RSS
 

Technique vs Artistic Creativity in Photography – How Important is it to Find a Balance?

12 Jan

The post Technique vs Artistic Creativity in Photography – How Important is it to Find a Balance? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

technique-vs-artist-creativity-in-photography

Discussion about technique vs artistic creativity in photographic circles can cause tensions. Much of what’s focused on when learning photography is camera technique. Creative aspects are often left out, even after you’ve picked up some camera skills.

Developing a balanced approach to photography is important. If you’re content to just document what’s in front of you, don’t worry about it. You need to know how to operate your camera competently to be creative with it. Camera technique vs artistic creativity is a matter of engaging both brain hemispheres.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Left brain vs right brain functions

It’s said that the left hemisphere of our brain is more academic and logical. The right hemisphere is more imaginative and artistic. Technique vs artistic creativity seems to separate somewhat in our thinking.

Learning to work with a camera well requires a good understanding of its basic functions. Controlling the amount of light entering your camera is essential to master. Of course, you can leave this left brain function to the camera’s artificial intelligence (AI). This happens when you use any of its auto or semi-auto modes.

Relying on the camera’s AI takes away some of the technical challenges in camera use. It also inhibits the full expression of the right brain hemisphere’s artistic creativity. When your camera chooses the exposure setting, you relinquish much of your creative expression.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Photography means ‘drawing or painting with light’

Camera’s don’t take fabulous photographs, fabulous photographers do. Just as an artist’s brush doesn’t make a beautiful painting on its own, a camera is only as creative as the person using it.

The word ‘photography’ comes from the Greek language. It means ‘drawing or painting with light’.

The amount of light entering your camera affects the way your ‘digital canvas’ will appear. Understanding how the camera captures light requires left brain function. Leaving the camera to determine the ‘right’ amount of light negates much of the function of the right brain in creative photography.

If you can’t manage your exposure well it doesn’t matter how good your composition or timing is, your photos will lack creativity. Painting with light requires a good deal of creative decision making.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Master your camera

When you have mastered your camera, you’re in a stronger position to balance technique vs artistic creativity. Learning how to control the essential functions of your camera frees you up. Then you can concentrate more on the creative aspects of taking photos.

Frequent camera use and study will give you the ability to use your camera fluidly. The more you learn and practice with your camera, the less you will have to concentrate on it.

It can be like learning to touch type or drive a manual-shift car. At first, these are difficult and require a lot of concentration. Plenty of mistakes happen. Spelling mistakes happen. The car will bunny hop and stall. But, with a dedication to learning, the errors become minimized. You can begin to focus your attention on other things. You no longer have to look at where you are placing your fingers on the keyboard. Driving becomes smooth and you can enjoy the scenery.

Camera use is no different.

Once you study and practice enough you will free up your mind to concentrate on the creative aspects of photography. The technical actions required to take photos will consume less of your attention.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Release your creative expression

Once you’re comfortable controlling your camera, you can be more creative with it. When you understand how it captures images, you’ll be able to manage the settings artistically. Knowing how the sensor responds to light will give you the ability to control it with more innovative expression.

Leaving the exposure up to the camera’s AI will most often result in rather bland results. Your photos will look like everyone else’s who uses and auto mode. This is because the AI is not creative. It’s all algorithm-based and calibrated in a technical lab.

Technique vs Artistic Creativity in Photography – How Important is it to Find a Balance?

Your camera does a pretty good job of exposing your photos. It aims to provide an even exposure, not blowing out highlights or diminishing shadow detail. This does not, however, often make the most expressive exposures.

Manually exposing a photograph well adds depth and feeling to the picture. Scene modes on some cameras will include options for portraits, landscapes, action, and the likes. I have never come across a camera that offers automatic modes to create dramatic, happy or somber photographs. Controlling your camera manually allows you to make creative choices.

Being in control of your exposure allows you to make choices based on what your main subject is. Your camera does not know what it is. Some AI systems in cameras will guess what you are photographing and return exposure results on this presumption.

You will know exactly the nature of your composition and, when you have some understanding of light, you’ll expose it the way you want it to look.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Push beyond what’s considered correct

Technique vs artistic creativity teaching is often dominated by those whose aim is to take technically correct photos. Photos that don’t fit in the technically correct ‘box’ are scorned.

For creative photographers, ‘correct’ photos are usually perceived as dull, no matter what the subject. Whether a particular composition rule applies does not matter to them. If the whole image is not evenly exposed the photo is still acceptable.

I’ve met far too many photographers who think their photos must reach certain technical standards to be any good. This is what they focus on, and often, their photos lack creative expression.

Knowing how to manage your camera settings well is vital to creative photograph. The technique is very important, but the rules are not.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Conclusion

Aim to use your camera without consciously thinking about it – much the same way you’ll drive a manual shift car after enough practice.

Instead of thinking about your shutter speed and aperture settings, focus on how you are feeling. What do you want to express in the photographs you are taking? Be present within the moment and relate more to your subject than to your camera. Then you will find the balance between technical vs artistic creativity.

Share your thoughts on this in the comments below.

The post Technique vs Artistic Creativity in Photography – How Important is it to Find a Balance? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


Digital Photography School

 
Comments Off on Technique vs Artistic Creativity in Photography – How Important is it to Find a Balance?

Posted in Photography

 

DPReview TV: What Happened To Fujifilm’s ‘Kaizen’ Updates?

12 Jan

Fujifilm built a reputation for continuous improvement to its products, a process frequently referred to as ‘Kaizen’. But in 2019, we saw major firmware improvements from just about every camera company except Fujifilm. Chris and Jordan ask, “What happened to Kaizen?”

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

  • Introduction
  • What is 'Kaizen'?
  • Chris and Jordan discuss…
  • Conclusion

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on DPReview TV: What Happened To Fujifilm’s ‘Kaizen’ Updates?

Posted in Uncategorized

 

Stunning Photo Ideas Using Coffee

11 Jan

The post Stunning Photo Ideas Using Coffee appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Check out this video from our friends over at Cooph, for some creative photo ideas using coffee!

?

 

Stunning Photo Ideas Using Coffee

1. Grain textures

Stunning Photo Ideas Using Coffee

  • Use your best blends
  • Grind if necessary
  • Arrange as desired
  • Build piles
  • Use natural light
  • Stack cups
  • Mirror reflection

Stunning Photo Ideas Using Coffee

2. Smoke

  • Light some incense and let the smoke rise above a spoonful of coffee beans.
  • Make a still life with a cup of coffee and use the incense to make the coffee look steaming.

Stunning Photo Ideas Using Coffee

3. Splish Splash

  • Fill a cup of coffee to the brim.
  • Shape a projectile and have someone drop it in to create a splash.

Stunning Photo Ideas Using Coffee

4. Still life

  • Collect some props such as newspapers, books and cups.
  • Repurpose your coffee bag and use it as a DIY reflector to throw window light back onto your subject.

Stunning Photo Ideas Using Coffee

5. Fluidity

  • Load your coffee machine, and capture it filling your cup.
  • Set up a positioning ring to keep the focal distance.

Stunning Photo Ideas Using Coffee

6. Contrasts

  • Unload your beans on a light surface and shape them into straight lines using book edges or similar. Use a cup of coffee as an anchor point and to shoot contrast.
  • Elevate your cup to separate it from the surface to make it look like it is floating.

Stunning Photo Ideas Using Coffee

7. Raw Materials

  • Play with surfaces like stone or wood, and place a coffee pot onto it and shoot from above.
  • Use chopped wood for the fire and sprinkle coffee beans to add atmosphere. Then add your cup of coffee and take pictures.

 

You may also like:

  • DIY Food Photography Props on a Budget
  • The dPS Ultimate Guide to Food Photography
  • Simple Methods for Creating Better Still Life Images
  • One Light Set-Up For Food Photography
  • Five Essentials of Doing Dark Food Photography
  • How to Light and Photograph Smoke and Steam in a Home Studio Setting
  • How to Understand Light and Color to Improve your Photography

 

The post Stunning Photo Ideas Using Coffee appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


Digital Photography School

 
Comments Off on Stunning Photo Ideas Using Coffee

Posted in Photography

 

Don’t Be Afraid to Say These Things to Your Photography Clients

11 Jan

The post Don’t Be Afraid to Say These Things to Your Photography Clients appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

say-these-things-to-your-photography-clients

Shooting photos for clients is an interesting business. People pay you to take great photos, but you also have to balance your photographic goals with the very human side of the job. You can’t just boss people around and expect them to come back or give you positive word-of-mouth. On the other hand, you can’t let your clients walk all over you. There’s a fine line between assertiveness and rudeness. However, as long as you are polite and respectful you should never be afraid to say these things to your photography clients.

say these things to your photography clients

Nikon D750, 86mm, f/4, ISO 2800, 1/400 second

“I don’t offer discounts”

If you have been in this business for a while, you have almost certainly had clients ask you about some kind of sale, discount, sweetheart deal, or other tactic to get you to lower your prices.

I used to feel self-conscious about these sorts of requests, thinking I had some kind of obligation to accommodate my clients who didn’t want to pay full price. The thought of not offering a discount made me feel arrogant and cold-hearted.

The truth is, you are worth your price. If people want to hire you to do your best work, then there is no shame in asking them to pay for it. If someone asks for a special deal, politely but firmly decline. Tell them that your prices are competitive and you will take beautiful photos for a reasonable fee.

say these things to your photography clients

Nikon D750, 92mm, f/4, ISO 220, 1/180 second

Additionally, don’t use the phrase “I’m sorry” when discussing your prices. You should never have to apologize for charging what you are worth!

You might think you are being polite, but you have nothing to apologize for. So you shouldn’t feel obligated to say it.

I have had several situations where potential clients have asked me about offering discounts. At first, I felt uncomfortable sticking to my guns. However, every single time I declined to go down in price, I have felt good about the decision. Plus, the clients were still happy with my photos.

Recently someone asked me about taking photos of her daughter’s graduation. When I told her my price, she winced and asked if I offered any type of discount. I said no, and she eventually went with another photographer who had a cheaper rate.

While a part of me wishes I could have gotten this woman’s business, I think of the ramifications if I had gone down in price.

say these things to your photography clients

Nikon D750, 110mm, f/2.8, ISO 160, 1/125 second

She would have expected a similar discount on future sessions, and she would have almost certainly told her friends about this great photographer she knows who gave them a really good discount.

That would have started things off on the wrong foot with other potential clients who might be expecting me to drop my price.

The implications for lowering your prices can be much worse in the long run. So you should never feel bad for saying these things to your photography clients.

“You have something on your face”

There are many ways to fix blemishes, pimples, dust, dirt, and other imperfections in Photoshop.

I have had clients joke about taking ten pounds or twenty years off in Photoshop. That always makes me a little uncomfortable since I think my clients look great just as they are.

With almost every photo session, there is some type of artificial issue that can easily be fixed right on the spot.

If not addressed right away, these things can add hours to your post-processing time.

say these things to your photography clients

Nikon D750, 135mm, f/2.8, ISO 500, 1/350 second

You might feel a little nervous or uncomfortable telling your clients that they have a stray hair on their cheek or a spot of dirt on their shoulder. I know what that’s like, having been in the situation many times!

Kids are fussy, the wind is blowing, rain is starting to fall, and you feel like you’re adding yet another burden to your clients by telling them they’ve got something on their face.

On the contrary, don’t be afraid to say these things to your clients! Every time I have neglected to mention an issue while taking pictures, I have regretted it afterward.

If you fix a blemish on a single photo, you have to fix it on all the photos. If it takes one minute to fix the first time, multiply that by 20, 50, or 100, and the simple task quickly turns to tedium.

Image: Nikon D750, 92mm, f/2.8, ISO 400, 1/250 second

Nikon D750, 92mm, f/2.8, ISO 400, 1/250 second

Not once have I had a client get upset, offended, or otherwise bothered when I told them about a problem like this. If anything, they have appreciated my watchful eye and attention to detail!

Kindly and politely tell them that they have a leaf on their dress, a speck on their forehead, or a butterfly resting on their shoulder. (I’m not kidding, it has happened!) You can deal with it in a few seconds and move on, instead of worrying about it and then wasting hours of your time editing it out on your computer.

“Sure, let’s try your idea”

Any time I prepare for a photo shoot, I always make sure I know the location, the types of photos the clients want, and other pertinent information. I even built several custom photo benches that I bring with me in case people need a place to sit. Basically, I try to have all my bases covered so I can make sure the session goes smoothly.

However, sometimes clients have other ideas. When that happens, I used to get defensive – I’m the professional, my clients need to listen to me!

On a sports team, it’s the players’ job to listen to their coach, and if every person on the field did things his or her own way, the game would be lost in short order.

say these things to your photography clients

Nikon D750, 112mm, f/4, ISO 1600, 1/250 second.

A photo session isn’t a sporting event, and you are a photographer, not a coach, and certainly not a dictator. You have great ideas for how to carry out the session, but your clients might too. It also behooves you to show them you care and will listen to their suggestions.

Even if you might not particularly like an idea that your clients have for poses, locations, or props, you might be surprised at the results. At the very least, it will send a message to your clients that you are flexible and willing to listen to them.

Even if the photos aren’t your favorite, word of mouth from your clients will help build a good reputation for you!

say these things to your photography clients

Nikon D750, 50mm, f/1.8, f/2, ISO 320, 1/250 second.

The image above is one example of how this can work out well for you and your clients. After I shot this family in the middle of a park, one of them told me he wanted to get a picture by a bridge. I was a little hesitant since the lighting and location weren’t my favorite, but I was happy to oblige. These photos turned out to be their favorite from the entire session!

“I have a location I prefer”

This seems a little counter to the last bit of advice since the idea here is to not take your clients suggestions into account. If you shoot outdoors, as I and many others do, you probably have some particular spots you like to use. Your locations have good lighting, pleasant surroundings, few people, and no bothersome elements like trash cans or street signs. You have used these locations many times, and they work great!

Your clients might have other ideas, though, and this is when it’s important to push back a little. I have had clients ask to do photos in spots that might look great for social media selfies, but they just aren’t well suited to a formal photo session.

In these situations, there’s nothing wrong with gently but firmly steering them to a location you prefer.

say these things to your photography clients

Nikon D750, 200mm, f/2.8, ISO 280, 1/250 second

It might seem harsh or uncaring to say these things to your photography clients, but it’s all about setting expectations.

When it comes to choosing a location, you know things your clients don’t. You pay attention to aspects of lighting and composition they would never think about.

If a potential client is insistent on using a spot that you would rather not use, show them your portfolio and explain the reason that you want to do it at another location.

Ultimately it’s your call – you can go with a spot they want, and the pictures might turn out great. But there’s a good chance you will encounter unforeseen obstacles, distractions, and other issues that will lead to sub-par photos.

If your client is insistent, you can politely tell them you won’t be able to meet their needs and recommend another photographer instead. Or you can do the session anyway, but make sure to scout the location first so you can prepare for what awaits.

Image: Nikon D750, 150mm, f/4, ISO 1100, 1/250 second

Nikon D750, 150mm, f/4, ISO 1100, 1/250 second

“Photos will be ready in two weeks, but not sooner.”

Your own timeframe for this might differ, but you must be honest with clients about these types of expectations.

They might have other ideas in mind based on experiences their friends have had with other photographers. If you need a specific amount of time to deliver the photos, then make sure to stand by what you say.

Be sure to explain this early when you establish a relationship with your clients, so they know right away what to expect. You don’t want them complaining on social media because they thought you would deliver their photos the very next day!

Let them know that you need time to carefully cull, edit, and even print their photos. A few extra days of work can mean the difference between good photos and frame-worthy portraits to hang on a living room wall.

say these things to your photography clients

Fuji X100F, 23mm, f/5.6, ISO 320, 1/125 second

Expectations

One trick is to under-promise and over-deliver. I let my clients know that they will receive their final images within three weeks. I almost always send their photos in two weeks. So in their eyes, I have not only met their expectations but vastly exceeded them.

Your clients might want photos quickly, but if you need time to do your post-processing, be firm and stick to your guns. Quality takes time, and you’re not just slapping on a filter like you would see on some social media apps.

And if you need a few weeks to work your magic, then make sure your clients know what to expect.

Image: Nikon D750, 50mm, f/1.8, f/5.6, ISO 6400, 1/90 second. (Using a +4 close-up filter)

Nikon D750, 50mm, f/1.8, f/5.6, ISO 6400, 1/90 second. (Using a +4 close-up filter)

Conclusion

At the end of the day, this is all about establishing a positive, healthy, and productive relationship with your clients.

Always be respectful, and always treat them how you would prefer to be treated yourself. If you say these things to your photography clients it will help send the message that you are a serious professional. Moreover, they will likely want to keep working with you well into the future.

We hope Don’t Be Afraid to Say These Things to Your Photography Clients will help you on your photographic journey. Do you have other things that you feel can be said to clients that can help the session run smoother? If so, share it with us in the comments!

 

The post Don’t Be Afraid to Say These Things to Your Photography Clients appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


Digital Photography School

 
Comments Off on Don’t Be Afraid to Say These Things to Your Photography Clients

Posted in Photography

 

Capture One 20 Review: Time to Make the Switch from Lightroom?

11 Jan

The post Capture One 20 Review: Time to Make the Switch from Lightroom? appeared first on Digital Photography School. It was authored by Carl Spring.

capture-one-20-review

It’s that time of year – time for a Capture One 20 review.

In a huge change to the schedule, Phase One took the bold step of renaming it Capture One 20 instead of the unlucky for some Capture One 13. Let me know your thoughts on this bombshell below!

Okay, I admit it. That is simply an excuse to get you to read on. But is there more than a simple name change to this update? A coat of polish if you will?

Well, honestly, yes and no.

The best thing is that, unlike last year, they have added Catalina support in version 12. This means that Mac owners don’t have to upgrade this year unless they want to. I (and may others) appreciate things like this, bravo Phase One, bravo.

Capture One themselves said that this update aimed to make the software more accessible and easier to use. Simply put, they are after Lightroom users who are unhappy with Adobe.

This update does make Capture One 20 feel more Lightroomesque (yeah, I made that word up). It improves the workflow for existing users as well as adding some useful tool updates.

Capture One 20 New Interface Overview

Another Year, Another Capture One release. Could this be the one that makes you change?

Overview

So let’s start with the list of new features list. 

  • New user interface
  • Faster culling of images
  • New HDR tools
  • New color editor
  • New crop tool
  • Improved copying of layers
  • Improved noise reduction
  • Improved support for DNG files

Now, these all seem to be small changes when taken individually, but do they add up to a whole package that makes it worth the upgrade? Or perhaps more importantly for many of you, is this the upgrade to make Lightroom users make the jump?

Let’s look at these upgrades individually. 

New user interface

Capture One 20 Review of User Interface

You can tweak the layout until you find your perfect workspace. The new scrolling area makes a huge difference.

This is one of the little things many users of Capture One have been asking for what feels like forever. (Finally, Capture One!)

Actually, it even has a scrollable section. Better than that, you have a pinned area, where you can keep tools you always need, along with a scrollable area. That means you no longer need to keep minimizing and maximizing tools.

However, this does mean there is a workflow change for regular users of Capture One. You can no longer simply scroll on a tool to change sliders. Now you need to hold down the alt key to alter tools.

To me, this is great as it stops any mistakes when editing. However, you can alter this in the preferences and use the Alt/Option key to scroll through tools instead.

I do love this update – it means you can customize it to exactly how you want your tools and not have the hassle of minimizing tools. I am sure there are Lightroom users who are thinking, “What the hell! You call this an update?”

Well, yes. This is one of the features that will make moving across from Lightroom easier and more intuitive.

Faster culling of images

Culling of images in Capture One 20 is now much faster. As a wedding photographer, it makes a world of difference to my workflow. You can set the software to automatically move to the next image once you rate it, either by star rating, color rating, or both. This simple tool saves a lot of time.

A new color editor

New Colour tools in Capture One 20

The color tool redesign is a welcome addition.

Well, they say it is new. In reality, it is another user interface update that makes the tools more user-friendly. Along with full layer support, it is more useable.

Capture One 20 has reduced the real estate that the basic color editor takes up. You now have 8 color segments with sliders for Hue, Saturation and Lightness. These are customizable, so if you are looking to isolate a specific range, and the standard segment just doesn’t work, you can simply customize it.

Direct color editor

This is a nice touch that again helps speed up workflow (sensing a theme yet?).

When selecting a color within a photograph, if you continue to hold your mouse button down, you can alter the settings of the selected color range with your mouse (and the alt key).

By sliding your mouse vertically, you alter the saturation. Move it horizontally, and you change the hue. Finally, hold down the Alt/Option key whilst moving horizontally to change the lightness of the color.

New crop tool

Capture One 20 Review of the crop tool

So many upgrades this year make Capture One 20 smoother to use. The crop tool is a perfect example of this.

I’m beginning to sound like a broken record. This is by no means groundbreaking – it should have been fixed several versions ago – but cropping is faster and easier than ever before.

When you hit the Crop tool, the first thing you notice is the bold handles. This means it is much easier for you to grab the handles and crop the image. These handles also disappear when you are cropping in or out of the image, which is a nice touch.

Capture One 20 also allows cropping to the center of the image by holding down the Alt/Option key. It also freezes crop ratios when using the unconstrained option by holding down the shift key.

Lastly, it is easier to switch to the rotation of the image. Instead of having to change to the Rotate tool, you simply move outside of the crop area, and it becomes active. It is also noticeably smoother (on my computer at least) and easier to fine-tune than ever before.

Improved support for DNG files

Capture One 20 also offers better color profiling for DNG files. The improvements are subtle, but they are there. If you use DNG files, you will see a slight improvement in the rendering of colors, with them appearing more natural. However, how much of an improvement will depend on the camera the DNG comes from.

Improved copying of Layers

Capture One 20 Review layers example

The ability to choose which layers to copy across is a great improvement in this current version.

There are three really great improvements to working with layers in Capture One 20. 

Firstly, it is the ability to decide which of the layers you want to copy across. This is great for when you want to have layers that do not want copying across, such as specific retouching layers, or you want to copy your color edits across to a series of images, but not everything else.

This brings me to perhaps the biggest improvement, it pastes copied layers on top of any existing layers. This is huge and removes one of the previous frustrations when using layers in Capture One.

Lastly, you can now easily copy layers between cameras. This can be useful if you have two photographers on a shoot using different cameras. This is a tool that, if you need it, is great. But for many users, this won’t be a deal-breaker.

Improved noise reduction

Noise Reduction

A small but noticeable improvement to the way the software handles noise is seen in Capture One 20

Okay, it’s time to bring out the big ones – the two new feature updates aimed at getting existing users to upgrade.

First is the improved noise reduction.

They have changed the noise reduction algorithm in Capture One 20. There is definitely an increase in performance here, both in the standard reduction applied at import and when using the tools. The colors in high ISO images tend to look nicer (especially skin colors), and you can reduce more noise than in the previous version.

This is one of those tools that suddenly make this upgrade a no-brainer if you shoot a lot at high ISO.

New HDR tools

Capture One 20 New HDR Tools Review

The New HDR Tools allow fine-tuning that has been missing from Capture One for years. This has several users excited. Those looking to move from Lightroom will feel much more at home.

Again, this is more of a “finally!” moment than a “WOW” moment.

The new HDR tools include a black and white point slider. This makes things so much easier in a practical sense and especially if you are moving from Lightroom. Also, the redesign of the sliders mean you can darken shadows rather than just recover them and the same with highlights.

It is great to have this feature, but it should have been developed a while ago. It makes working with shadows and highlights in Capture One 20 so much better.

This finally means no more tweaking the levels just to get the right black point. Again, this is something that Lightroom users have had forever, which brings me nicely to my conclusion.

So, Is it Worth The Upgrade?

This is one of those upgrades that really isn’t exciting. Just like when Apple revealed IOS12, this is not going to be full of new features. Instead, it’s about making the workflow better and making it much more intuitive for Lightroom users to move across.

I think the fact that Phase One updated Capture One 12 to run on Catalina OSX says a lot. In the past, you needed to upgrade to the newest version to use the latest operating system.

As someone who uses the software constantly, the updates are worth the price tag. It really makes editing quicker and easier.

I no longer find myself wishing for fixes to tools quite as much. The new user interface is much nicer than previous versions too. The addition of a black point and white point in HDR tools is great, while the big plus is the noise reduction improvements.

But is it worth the $ 159 to upgrade?

It is going to be hard to justify for a lot of people. The best advice, as always, is to try it for 30 days and see. There may be features that either individually or collectively make it worth your while. However, you may be able to invest that money more wisely.

Should I move from Lightroom?

No Capture One 20 review is complete without the Lightroom question. This is the bigger question and, in my opinion, the main point of this upgrade from Phase One’s perspective.

They have made the software much more user-friendly. The UI tweaks really are good. They are very Lightroom-like, meaning that you will find it much easier to come over to this software.

I have never got on with Lightroom. I tried it briefly when Apple stopped supporting Aperture but found myself preferring Capture One. To me, it is a better piece of software.

Phase One is definitely trying to persuade you to switch over to them, with this upgrade more likely to push more people to Capture One. It gives a more polished performance than ever and fixes some UI issues that long term users have wanted for a while. They even have a monthly subscription model if you don’t want to pay upfront.
It may seem like an expensive outlay at $ 299, but if you are a Fuji or Sony shooter, you can purchase Capture One 20 for $ 129. At that price, it really should be something you look into.

So, if this version can’t persuade you to switch from Lightroom, nothing will.

Have you tried Capture One 20? What are your thoughts? Are you looking to make the switch from Lightroom? Share with us in the comments.

The post Capture One 20 Review: Time to Make the Switch from Lightroom? appeared first on Digital Photography School. It was authored by Carl Spring.


Digital Photography School

 
Comments Off on Capture One 20 Review: Time to Make the Switch from Lightroom?

Posted in Photography

 

Plugable´s new docking station offers Thunderbolt/USB-C compatibility and 100W power delivery

11 Jan

If you’re using a laptop out on the road but want the luxury of a workstation setup back at base, a docking station is the way to go.

Plugable has now launched its latest TBT3-UDZ model which works with any USB-C or Thunderbolt equipped laptop on the market. It allows for the connection of up to two additional 4K displays via either HDMI or Display Port, without using any external adapters. Plugable says its new model is the first Thunderbolt 3 docking station to offer this functionality.

Thanks to a total of 14 ports, for video, audio, SD/microSD and ethernet, you should not have any trouble connecting multiple input devices or peripherals. The TBT3-UDZ is built around the Intel Titan Ridge chipset which enables dual Thunderbolt/USB-3 compatibility and makes it an interesting option for those using multiple types of laptops.

At 100W power delivery is the highest charging wattage to be implemented in the Plugable lineup line of docking stations which, according to the company, makes the TBT3-UDZ an ideal choice for users of some of Apple’s latest laptops, such as the 16″ MacBook Pro, which come with 96W chargers. The Plugable TBT3-UDZ will be available for $ 299 in spring 2020.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Plugable´s new docking station offers Thunderbolt/USB-C compatibility and 100W power delivery

Posted in Uncategorized

 

Weekly Photography Challenge – Snow

11 Jan

The post Weekly Photography Challenge – Snow appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is SNOW!

Image: The Cathedral at Mt Buffalo National Park, Victoria in Winter by Caz Nowaczyk, Focal length:...

The Cathedral at Mt Buffalo National Park, Victoria in Winter by Caz Nowaczyk, Focal length: 130mm, ISO 100, f/6.3, 1/500th

For people in the Northern Hemisphere, it is Winter and, for many, that means snow.

So, this week’s challenge is to go out and shoot any pictures that include snow.

They can be dark and moody or light and bright, color or black and white. They can be stark or busy, close ups or distant landscapes. You get the idea!

So, check out these inspiring pics, have fun, and I look forward to seeing what you come up with!

Image: Bridge over Bullock’s Head Creek from Link Road, Kosciusko National Park by Caz Nowaczy...

Bridge over Bullock’s Head Creek from Link Road, Kosciusko National Park by Caz Nowaczyk. Focal length: 17mm, ISO 125, f/8, 1/1000th

Image: Near Yarrangobilly Caves in Kosciuszko National Park by Caz Nowaczyk. © Focal length: 200mm,...

Near Yarrangobilly Caves in Kosciuszko National Park by Caz Nowaczyk. © Focal length: 200mm, ISO 125, f/5, 1/250th

 

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting SNOW

How to Capture a Winter Wonderland – Essential Tips for Photographing Snow

13 Snow Photography Tips: A Beginner’s Guide

Tips for Photographing Snow

Snowed In? Here’s One Way to Pass the Time

5 Uncommon Snow Photography Tips That Can Transform Your Winter Scenes.

How to Stay Motivated to Photograph Nature after Months in the Snow and Cold

Why Is The Snow In My Pictures So Blue?

Important Things to Consider When Photographing Winter Scenes

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSsnow to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

 

 

The post Weekly Photography Challenge – Snow appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


Digital Photography School

 
Comments Off on Weekly Photography Challenge – Snow

Posted in Photography

 

Hands-on with the Canon EOS-1D X Mark III

10 Jan

Hands on with the Canon EOS-1D X Mark III

Although we’ve known it’s been coming for some time, Canon has now released all the details about its new EOS-1D X Mark III. A big, double-grip DSLR, the 1D X Mark III sits at the top of Canon’s lineup as its fastest, toughest and in many ways, most advanced camera yet. You’d be forgiven at first glance for mistaking it for the previous Mark II (or a much older 1D camera), but small refinements on the outside bely some big advances within.

Autofocus, shutter, sensor and processor

Let’s start with some of those big internal advances. First off, the EOS-1D X Mark III has an all-new autofocus system for use with the optical viewfinder. It offers the same coverage as the Mark II, but with 191 points, of which 155 are cross-type. For the first time, this secondary sensor uses conventional square pixels, rather than dedicated ‘strip’ detectors.

The camera will focus through the viewfinder with telephoto-lens-and-teleconverter combinations down to F8. The overall system has been enhanced with machine learning for body and head detection, yet simplified, with fewer customizable autofocus ‘cases’ and a new ‘Case Auto’ mode that automatically adjusts parameters on the fly without any input needed from the user.

The shutter mechanism has been redesigned, with the goal of giving users less blackout while shooting bursts than the previous model, even while shooting at a faster burst speed. It’s still rated to 500k shots, so should be plenty durable. There’s a menu option to enable an electronic front-curtain shutter if you’re concerned about shutter shock, but we haven’t found any sign of this yet in our limited time with the camera.

Though there’s the same ~20MP of resolution we’ve seen before, the sensor has been updated and offers faster readout speeds. So if you want to take advantage of the silent, fully electronic shutter, you’ll find that rolling shutter artifacts are pretty well controlled. The new Digic X processor is many, many times faster than the dual Digic 6+ units in the previous camera. Together, the sensor and processor combine to unlock 20fps burst shooting with AF / AE in live view (16fps through the viewfinder), as well as some pretty impressive video specs…

Video

The EOS-1D X Mark III makes for an excellent (if hefty) hybrid stills-and-video camera. The toggle switch shown here lets users quickly switch between the two mediums, and the camera now remembers your shooting mode and exposure settings as you move back and forth. This is really great for, as an example, a sports shooter freezing motion at 1/1000 sec shutter speed for stills, but then wanting to quickly capture some 4K/24p video, where they’re more likely to want around 1/50 sec shutter speed.

Impressively, the 1D X Mark III can capture Raw, 5.5K/60p video internally. Just be aware that shooting in this mode means you’ll fill up a 128GB card in under six minutes. You can also capture smooth and detailed 4K/60p video with All-I or IPB compression and 4:2:2 10-bit Log capture if needed, though you need to drop to 4K/30p or lower, or engage the ‘Super 35’ crop mode if you want access to the camera’s excellent Dual Pixel AF system while recording.

There are both headphone and microphone jacks for audio, and though there’s no sensor-shift stabilization, you can enable up to two degree of electronic stabilization, with the more modest setting having minimal impact on detail retention.

But perhaps you’ve noticed that the AF-ON button looks a bit different than before…

AF Smart Controller

The AF-ON button can now function as a sort of trackpad for your thumb. Once enabled in the menus, you can drag your thumb across its surface to control the AF point placement in both the optical viewfinder and when using the rear screen in Live View. You can fine-tune the sensitivity, and because it’s based on optical technology, it even works with gloves if you find yourself in chilly conditions.

In our experience on a pre-production camera, we’ve found that it works well, but different users have different sensitivity preferences. And, quite frankly, some of us have had a hard time re-programming our muscle memory to avoid just reaching for the AF joystick by default.

We suspect that, with a little practice, it’ll be one of the standout features that users will remember this camera for in a few year’s time.

Other ergonomic updates

The rest of the rear of the camera is pretty consistent with what we’ve seen before, though Canon has added backlighting to most of the buttons on the rear plate, so it’s easier to work in dim conditions. The touchscreen also has some updated functions; in addition to controlling the autofocus area and interacting with menus, users can now double-tap with two fingers to zoom in on the menu interface for easier reading.

You’ll also see the built-in microphone and speaker in the rear of the camera for leaving voice memos attached to certain files, an invaluable tool for the full-time sports shooter needing to record crucial information about a particular series of images out of many thousands.

Top plate

There’s not much in the way of surprises on the top plate either, though the ‘illumination’ button that lights up the top-plate LCD is also how you light up the rear controls. The information display gives you almost all you need to know about the camera and your settings at a quick glance, and existing EOS-1D users should be able to find their way around without much fuss.

You may notice an outline of a cover plate just in front of the flash hot-shoe. This is the only portion of the exterior chassis that isn’t metal; the camera’s built-in GPS, Wi-Fi and Bluetooth antennas are housed here.

Hello, CFexpress

The 1D X Mark III ditches the previous camera’s mis-matched CFast and CF card slots in favor of two matching CFexpress slots. These cards are fast and very expensive, but it’s the speed of these CFexpress cards that allow the camera to capture that Raw 5.5K video we covered earlier, internally, and they’re also responsible for a near limitless buffer during continuous shooting.

Fun fact: if you set the camera to 16fps and mash the shutter button, you’ll reach the shutter’s 500,000-shot rating in a touch under nine hours.

A familiar battery

Good news for current 1D-series users and photo agencies: The 1D X Mark III uses the same LP-E19 battery as the older model. But this doesn’t mean you don’t get a capacity upgrade. Thanks to more efficient processing throughout, the battery life has leapt from a CIPA rating of 1210 shots with the viewfinder on the Mark II to a whopping 2850 shots on the Mark III. Likewise, Live View shooting climbs from 260 shots to 610. As always, users are likely to get many more shots per charge in real world shooting.

Ports and networking

Lastly, what sort of sports camera would this be without an ethernet port? Yes, the EOS-1D X Mark III supports gigabit ethernet connections, and is being released alongside a new, professional WFT-E9 wireless transmitter for users that need to get photos off the camera and out into the world quickly.

There’s also a remote port, a USB type C connector, HDMI out and a flash sync port. Canon has incorporated some pretty neat networking updates, including the ability for the 1D X III to use multiple network protocols simultaneously. So, as an example, you can remote-control the camera with the EOS Utility and its built-in Wi-Fi connection while the camera is set up to upload files to an FTP server with the WFT-E9 adapter.

Hands on with the Canon EOS-1D X Mark III

We have a lot more in-depth coverage in our EOS-1D X Mark III initial review, so head on over there for sample images, a video reel, and a more in-depth look at its all-new autofocus system.

What do you think of Canon’s latest flagship? Should it have been a mirrorless camera with the RF mount? Is it going to be the ‘last great DSLR?’ Is this a sign that DSLRs are going to be relevant for years and years to come? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Hands-on with the Canon EOS-1D X Mark III

Posted in Uncategorized

 

First look at the Nikon D6

10 Jan

Nikon D6: First look

We don’t know much about Nikon’s forthcoming pro sports flagship camera, but CES 2020 did give us an opportunity to get a first look – albeit at a sample under glass. Click through this slideshow for a closer peek, and a digest of what (little) we know so far.

Nikon D6: First look

It’s no surprise to see that the D6 looks a lot like the D5. In fact, aside from the slightly more D850-inspired sculpting of the pentaprism you’d be hard pressed to tell the two bodies apart. As Nikon’s high-end DSLRs have matured, it’s pretty much inevitable that we’re not going to see major changes to body shape or control layout.

From the front you can see the D6’s deep vertical grip, which houses a high-capacity lithium-ion battery, and the heavy duty rubber covers which protect its remote control and flash sync ports from dust and moisture.

Nikon D6: First look

From the back, the D6 is again almost indistinguishable from the D5. There are in fact no noticeable changes to button layout at all compared to the previous model. While unconfirmed, the LCD looks to be the same or very similar to the D5, too. Assuming we’re right about that, it’ll be a 3.2″ panel. We fully expect the D6 to follow the D5 in offering back-lit controls for low-light shooting, too.

The D5 was among Nikon’s first DSLRs to offer 4K UHD video, and we expect the D6 to build on this feature set, perhaps also offering an enhanced video / live view autofocus experience of the kind we’ve seen in the new D780.

Nikon D6: First look

The D6 features the same unusual eyecup attachment method as the D5, with the cup screwed into a removable panel, which releases via a pair of catches to the lower left and right of the finder. This view shows off the D6’s large upper status LCD, which displays key exposure settings, battery level, etc.

It remains to be seen what kind of autofocus features the D6 will offer, but we still consider the D5 to be a gold standard for DSLRs, so any improvement on its excellent 153-point system will just make a great system even better. What we really want are improvements to live view autofocus, to bring the D6 more in line with what we’ve seen from the Z6 and Z7 (and now the D780). We’ll have to wait a while longer to see whether our wishes are fulfilled.

Nikon D6: First look

On the opposite side of the D6’s top plate is the main drive mode dial, which lets you quickly select from a range of advance options. No word yet on maximum framerate, but we’d expect a jump from the D5’s maximum shooting rate of 12fps. The trio of buttons which top this dial are MODE / BKT / metering pattern, and are unchanged from the D5.

Eagle-eyed readers will also notice the WiFi and Bluetooth symbols printed on the D6’s shoulder.

Nikon D6: First look

A view from the top shows off the D6’s fairly sparse upper controls, which will be very familiar to D5 and D850 shooters. While – again – unconfirmed, the seam in the pentaprism hump just in front of the hotshoe looks a lot like a polycarbonate ‘window’ for those previously-mentioned wireless connections and / or GPS.

And that’s it – for now. We’re hoping for more information on the D6 soon, ahead of its expected release before the Tokyo Olympics this summer. We’ll keep you posted!

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on First look at the Nikon D6

Posted in Uncategorized

 

Hands-on with the Nikon Nikkor Z 70-200mm F2.8 S

10 Jan

Hands-on with Nikon Z 70-200mm F2.8 S

Nikon’s just-announced Z 70-200mm F2.8 S looks like a powerful option for Z-series photographers, joining the Z 24-70mm F2.8 S as the second part in Nikon’s ‘holy trinity’ of F2.8 zooms for Z mount. We got our hands on an early working sample at CES. Click through for some initial impressions and a breakdown of the key features.

Hands-on with Nikon Z 70-200mm F2.8 S

Physically, the Z 70-200mm F2.8 S is very similar to the older AF-S 70-200mm F2.8. Its external dimensions are about the same, as is its weight. But while the optical design bears some relation to its F-mount forebear, this is a very different, and very advanced design.

Featuring 21 elements in 18 groups, the Z 70-200mm F2.8 S is Nikon’s most ambitious Z-mount zoom yet, featuring no fewer than six ED (extra low-dispersion) elements, two aspherical elements and one fluorite element.

It also includes a new ‘SR’ (short wavelength refractive) element, which is, in Nikon’s words, ‘a specialized-dispersion glass lens featuring characteristics that greatly refract light with wavelengths shorter than that of blue.’ This appears to be a comparable technology to Canon’s Blue Spectrum Refractive Optics (BR) found on lenses such as the EF 35mm F1.4L II and RF 85mm F1.2L.

This should mean that chromatic aberration is kept to an absolute minimum, something we want to test as soon as possible. Nano crystal coating and Nikon’s new Arneo coating also help keep contrast high and flare low when shooting into, or just off-axis, from bright light sources.

Hands-on with Nikon Z 70-200mm F2.8 S

This view shows the standard A|M switch for focus and a simple focus limiter, to stop the lens from hunting through its entire range for distant subjects. Close focus (should you need it) is 1m at 200mm, and 0.5m at 70mm – a nice improvement over Nikon’s previous 70-200mm designs for DSLRs.

The Z 70-200mm F2.8 S offers an impressive built-in VR system, capable of 5 stops of correction, Nikon’s highest-ever rating (per CIPA). So what’s missing? The Z 70-200mm F2.8 S does not feature the familiar VR mode switch found on many Nikon lenses; instead, VR is toggled and controlled via the camera body.

Hands-on with Nikon Z 70-200mm F2.8 S

Twin Fn buttons on the barrel can be customized to fulfill various other requirements, basically matching the options available in-camera for the Z6 and Z7’s own Fn buttons. The tripod collar is fixed, but the foot can be removed when not required.

Hands-on with Nikon Z 70-200mm F2.8 S

As we’ve seen on the Z 24-70mm F2.8 S (as well as the new Noct) the 70-200mm features a small display on the barrel itself, which can be switched (via the ‘DISP’ button) to display aperture and focus position.

This shot also shows the zoom and focus ring arrangement, which matches that of the AF-S 70-200mm. Some photographers love having zoom positioned towards the tip of the lens, and some photographers hate it, but hopefully all Z-series shooters will appreciate the customizable control ring, positioned at the opposite end of the Z 70-200mm F2.8 S, which can be used for quick control over exposure compensation and/or aperture.

Videographers will also appreciate that this lens provides parfocal support. In other words, the focus position doesn’t shift when the lens is zoomed. It’s not clear at this point whether the lens is optically parfocal or if it makes a real-time focus adjustment to provide a parfocal effect, but either way it should negate the need to pull focus during or after zooming.

Hands-on with Nikon Z 70-200mm F2.8 S

As we’d expect, the Z 70-200mm F2.8 S is sealed against dust and moisture incursion. You may just be able to make out the slim rubber sealing ring around the lensmount in this shot.

Notice too the relatively recessed rear element, which is unusual in Nikon’s current Z-mount lens lineup.

Hands-on with Nikon Z 70-200mm F2.8 S

The Z 70-200mm F2.8 S features a nine-bladed aperture for circular bokeh at wide apertures, and a 77mm filter thread. It will be available next month for $ 2,599.99.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Hands-on with the Nikon Nikkor Z 70-200mm F2.8 S

Posted in Uncategorized