360Photography

RSS

What is Ambient Light in Photography? An Explanation for Beginner Photographers

17 Jan

The post What is Ambient Light in Photography? An Explanation for Beginner Photographers appeared first on Digital Photography School. It was authored by Lily Sawyer.

Have you ever wondered what ambient light in photography means? You may have heard phrases such as “capture the ambiance,” “allow ambient light,” and have wondered how to do that. This article explains exactly that!

So let’s get started.

dps-ambient-light-in-photography-beginners-guide-tutorial

f/5.6, ISO 3200, 1/60th

Simply stated, ambient light means the light already available in the space before you add any other lighting. Yes, any light already available and that could be many types!

Types of ambient light in photography

1. Natural light from outdoors

The first type of ambient light in photography is natural light from outdoors. This is the daylight that comes through side windows, ceiling windows, and open doorways.

f/5.6, ISO 6400, 1/60th (This was shot on a very dark and overcast winter day in a north-east facing kitchen)

Compare the two images above and below. The image above was taken using purely natural light from outdoors whilst the image below incorporated neons, lamps and spotlights.

f/5.6, ISO 4000, 1/60th

2. Natural light from indoors

Candle lights and the glow of light coming from fireplaces are natural lights that can already be indoor sources rather than the natural sunlight coming from outdoors.

f/5.6, ISO 1600, 1/60th

f/5.6, ISO 1000, 1/60th

3. Artificial lights in the home

This is a range of lights commonly seen in homes and spaces. It includes ceiling down-lighters, spotlights, ceiling pendants, chandeliers, table lamps, floor lamps, neon lights, lights from mirrors, fluorescent lights, and wall sconces.

f/5.6, ISO 6400, 1/30th

Which light/lights do you require?

In photography, the question is, what light is needed to achieve the image the photographer wants to capture? I dare say there are no hard and fast rules as the success of an image depends on getting the correct lighting combination required, regardless of the type of lighting.

Let’s explore some lighting scenarios in various spaces.

Portraits

Just like any type of lighting, whether it be natural or artificial, ambient light is just one option for photographers.

Left: f/2.8, ISO 1000, 1/100th Lens 24-70mm Right: f/4, ISO 400, 1/125th with off-camera flash

In portraits, ambient light could be purely the sunlight coming through a side window. To shoot this, a photographer would only need a camera. And, if it helps to achieve the image, a few accessories such as a reflector, a diffuser, and a backdrop – or use an existing wall.

Left: f/2.8, ISO 1000, 1/100th Lens 24-70mm Right: f/4, ISO 400, 1/125th with off-camera flash

Conversely, the photographer may choose not to use ambient light at all and solely utilize electronic flashes or vice versa in the same space above.

Sunlight from windows is not usually strong (depending on the size of windows and the position of the sun). It’s definitely not as strong as electronic flashes can be, so sometimes there is no need to block it out fully. Electronic light can cancel out any natural light from the windows or can add a touch of light to any ambient light where needed. The outcome depends on the settings used by the photographer.

The images on the left above have been shot using natural light filtering through the diffused window and a reflector to increase the shadows. The images on the right have been shot using electronic flash in a softbox. Here is an article on how to achieve both set-ups. My typical settings for portrait shots are around f/2.8 – f/4, ISO 200 – ISO 400, SS 1/100 – SS160.

Events

Ambient light is your best friend when it comes to events. Weddings and parties are often busy and buzzing with people. Here in the UK, space for large equipment at such events is not always available and often the photographer has to rely on just a camera and a speedlight to capture these events.

f/2.8, ISO 3200, 1/100th Flash power 1/32 Lens 24-70mm

Letting the ambient light in is key to capturing the ambiance of the room and the atmosphere of the party. This means allowing background lights such as fairy lights, festoon lights, wall sconces etc to seep into the image.

The resulting look has depth rather than a flat dark backdrop. My typical settings for events range between f/4 – 5.6, ISO is rather high especially indoors in dark areas around 3200 – 6400, SS rather low around 1/60 – 100.

f/5.6, ISO 3200, 1/100th Lens 70 – 200mm

The last thing a photographer wants to do is to kill any ambiance by using a strong flash to mitigate low light – especially in events where dry ice is used to create smoke effects and various colored lighting for a party atmosphere.

You don’t want to completely obliterate these just to light your subjects’ faces.

f/8, ISO 2000, 1/30th, Lens 24-70mm, off-camera flash

Balancing speedlight flash power and shutter speeds is key to achieving images like these as well as incorporating existing ambient light.

f/5.6, ISO 3200, 1/125th, Lens 24-70mm with off-camera flash

You can read more about dragging the shutter here, a technique used often to produce these images.

f/5.6, ISO 2500, 1/60th, Lens 70 – 200mm with off-camera flash and on-camera flash

You can use ambient light in the background to create silhouettes.

In the photo below, there was no light whatsoever on the balcony. I used the light inside the building to create a silhouette of one of the guests. This was an unposed shot so it was a rather hasty one.

f/11, ISO 2000, 1/200th, Lens 24-70mm

Interiors

Most photographers and magazines require natural light only in the interiors images they use.

Most often this would need a tripod and the use of slow shutter speeds to mitigate dark areas in the space that need capturing. But if the space is characterized by light features such as neon and lamps that make the atmosphere of the room, then I’m for capturing these with the lights on too.

f/5.6, ISO 2000, 1/100th, Lens 24-70mm

In my opinion, it is necessary to be selective with the amount of artificial ambient light to allow in a photographic composition to ensure a harmonious and natural-looking image.

More importantly, it is a must to edit out the lights that are unnecessary in the space for the image you want to achieve. Below are three different lighting set-ups in one space. All three dramatically change the look and feel of the same room.

My typical settings for interior shots depend on the time of day and how much natural light the room gets but range between f/5.6 – f/8, ISO is quite high around 2000 – 4000, SS usually really low around 1/30 – 60 or 100 depending on light availability.

On the photos below, the top photo utilized only natural light. The photo in the middle had all sorts of lights going on like festoon, lamps, fairy lights, candlelight, and neon but without the main ceiling chandelier, which is very bright. The third photo had the chandelier switched on on top of everything else, but because it got too bright, it killed the ambiance in the room.

f/5.6, ISO 3200, 1/80th, Lens 24-70mm

f/5.6, ISO 4000, 1/80th, Lens 24-70mm

f/5.6, ISO 3200, 1/60th, Lens 24-70mm Highlights taken down in editing.

I lean towards a selective mixture of lighting in my interiors.

Some areas are so hard to capture. For example, really dark areas where there is no ambient light at all and using a long shutter speed will overexpose the areas with light and correctly expose the unlit area.

f/5.6, ISO 2500, 1/60th, Lens 24-70mm

Of course, this can be rectified by bracketing and compositing in Photoshop. But I don’t always want to be doing that! Besides, I think adding some form of ambient light brings some charm in. Take these photos above and below, for example, illustrating this point.

f/5.6, ISO 6400, 1/30th, Lens 24-70mm

Color temperature

One of the most common problematic issues when using mixed lighting, especially when including electronic flash into the mix, is color temperature disparity. Natural light from sunlight is usually around 5600K range, while tungsten lights indoors are usually around 3200K.

This means that when shooting outdoors, you need to set your white balance to around 5000 – 5750 Kelvin. That way, the resulting image looks similar to what you see with the naked eye. If you were to set the white balance to 3000K, for example, everything will look very blue (nothing worse than a white wedding dress looking blue!).

The same is true when shooting indoors with tungsten or incandescent lights on. The temperature required to shoot this image is around 3200K, but if you shoot it with the white balance set at 5650K, you will end up with an image looking very orange.

f/5.6, ISO 3200, 1/80th, Lens 24-70mm

The most important thing to remember is to shoot with the correct white balance setting.

However, when using mixed lighting, you will still get color disparity. Here are three ways to solve this, depending on what you require for your images.

You can adjust the white balance in post-production (shoot with a gray card or specified color temperature in your white balance)
Use gels for your artificial lights to match the ambient temperature
Change the bulbs in your indoor lamps to match the sunlight temperature and then adjust everything evenly in post-production if required.

As for me, I try to match what I see in real life to the outcome of the images. Then they are warmed up in post-production for a natural color with the added touch of a film look to best capture what my eye sees.

I hope this little article has helped you in your understanding of ambient light in photography as well as balancing color temperatures when dealing with mixed lighting.

If you have any tips to add about ambient light in photography, do share in the comments below.

The post What is Ambient Light in Photography? An Explanation for Beginner Photographers appeared first on Digital Photography School. It was authored by Lily Sawyer.

Digital Photography School

Comments Off

Posted in Photography

Tokina launches 85mm F1.8 FE prime for full-frame Sony cameras

17 Jan

Tokina has announced the release of its new atx-m 85mm F1.8 FE lens for full-frame Sony E-mount mirrorless camera systems. This lens marks the debut of Tokina’s new ‘atx-m’ mirrorless lens series, which will offer various lens designs for different mounts and sensor formats.

The 85mm F1.8 FE lens is constructed of ten elements in seven groups and features one low-dispersion (SD) element. Tokina has also used its Super Low Reflection Multi-coating throughout the lens, which Tokina claims ‘provides natural color and excellent contrast along with superior water, oil and dust repellant properties.’

Autofocus is driven by Tokina’s ST-M motor technology and the lens was designed in accordance with Sony’s licensed specifications, meaning it’ll work with in-body image stabilization, as well as all of Sony’s AF modes.

Below is a gallery of sample images, provided by Tokina:

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_4832925204″,”galleryId”:”4832925204″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The Tokina atx-m 85mm F1.8 FE lens will hit shelves around the world on February 7, 2020 for an estimated street price of $ 500.

Kenko Tokina announces release of the NEW atx-m 85mm f/1.8 FE

New Series, New optics, New look – The atx-m 85mm f/1.8 FE lens for full-frame Sony E-mount mirrorless cameras.

Huntington Beach, CA, January 17, 2020: Kenko Tokina, Japan’s leading manufacturer of premium camera accessories, is releasing the Tokina atx-m 85mm f/1.8 FE lens for full-frame Sony E-mount mirrorless cameras. It is the debut lens for Tokina’s atx-m series of mirrorless lenses that will include lenses for multiple mounts and sensor formats.

The atx-m 85mm f1.8 FE lens features a clean design with high quality optics housed in a beautifully anodized, semi-satin black metal lens barrel. The fast f/1.8 aperture is perfect for portraits, low light shooting and produces beautiful bokeh.

The optical design has 10 glass elements in 7 groups including 1 SD (Low Dispersion) lens that offers excellent resolution, sharp edge-to-edge results, and well controlled chromatic aberrations. Tokina’s exclusive Super Low Reflection Multi-coating provides natural color and excellent contrast along with superior water, oil, and dust repellant properties.

The new ST-M auto-focus motor is quiet, fast, and accurate in still and video modes and thanks to an all-metal focus unit and high-quality lubricants; manual focus is tactile, smooth and precise.

The atx-m 85mm FE is developed and manufactured in accordance with Sony-licensed specifications and communicates all required data to the camera to take full advantage of the latest Sony features including 5-axis image stabilization, Face/Eye Priority AF, Real-time Eye AF, MF assist, and electronic distance scale.

“This is a very exciting new lens series for Tokina” says Yuji Matsumoto, President at Kenko Tokina USA. “The mirrorless camera market continues to expand and the atx-m series will address the needs of photographers using different camera mounts and sensor sizes.”

Worldwide sales of the Tokina atx-m 85mm f/1.8 FE lens will begin on February 7, 2020 with authorized Tokina USA retailers taking pre-orders January 17, 2020. Estimated USA Street Price of $ 499.00

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Researchers develop lithium-sulphur battery that can power a phone for five days

17 Jan

Image courtesy of Monash University

Researchers led by Monash University in Australia have developed what they say is the ‘most efficient’ version of a lithium-sulfur battery; one capable of powering a smartphone for five full days of continuous use. The team has filed a patent for the manufacturing process they developed and they report interest from ‘some of the world’s largest manufacturers.’

Prototype lithium-sulfur power cells were manufactured in Germany, according to an announcement from the university published last week. The technology holds promise for revolutionizing everything from consumer gadgets like cameras and phones to larger systems involving vehicles and solar power. The newly developed lithium-sulfur battery offers more than four times the performance of the market’s current most efficient batteries.

With this level of battery performance, photographers and filmmakers could spend weeks in remote locations with only power banks as their power source, eliminating the need to tote around and use solar chargers, which are dependent on direct sunlight and often take several hours or more to recharge a battery.

In addition to improved performance, the Li-S battery technology is also said to have less of an environmental impact than the lithium-ion battery products currently in use. The new battery prototype utilizes the same materials used to manufacture ordinary lithium-ion batteries; as well, the process is said to have lower manufacturing costs.

According to the university, additional testing of the technology with solar grids and cars will take place in Australia early this year. Major lithium battery manufacturers in Europe and China are interested in upscaling the production of these lithium-sulphur batteries.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Kessler Mag Max 3A adapter uses ordinary power tool batteries to charge cameras

17 Jan

Kessler, a company that specializes in accessories for filmmakers, has launched a new product called the Mag Max 3A, an adapter that works with select DeWalt power tool batteries for charging cameras, smartphones and certain other equipment. The adapter can be used with the DeWalt 20v Max and 60/20V Flex Volt models.

The adapter is quite unusual, but it’s easy to see how some users may benefit from this arrangement. Power tool batteries are available at most hardware stores, are fairly affordable, compact and something many people already own.

Kessler explains the reason it launched this product, saying, ‘The Mag Max 3A was developed to fill a void in the market for an inexpensive battery solution with a readily available common battery that can be found in almost every country in the world and at most hardware stores.’

The company selected DeWalt batteries for its adapter due to the brand’s popularity in a variety of industries, according to Kessler, including filmmakers and audio recordists.

The Mag Max 3A adapter is capable of powering DSLR and mirrorless cameras, Kessler’s motion control systems, LED accessory lights, monitors and other common gear that draw up to 3 amps of power. The device is made from high-grade aluminum, includes multiple 3/8-16 and 1/4-20 mounts, embedded neodymium magnets, as well as optional accessories that include a gold mount stud kit, V-lock kit and belt clip.

The Mag Max 3A adapter is available from Kessler now for $ 250, though it is currently discounted to $ 200. The DeWalt Flex Volt battery costs around $ 129 from most retailers, meanwhile, and the DeWalt 20V Max battery costs around $ 189.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

London’s Heathrow Airport installs anti-drone system to prevent threats

16 Jan

Heathrow Airport, based in London, is the United Kingdom’s busiest airfield. After a recent spate of incidents involving drones, including an unsuccessful attempt by climate activists to ground flights, officials have decided to take action. A bespoke anti-drone system, developed by Aveillant Limited, a subsidiary of France’s Thales SA, has been deployed at Heathrow to detect and prevent unauthorized drone use.

‘The safety and security of our passengers and colleagues is our number one priority. That is why we’re investing in this new cutting-edge technology which will enhance our capabilities in the detection and deterrence of drones in and around our airfield. We’re delighted to have this unique system keeping our skies safe and helping passengers and cargo to get to their destinations on time,’ says Jonathan Coen, Director of Security for Heathrow Airport.

A similar system is also in place at Paris’ Charles de Gaulle Airport. Rogue drones can be detected at a distance of up to 5 kilometers (3.1 miles) away. The one installed at Heathrow can also pinpoint the exact location of offending remote pilots. From there, appropriate countermeasures can be deployed, though it’s not yet clear what those will be. Anyone caught flying in a Flight Restriction Zone, which extends out to 5 kilometers of any airport boundary, can face up to 5 years in prison if they have not secured permission ahead of time.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Best Photos of 2019 by JMG-Galleries Blog Readers

16 Jan

Hoary marmot – Glacier National Park, Montana

A hoary marmot (Marmota caligata) in wildflowers at Logan Pass, Glacier National Park in Montana.

I’m excited to share the results of my 13th annual Best of Photos project. 112 photographers from around the world (amateur and professional alike) have shared their best photos of 2019. I’m always amazed at the quality of work shared and I hope it’s a source inspiration to you for the coming year.

For those who are new to my blog project, photographers taking part span the gamut of photo enthusiasts to professionals. The great thing about photography is that no matter what your skill level we all can relate equally in our love for the art of photography and visually exploring. With that in mind I encourage you to reach out to photographers whose work you enjoy to keep sharing & growing as an artist. I am incredibly thankful that this tradition has been embraced and enjoy seeing how familiar faces have evolved their work & grown over the years. I hope reviewing your best photos of the year and comparing them to years pasts keeps you inspired and aware of your progress as a photographer.

If you’d like to take part next year and be informed when submissions open for the “Best Photos of 2020” blog project add your name to my mail list. You won’t be spammed. I send out newsletters quite infrequently.

Thank to everyone who took part! I invite you to visit each link below as I have and introduce yourself to many of the participating photographers.

Best Photos of 2019

Best Photos of 2019 – JMG-Galleries – Jim M. Goldstein
My Top 10 Photographs Of 2019 – Michael Russell
My Ten Favorite Photos of 2019 – ADVENTR – Randy Langstraat
Favorite Photos of 2019 – T.M. Schultze
My Favorite Photos from 2019 – Alexander S. Kunz
Best of 2019 – Dave Wilson
Harold Davis—Best of 2019 – Harold Davis
2019: A Photographic Retrospective – Johann A. Briffa
Top 10 Favorites of 2019 – Stefan Baeurle
My Best Natural History Photos of 2019 – Phil Colla
My Best Photos From 2019 – Daniel Brinneman
Best Photos of 2019 – Peter Tellone
Rétrospective des meilleures photos de l’année 2019 – Francis Gagnon
Best of 2019 by Rachel Cohen – Rachel Cohen
Photo Highlights 2019 – Alan Majchrowicz
My Top 10 Nature Photos of 2019 – Greg Vaughn
2019 – The Year in Pictures | Russ Bishop Photography – Russ Bishop
2019 Favorites – A Split Year – Joseph Smith
My 12 Favorite Photos of 2019 – Chuq Von Rospach
Wild Drake Photography – Drake Dyck
Matt Payne Photography – Matt Payne
My Favorite Images Of 2019 – Werner Priller
Favourites from 2019 – Bryn Tassell
My Favorite Photos of 2019 – A Year-End Retrospective – Gary Crabbe / Enlightened Images
2019 Favorite Photographs – Pat Ulrich
Without reflection we go blindly on our way – Bjorn Kleemann
2019 – Ten moments – Ramen Saha
top photos :: 2019 – Denise Goldberg
Changing Perspectives – Best of 2019 – Jenni Brehm
Island in the Net – Khürt Williams
Best Photos of 2019: My Favorites of the Year – Todd Henson
My Ten Best of Images of 2019 – Mike Chowla
2019 Favorite Photos – Alan Dahl
Tech Photo Guy – Best Photos 2019 – Aaron Hockley
2019 Favorites – Martin Quinn
Best of TheDarkSlides 2019 – TheDarkSlides
2019 Jim Goldstein Project – J.J. RAIA
My Favorites of 2019 – Rich Greene
My Favorite Images of 2019 (aka ‘Best of 2019’) – Pete Miller
2019 Year in Review, Decade in Review – Robin Black Photography
Under Pressure Photography – Scott McGee
My favorite Slovenia photos of 2019 – Luka Esenko
5 Moments in Time – 2019 – Gavin Crook
My favorite photos of the decade – Matt Payne
My Ten Favourite Images of 2019 – Jens Preshaw
2019 in Pictures – Milan Hutera
Twelve from 2019 – Tom Whelan
My Favorite Photos of 2019 – Jeff Hubbard
2019 Favorites – Rick Holliday
Best of the Best 2019 – Richard Valenti
Best Landscape and Nature Photos of 2019 – Clint Losee
Best of 2019 – My Favorite Images of the Year – Rob Tilley
2019 Year in Review – Greg Russell | Alpenglow Images
Best of The Decade Including 2019 – Adrian Klein
Best of 2019 – Brian Knott
Natural History Photography – Highlights from 2019 – Gabor Ruff
Best of 2019 – Jeff Dupuie
Top 2019 – Eric Chan
Best of 2019 – Greg Clure
Twenty Nineteen: In retrospect – Charlotte Gibb
Favorite Blog Photos of 2019 – Jim Coda
My Favorites 2019 – Beth Young
Living Wilderness: Best of 2019 – Kevin Ebi
2019 Favorites – Mike Cleron
Best of 2019 – Romain Guy
2019 Favorite Images – Sam Folsom
Michael Katz Photography – Michael Katz
Twenty Nineteen – Mark Graf
2019 in Review – and Happy New Year”
Photography & Travel – brent huntley
Top 10 Favorite Images from 2019 – Derrald Farnsworth-Livingston
My Photo Highlights of 2019 – Caleb Weston
Lagemaat Photography – Best images of 2019 – Jao van de Lagemaat
Favorites from 2019 – Kyle Jones
A Baker’s Dozen – Mike Christoferson
10 Favorites of 2019: An Amazing Year – Kurt Lawson
Top 20 Photographs of 2019 – Year-End-Retrospective – Landscape Photography Reader/David Leland Hyde
Favorite Photos of 2019 – Deb Snelson
Favorites – 2019 – Daniel Leu
Best of 2019 – Steve Cozad
Fog from Above in 2019 – Andrew Thomas
Favorites of 2019 – Mick McMurray
Some Favorites from 2019 – Josh Meier
Top 10 Images of 2019 – Stephen L. Kapp
Top Ten of 2019 – Holly Davison
Best 2019 – Barbara Michalowska
The Creative Photographer – Andrew S. Gibson
My Favorite Photos of 2019 – Patricia Davidson
A Thousand Words – Lucy Autrey Wilson
2019 Top Twelve Photographs – David J Grenier
Urban Dinosaurs – Steven M. Bellovin
Best of 2019 – Thomas Yackley
Carol’s Little World – Best of 2019 – Carol Schiraldi
My favourite shots of 2019 – Catalin Marin
Top 2019 Photos – Matt Conti
Top Ten 2019 – Phyllis Whitman Hunter
Favorites from 2019 – Tim Aston
Robb Hirsch- Best of 2019 – Robb Hirsch
2019 Top 25 Images – Yesitis – Harold Klein
Environment Alyssa – Alyssa Bueno
Jeff Sullivan Photography – Jeff Sullivan
My Top Favorites of 2019 – Sara M. Photos
2019 Year in Review & Favorite Black & White Photos – Sarah Marino
2019 Year in Review & Favorite Photos – Ron Coscorrosa
Favorite 8 Photos from 2019 – Maria Struss
Top Photos Of 2019 – Bryan William Jones
Favorite Photos 2019 by Lori Hibbett – Lori Hibbett
Bob’s Best of the Best 2019 – Bob Blakley
Best Overall 2019 on Flickr – Sue Shuey
2019 A Year in Review – Jim Patterson
Photo Blog – Ron Niebrugge – Ron Niebrugge
Expeditions Alaska 2019 Tour Ramblings – Expeditions Alaska

Have a great 2020!

JMG-Galleries – Landscape, Nature & Travel Photography

Comments Off

Posted in Equipment

Hands on with the Nikon D780

16 Jan

Introduction

At long last, it’s here – the Nikon D780, successor to the D750 that was released more than five years ago. At the time, we considered the D750 as one of the most well-rounded digital cameras ever made, and it remains highly capable even today. So, to put it lightly, the new model has some big shoes to fill.

We’ve just received a full-production D780 and have gotten a start on our full review. As we work through our testing, we figured we’d take a look at the D780’s design, handling, and some of its high-level updates.

New BSI sensor

The heart of any digital camera is its sensor, and the unit in the D780 looks to be a good one. With 24MP, it’s not a megapixel monster, but should offer enough resolution for most users and most use cases. It’s now backside-illuminated, which is nice to have but doesn’t offer the same image quality benefits on large, full-frame sensors as it does on smaller ones. No, the real news is that it’s a dual-gain design. This means that, at the lowest ISO values, you can get maximum dynamic range out of the sensor, while higher ISO values give you better noise performance.

The sensor is also capable of 4K video, and the D780 can shoot silent bursts at up to 12 fps. We’ll be taking a look at rolling shutter as we push through our full review.

New shutter and mirror mechanism

Being a DSLR, a mirror sits in front of the sensor most of the time and redirects light up to an optical viewfinder. The D780’s sensor and mirror mechanism have been redesigned, boosting burst speeds modestly up to 7 fps from 6.5. The redesigns also enable a minimum mechanical shutter speed of 1/8000 sec (the D750 could only reach 1/4000 sec). Unfortunately, the flash sync speed remains at 1/200 sec; many competing high-end models can reach 1/250 sec or even 1/320 sec.

And, speaking of flash…

Removal of pop-up flash and top-plate design

That’s right, Nikon’s removed the built-in pop-up flash that was on the previous model. While Nikon says this makes it easier to weather-seal the D780 to a higher degree, it also means that you no longer have that built-in flash for some quick fill-light when you need it. For strobists, the removal of the flash also means that you need a separate dedicated transmitter (or another speedlight) to wirelessly control Nikon’s speedlights using its Creative Lighting System.

On the top plate, we see an LCD info panel that is about the same as you’d see on the D750. There’s been some button shuffling, though; gone on the right side by the power switch is the dedicated metering button, though an ISO button has been added. Lastly, the mode dial has been simplified with fewer options.

Rear design and controls

While the rear of the camera might look familiar, there are a few substantive changes. There’s the addition of a dedicated AF-ON button, and the relocation of the live view and stills / video switch to the top of the plate near the viewfinder for easier access. The ‘i’ and INFO buttons have swapped sides of the camera as well, so if you pick up a D780 and are a long time D750 user, prepare to reprogram your muscle memory just a bit.

Oh, and if you’ve ever lost your Nikon DK-21 eyecup for your D750, we have some good news – it seems like the DK-31 eyecup for the D780 is attached a bit more securely, and we haven’t lost ours (yet).

Optical viewfinder and autofocus system

And so, despite the bit of button shuffling, it looks like much of Nikon’s mantra with the D780 was ‘if it ain’t broke, don’t fix it.’ In that vein, the optical viewfinder is identical to the previous model’s: same pentaprism design, 0.7x magnification, and autofocus layout with 51 points clustered around the center of the frame.

Indeed, after our experience with ever-more-capable mirrorless cameras over the past five years, we’re starting to find the spread of DSLR autofocus points a bit constricting. But hey – if you’ve been using a D750 for the past five years, well, at least it’ll be familiar, if not a huge upgrade.

All that said, you can expect at least an increase in accuracy and tracking performance, courtesy of an upgraded 180k-pixel metering sensor and AF algorithms derived from the D5 sports camera. We’ll be digging into these in our full review to find out just how significant these updates are.

Rear touchscreen and live view

The D780 retains a similar tilting screen mechanism that its predecessor had – and I have to be honest, when I first used a D750 professionally, I was pretty stoked at tilting the screen out and not having to lay down on my stomach in the dirt for low angle shots. But I digress.

In consideration of all the D780 offers, this is where the most significant updates lie. Sure, the screen has been updated to 2.36M dots (up from 1.23M), and offers touch functionality for shooting, playback and menus. But the real story is that once you switch the D780 into live view, you effectively have a bulkier, F-mount Nikon Z6 in your hands.

You get the Z6’s 273 on-sensor phase-detection AF points (compared to the slow, ‘hunty’ contrast detection of the D750) and the same AF tap-to-track functionality for both stills and video. And speaking of video, the D780 is capable of 4K video, which we’d wager will look an awful lot like what the Z6 is capable of (in other words, pretty darn good).

The one gripe we have with the touchscreen is that you can’t drag your finger across it with your eye to the viewfinder to move your AF point around (and this was included on Nikon’s D5600 DSLR as well as countless mirrorless models from other manufacturers).

Dual UHS-II SD card slots

Moving on, we can see that the Nikon has resisted moving the D780 to the XQD format seen on Nikon’s Z-mount cameras, instead offering dual UHS-II SD card slots (an upgrade from the UHS-I slots on the D750). Whether you prefer the more ubiquitous SD card format or not, at least we can breathe a collective sigh of relief that there will be somewhat fewer “NO DUAL CARD SLOTS NO BUY NOT PROFESSIONAL GRR” comments floating around the internet.*

And while we haven’t yet tested the buffer depth of the D780, it was a bit limited on the D750, and was regarded as one of that camera’s weak points. We’re hopeful that the faster slots on the D780 will enable longer burst-shooting for sports and action photographers.

*(In all seriousness, the D750 made for a great wedding camera, which is a use-case where dual card slots have an obvious benefit – we’re happy the D780 continues to offer them.)

Battery, no grip

One area that has generated a barrage of bilious bloviating is the D780’s apparent lack of compatibility with an add-on vertical grip. The bottom-plate of the camera is where we would usually see a small rubberized door hiding some electrical contacts that enable the camera to use additional controls present on most vertical battery grips. Without those, the most we can hope for is a grip like this one for the Z series, which boosts battery life but doesn’t do much else.

At the very least, the D780 is CIPA rated to 2260 shots through the optical finder on a single EN-EL15b battery, which is over than a thousand shots more than the D750 could manage. That’s pretty impressive.

Ports and connectivity

Further related to battery life, the D780 gains a USB Type C port, which can also charge the camera if you have the EN-EL15b battery installed. The previous EN-EL15a and EN-EL15 batteries will power the camera, but they cannot be charged over USB. It should also allow for faster data transfers, as well as better tethering support.

In terms of wireless data transfers, the D780 now supports Bluetooth as well as Wi-Fi using Nikon’s SnapBridge wireless system. It’s become quite a capable system and is a far cry from the original WMU mobile app that users had to contend with on the D750.

There’s also a mini HDMI port, which supports 10-bit 4:2:2 4K video output (just like the Nikon Z6), as well as a remote port and microphone and headphone ports. If you have a stabilized lens, a gimbal or plan to use a tripod a lot, the D780 should make for a pretty capable DSLR video rig.

The wrap

By now it should be apparent that, in creating the D780, Nikon has chosen not to mess with the basics of what made the D750 a great camera. We still have a reasonably compact DSLR body with a comfortable grip and well-sorted ergonomics, burst shooting that is likely fast enough for most people, and what is looking to be a really capable viewfinder autofocus system. With the addition of 4K video, a smoother live view experience, a touchscreen and better wireless connectivity, they’ve only really updated the things that really needed updating.

Does that make the D780 a particularly exciting camera? I suspect it will be pretty exciting for a fairly small subset of users (particularly those with large collections of F-mount lenses). But it does help guarantee that, just like the D750, the D780 will likely remain relevant as a reliable workhorse for pros and enthusiasts for many years to come.

And if you’re a D750 user that still can’t decide whether or not to upgrade, watch this space – we’ll be publishing an article dedicated to just that very soon.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Back to Basics: What is the Reciprocal Rule in Photography?

16 Jan

The post Back to Basics: What is the Reciprocal Rule in Photography? appeared first on Digital Photography School. It was authored by Adam Welch.

There are extremely few true “rules” in photography. This is an odd thing to say, especially in an article explaining the “Reciprocal Rule”. In an effort to do you and I both a favor, I think it’s best to get this out of the way right here at the beginning. Whenever we refer to the Reciprocal Rule in photography as…well…a rule, just know that it’s meant as more of a helpful guide rather than an iron-clad rule. Got it? Good.

Now, onward to the good stuff!

In photography, motion is both our friend and enemy. Intentional or anticipated movement from our subjects or camera can result in magically extraordinary photos. At the same time, unintentional motion, specifically unwanted camera shake, can rob our images of sharpness and depth.

Falling short of the Reciprocal Rule requirements. 1/200th of a second at F/5.6 with a 300mm lens.

We’ve mentioned the Reciprocal Rule quite a few times in other articles, but today we’re going to dig a bit deeper and learn more about how to use this extremely simple technique. It very well could be one of the most useful bits of knowledge you can possess when it comes to helping you prevent unwanted camera shake.

What is the Reciprocal Rule?

Banish all thoughts of grade school math and algebra class from your mind when you read the word “reciprocal.” True, the Reciprocal Rule hints at mathematics but the technique itself is incredibly simple.

Simply put, for full-frame image sensors (more on this in a bit) the Reciprocal Rule states that your slowest shutter speed when shooting handheld should not be longer than “1” over your selected focal length in millimeters.

Reciprocal Rule in photography formula

Not so bad, right?

In order to reduce the appearance of inherent camera shake when hand-holding your camera, just don’t allow your shutter speed to dip below the reciprocal of your focal length.

Author’s Note: In mathematics, the word “reciprocal” is generally considered interchangeable with “multiplicative inverse”…which sounds much cooler.

It’s here where our previous discussions of the Reciprocal Rule in photography have ended but that is not the case today! Let’s drill down a little further and examine how the Reciprocal Rule works.

A caveat on reciprocal vs reciprocity

Talking about the Reciprocal Rule in photography can be tricky at times because it sometimes gets confused with another photographic principle called “reciprocity.”

Reciprocity, or more specifically reciprocity failure, is a phenomenon photographers sometimes had to manage back in the pre-digital photography days of film. Simply put, film emulsions become less light-sensitive as they are exposed which requires adjusted exposure times based on the type of film and the duration of the metered exposure.

Each of these 35mm frames is approximately the size of a modern full-frame digital sensor.

Fortunately for us, digital camera sensors don’t suffer from reciprocity failure. However, there are times when autocorrect or well-meaning individuals sometimes confuse the Reciprocal Rule and reciprocity failure as being one and the same when they absolutely are not.

Why does the Reciprocal Rule work?

While the Reciprocal Rule centers around estimating exposures based on your focal length, it is not actually dependent on that variable. In fact, the reason why the focal length of your lens matters is because longer focal lengths result in more constrained angles of view (field of view). The tighter your angle of view, the more noticeable camera shake becomes.

Long focal length camera lens

So, shorter focal length lenses can achieve relatively long handheld exposures over longer focal lenses due to their wider angle of view – not their optical focal length. The Reciprocal Rule is useful because it takes into consideration the progressively decreasing angle of view produced as focal length increases.

Check out this quick video where I breakdown why the Reciprocal Rule works.

Sensor size and the Reciprocal Rule

First, a bit of backstory on sensor sizes, but I promise it will come back around to the Reciprocal Rule.

If you’ve been involved in making photos with a digital camera for any length of time, then you likely have encountered the phrase “crop factor” when talking about digital camera sensors. Albeit there are exceptions, today almost all consumer photography lenses center around the standard 135 film format, commonly known as 35mm.

This is where the concept of “full-frame” digital sensors originated as they are roughly the same dimensions as those of a frame of 35mm film, give or take. Therefore, mounting a lens of a focal length based on the 35mm full-frame film standard to a cropped sensor camera, the field of view becomes inherently more narrow (cropped) due to the smaller sensor size.

Essentially, a cropped sensor will “zoom” a full-frame lens and cause it to have a longer effective focal length.

Hasselblad medium format digital sensor and full frame Sony A7r sensor

Every camera manufacturer’s cropped sensor has a crop factor you can use to approximate the resulting focal length of a full-frame lens when used on a cropped-sensor camera. For example, Canon’s cropped sensor (APS-C) has a crop factor of 1.6x because a full-frame Canon sensor is approximately 1.6x larger than that of its cropped-sensor counterpart.

Canon 5D MK3 compared to Canon 7D MK1 sensor

So, my 50mm lens is considered a true 50mm lens when mounted to my full-frame sensor 5D MKIII. However, if I were to mount that same 50mm to my cropped sensor 7D, it would instantly become approximately an 80mm lens (1.6 x 50mm) instead of 50mm.

The reason why sensor size and crop factors become important when using the Reciprocal Rule in photography is due to their effect on the effective angle of view.

The Reciprocal Rule states that I should use a shutter speed no slower than 1/50th of a second with a 50mm lens and full-frame camera.

A cropped sensor camera with that same 50mm lens would dictate a faster shutter speed be employed since the crop factor has changed the effective focal length of our lens to 80mm.

This results in a reciprocal of 1/80th of a second minimum shutter speed.

Without going much further down the rabbit hole on sensor sizes, just know that the opposite is also true when using sensor sizes larger than the full-frame standard. The resulting “reverse crop factor” would be less than 1x. It would mean that a full-frame sensor camera lens would now produce a wider angle of view, thus, increasing the duration of your allowable handheld shutter speed.

The effects of image stabilization

Another aspect to consider when talking about the Reciprocal Rule is that of image stabilization. More and more often today, manufacturers are building better and more efficient image stabilization into their cameras and lenses. Many of these image stabilization systems offer upwards of 2-stops of reported stabilization (meaning you can shoot 2-stops or more slower shutter speeds).

Lens image stabilization

This means that we can incorporate the approximate stops of image stabilization (should you have it) when making use of the Reciprocal Rule.

It’s actually quite simple.

If you engage your lens or camera’s image stabilization, you are effectively lengthening your allowable handheld shutter speed by ever how many stops the stabilization states it will compensate. Feel free to adjust the shutter speed of the Reciprocal Rule and see if you can manage even longer shutters due to the stabilization.

Final thoughts on the Reciprocal Rule

There are very few absolutes when it comes to making photographs. Every photographer is different, and what works for one might very well not work for another.

This is especially the case when dealing with techniques such as the Reciprocal Rule in photography. Although it attempts to help us prevent unwanted camera shake by providing a quick and easy baseline shutter speed based on our lens, it should not be considered a true “rule.”

Granted, some of us are simply better at holding our cameras more steady than others, but there is no replacement for practice and optimal body mechanics when it comes to producing less shaky photos.

The next time a tripod is not handy or practical, use the Reciprocal Rule to help you increase your odds of getting a sharper photo each and every time you’re shooting from the hip.

Gear review: 3 K&F Concept Camera Bags Put To The Test

16 Jan

The post Gear review: 3 K&F Concept Camera Bags Put To The Test appeared first on Digital Photography School. It was authored by Kav Dadfar.

In this gear review, I have tested out 3 different types of K&F Concept camera bags so you can see their differences and whether they would suit your needs.

Regardless of which camera you have or whether you are a professional or amateur, a good camera bag is one of the essential purchases that you need to make. After all, it is what will carry your expensive equipment around and keep it safe and dry.

However, it is also essential that your camera bag is comfortable to wear. There’s nothing worse than carrying all that weight on your back for hours on end and being uncomfortable.

Over time as you buy more camera equipment, your camera bag will need to change. Or you may need different types of bags for different scenarios. But what should you buy first? With so many different types of bags out there, the choice is endless.

K&F-concept-camera-bags

The three K&F Concept camera bags

1. Travel Sling Bag

The first of the three K&F Concept camera bags is the K&F camera sling backpack. This pack is the perfect unassuming, easy-to-carry backpack for those who don’t own a lot of camera equipment.

The sling bag easily and securely holds a DSLR and two lenses in a padded and removable inner bag.

One of the great things about this sling bag is you can remove the inner bag to use the bag as a normal backpack. Or you can remove the bag whilst shooting to have quick and easy access to your lenses. That way, you don’t have to open and close the bag constantly.

The sling bag has enough additional space to hold a 13” laptop and any other little bits you may have, such as memory cards, lenses cleaners, and phone as well as a water bottle holder on the side.

Measuring at just 41 x 27 x 13cm, the bag is small and compact enough to have on your back in those busy situations like events and festivals where a big bag would be cumbersome. It is also made of waterproof and anti-wrinkle nylon with double stitching for added durability and shock/vibration absorbing inner padding. So this lightweight bag (just 0.8kg net weight) will keep your expensive equipment safe whatever you get up to.

Who’s this for?

This bag is ideal for a photographer with only a small amount of kit who wants to travel light, but safe in the knowledge their equipment will be protected and secure.

At the time of writing, this bag is priced at $ 39.99, making it an ideal bag for a first-time buyer who doesn’t want to spend a fortune on a camera bag. But it will also benefit those who may want an additional smaller bag to support their bigger day-to-day bag.

K&F-concept-camera-bags

2. Fashion Outdoor Backpack

The first thing I noticed about this K&F fashion camera backpack is that it doesn’t look like a camera bag. This is great for two reasons; firstly, it looks great and is useful in those situations where you may want to look a little smarter in your appearance – for example, at a wedding. But more importantly, because it doesn’t draw attention to the fact that you have thousands of dollars of camera equipment on your back.

Split into two main areas, the bottom of the bag has 10mm padded dividers with enough space to hold a large DSLR and 3 lenses – easily accessible from the back and side – while the top section of the bag has sufficient room to hold personal items such as a 13” laptop.

The exterior of the backpack has a side-mounted tripod strap and enough storage to hold all your extra bits and pieces.

Another great thing about this pack is the side access that allows you to take out your camera equipment without having to take the bag off.

The exterior is scratch, tear and water-resistant, but you also get a rain/dust cover for more severe weather conditions. The breathable air-mesh back and shoulder straps make this bag incredibly comfortable to carry all day even when you have it fully loaded.

Who’s this for?

This bag is great for the photographer who has a few lenses and sometimes carries a tripod with them. However, it is also for someone who doesn’t want to shout out to the world that they have camera equipment with them. Anyone traveling in some parts of the world could benefit from a bag such as this.

K&F-concept-camera-bags

3. Large DSLR Camera backpack

Number three of the K&F Concept camera bags is the K&F large DSLR backpack, which is the biggest bag in the range.

With sufficient room (25 liters) for two large DSLR bodies, five to six lenses, and flash, it will serve anyone from the serious hobbyist to professionals.

With enough pockets to hold your filters, batteries and memory cards and a back-mounted tripod holder, this pack has enough room for even those with lots of equipment. It can be opened fully from the back but also has easy access at the top of the bag for those times when you need more discreet and quick access to your camera.

The K&F Concept large DSLR backpack comes with a range of shock and vibration separators that, like the other bags, can be arranged perfectly to snuggly and safely fit all your gear. Made from quality splash and tear-resistant nylon with its unique stitching and tension technology, it ensures load-bearing areas won’t rip or become frayed.

One of the most important elements of a bag this size is that it has to be comfortable to wear for long periods. The back and straps of this bag are breathable and padded. When used with the chest and hip straps, it can help reduce the weight on your shoulders. This pack also comes with the rain/dust cover as well.

Who’s this for?

Whilst clearly designed with professionals in mind, this backpack would also make a great bag for any level photographer. It gives you plenty of room for when you expand your equipment.

K&F-concept-camera-bags

Conclusion

I have never been one to promote buying lots of equipment or accessories; however, camera bags are a vital part of my set up. I have a few different sized bags for various scenarios. Because sometimes it’s not feasible to carry a big backpack with me.

These 3 K&F Concept camera bags are a good example of a set that would serve a photographer well throughout their photography journey. The great thing is that you’ll probably end up re-using your bags for years to come.

Note: The author was given these K&F Concept camera bags free of charge to test and was offered no incentives. This review is an unbiased opinion of his experience in using the products provided.

What is your favorite camera bag/pack? Have you tried any of these packs? Share your thoughts with us in the comments section!

The post Gear review: 3 K&F Concept Camera Bags Put To The Test appeared first on Digital Photography School. It was authored by Kav Dadfar.

Digital Photography School

Comments Off

Posted in Photography

MacOS beta reveals ‘Pro Mode’ code, teasing a high-performance mode for MacBook Pros

16 Jan

Apple may be preparing to release a new macOS feature called ‘Pro Mode,’ according to a recent report from 9to5Mac. Evidence of the feature was found nestled within macOS Catalina 10.15.3 beta code alongside strings of text. Based on the text, it seems ‘Pro Mode’ will be a manual feature that enables users to temporarily boost a Mac’s performance.

Apple releases beta versions of its macOS operating system for developers to test before the updates are made available to casual users. Teardowns of these updates may reveal the presence of unannounced features that are hidden in the code, the latest example being this newly detailed ‘Pro Mode.’

Strings of text listed as descriptions of the feature state that enabling Pro Mode may make apps ‘run faster, but battery life may decrease and fan noise may increase.’ As well, a string of text reveals that ‘fan speed limit [is] overridden’ when Pro Mode is active.

The report indicates that users may be able to turn Pro Mode on manually and that the system will automatically disable it by the next day in a way similar to the existing Do Not Disturb feature. The feature is expected to be made available on MacBook laptops, making it possible for users to temporarily boost performance while editing images, processing videos or other tasks with more demanding requirements.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Types of ambient light in photography

1. Natural light from outdoors

2. Natural light from indoors

3. Artificial lights in the home

Which light/lights do you require?

Portraits

Events

Interiors

Color temperature

Kenko Tokina announces release of the NEW atx-m 85mm f/1.8 FE

New Series, New optics, New look – The atx-m 85mm f/1.8 FE lens for full-frame Sony E-mount mirrorless cameras.

Introduction

New BSI sensor

New shutter and mirror mechanism

Removal of pop-up flash and top-plate design

Rear design and controls

Optical viewfinder and autofocus system

Rear touchscreen and live view

Dual UHS-II SD card slots

Battery, no grip

Ports and connectivity

The wrap

What is the Reciprocal Rule?

A caveat on reciprocal vs reciprocity

Why does the Reciprocal Rule work?

Sensor size and the Reciprocal Rule

The effects of image stabilization

Final thoughts on the Reciprocal Rule

You may also like:

The three K&F Concept camera bags

1. Travel Sling Bag

Who’s this for?

2. Fashion Outdoor Backpack

Who’s this for?

3. Large DSLR Camera backpack

Who’s this for?

Conclusion

Blogroll

Meta