the reason why and how you can. Don’t be consumed by thoughts and excuses of why not and how not.

Being committed to the ideas you have about the photos you want to capture will help you develop your personal photography style.

Chiang Mai market porter

© Kevin Landwer-Johan

Conclusion

Mistakes beginner photographers make can be very frustrating. When you take your time and review the photos you take, you’ll see how to improve and not keep making the same mistakes.

Moreover, look over the photos you take each time you load them to your computer. This is most helpful when you have not deleted the ‘duds’ off your cards before uploading.

When you see your best and worst photos side by side, this can help you grow as a photographer.

mistakes beginner photographers make

© Kevin Landwer-Johan

Are there any other mistakes that you have made as a beginner photographer that you’d like to help others learn from? If so, please share them with us in the comments section.

The post 7 Mistakes Beginner Photographers Make The Camera Can’t Be Blamed For appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Video: BTS look at how Nissan turned its 2020 GT-R NISMO into the ultimate camera car

10 Feb

How do you film a high-speed performance car capable of reaching speeds up to 300kph (186mph)? You simply take another one and modify it to be used as a high-speed camera car itself.

In a press release, Nissan has shared how it captured promotional footage for its 2020 Nissan GT-R NISMO using another GT-R that had been modified to be a purpose-built camera car. To get the job done, Nissan enlisted the help of Mauro Calo, ‘a professional precision driver and automotive video expert known for his work on big-budget blockbuster movies and automotive TV shows.’

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After plenty of planning and prototyping, Nissan and Calo got to work ‘bespoke tubular structure that was welded to the chassis and able to hold the weight of the professional carbon-fiber gimbal camera mounting system.’ In addition to the camera rig, the car was covered with a matte black wrap and gained a new name of sorts—Godzilla Tracking Rig (GT-R).

‘Thanks to its low center of gravity, adjustable sports suspension and four-seater configuration, the GT-R is the perfect base car to accommodate a camera rig of this type,’ says Nissan in its press release.

Using a four-person team (with not much room to spare inside the coupe), Calo drove while a gimbal operator, focus puller and director captured the required footage for the promotional material. The above behind-the-scenes video is promotional in its own regards, but it still shows the incredible camera rig Calo and the Nissan team were able to develop.

Articles: Digital Photography Review (dpreview.com)

 
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