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Sony’s semiconductor business is working around the clock keep up with image sensor demand

25 Dec

Sony is working around the clock to keep up with the demand for its image sensors, Bloomberg reported on Monday, but it’s still not enough. According to the report, Sony is running its image sensor manufacturing business 24/7 straight through the holidays in an effort to keep on top of demand. As well, Sony is building a new facility in Nagasaki to expand its production capacity.

The Nagasaki manufacturing plant won’t go live until April 2021, meaning Sony’s current operations will remain strained for the foreseeable future. Sony Semiconductor head Terushi Shimizu recently said in an interview that the company is having to apologize to customers for its inability to keep up with image sensor demand.

As well, Shimizu said during the interview, the company has seen such huge growth in demand for its image sensors that the new Nagasaki facility may not be adequate enough once it goes online in 2021.

The rise of double- and triple-camera modules on flagship smartphones is driving this demand, the report claims. Whereas smartphone manufacturers previously needed one image sensor per handset, these same companies are now ordering two or more sensors for each unit (of select models), meaning that Sony has seen demand for its sensors increase even as the overall smartphone market’s growth begins to falter.

Falling only behind the PlayStation, Sony’s semiconductor business has become its most profitable business with image sensors accounting for the majority of the revenue. The company is investing in the semiconductor business to expand capacity, also eyeing new generations of image sensors for budding technologies, including ones involving AR and 3D sensing.

Sony remains in competition with Samsung, which has seen demand for its own image sensors likewise increase. In 2018, Korean publication ETnews reported that Samsung Electronics had announced a plan to increase its image sensor production capacity with the goal of overtaking Sony in this market. Whether it will be able to do that remains to be seen.

Articles: Digital Photography Review (dpreview.com)

 
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10 Quick Beginner Tips for Fantastic Mobile Phone Photography

24 Dec

The post 10 Quick Beginner Tips for Fantastic Mobile Phone Photography appeared first on Digital Photography School. It was authored by Karthika Gupta.

mobile-phone-photography-tips

Photography is such an important part of our everyday life, and now we have photography at our fingertips with mobile phones. This article will share with you some simple tips so you can achieve awesome, and memorable mobile phone photography.

Photography is an incredible medium to document, share and preserve all those fleeting moments in time that seem to go by so quickly. I have to admit, I am a complete sap when it comes to taking pictures. I take way too many of my family because I really want to preserve each and every moment. Like the time when my husband surprised me and took me to New Zealand for our honeymoon, or the time when my kids hung out with their grandmother taking photos right by our front porch.

Little did we know that this would be the last time we would get to spend time with my mom. She lost her battle to cancer later that year and those images are priceless to me!

10 tips for mobile photography by Karthika Gupta

And even though I am a professional photographer, I find that I use my phone more often than not to capture precious everyday moments. After all, they say that the best camera is the one that you have with you, right?

So here are 10 tips to improve your mobile phone photography to make the best of your images. And just to be completely transparent, all the images shown in this post are through my iPhone (a mix of the 6s, 8 and 10 versions).

1. Clean your lens

This one is really basic, but you will be amazed at how many times I have reached for my phone only to find lots of smudges and dirt from little hands that think they are helping with everything and anything.

So, do yourself a favor and get into the habit of quickly wiping your phone camera lens before taking a shot. It does make a world of difference to the picture quality.

2. Manually set focus

Just like a real camera, your phone camera is also a sophisticated piece of technology. A lot of times, it is too smart for your own good! Typically when you point your phone camera at something, the phone will take an educated guess at what you want to photograph. If it recognizes faces, that’s what it will pick. To manually change focus from one subject to another, simply tap on the phone screen and choose your focus point.

Karthika Gupta 10 tips to improve mobile photography

3. Don’t use flash

Your phone camera has a flash, and it sucks! Sorry, there simply isn’t a way to sugarcoat this. The flash on your phone camera is not the most flattering for photos, and if you use natural light, also known as daylight or sunlight (take photos during the day), there is no reason to use flash.

Simply tap on the flash button to turn it off and use natural light (sunlight or ambient light) creatively. If you have to use flash, try not to point it directly at the subject. One way to avoid this is to have a second phone flash, a mobile phone light, or even flashlight pointing to the subject from the side. That way, you are avoiding that harsh flashlight from pointing at your subject.

4. Manually set exposure

Just as tip #2, you can adjust the exposure (also known as brightness of the photo) manually on your phone camera. This helps control how dark or how bright the photo will turn out when you press the shutter.

To adjust, simply tap on the screen and when you see the sunburst symbol or sunlight symbol, use your finger to swipe up or down to adjust or reduce the exposure accordingly.

Karthika Gupta 10 tips to improve mobile photography

5. Compose your photos creatively

This simply means avoid placing your subject in the center of the image all the time. There are many different creative composition rules, but the most famous of them all is ‘Rule of thirds.’

Here, the subject is placed in just one-third of the image, so the eye is drawn to that part of the image to make it aesthetically pleasing.

Karthika Gupta 10 tips to improve mobile photography

6. Rule of odds

Another tip for fantastic mobile phone photography is using the Rule of Odds. This means that when you have many subjects, try to have an odd number like 3, 5, 7, etc.

An odd number of subjects or focus elements are also perceived to be more aesthetically pleasing to the eye than an even number of elements in the frame. Do keep in mind that these rules are simply suggested photography concepts…not following them does not make the photo bad!

7. Straighten the horizon

One of the most aggravating things in a beautiful image is a crooked horizon. It throws the whole image out of whack! So take a moment and straighten any horizon lines in the frame. This can be done by selecting the grid function on your phone and making sure that horizontal lines are in line with the grid lines.

8. Use leading lines

Leading lines are a great way to lead the viewer into the frame and drawing attention to the subject matter. Roads, buildings, or even furniture placed creatively, can act as leading lines to draw the viewer into the image – almost inviting them to stay awhile and rest their eyes.

Karthika Gupta 10 tips to improve mobile photography

9. Photograph in natural light

There is something so pure and clean about photographing in natural light.

Natural light is simply outdoor light. No matter what the time of day, natural light has a very distinct quality. Photograph at different times of day outdoors and see how light affects the image.

The image below of a foggy morning out on Lake Michigan was actually taken from a moving car in burst mode. I really wanted to capture those orange posts against the blue-green water. You can also edit your images using a variety of mobile apps out there.

My personal favorites are SnapSeed and VSCO.

Karthika Gupta 10 tips to improve mobile photography

10. Try not to zoom

My final tip for fantastic mobile phone photography is to try not to zoom. The digital zoom of the phone camera is not very powerful – no matter what phone companies will have you believe.

When you use the digital zoom, a lot of noise and distortion is introduced in the frame. If possible, try to move your feet to get closer to the subject as opposed to using digital zoom.

Conclusion

There you have it – 10 quick and easy tips to help you improve your mobile phone photography and take it up a notch. Remember, oftentimes the best camera is the one you have at hand. And if you are like me, that phone literally lives with you 24×7, so might as well use it as a tool to not only document your everyday life but also improve your photography skills.

The post 10 Quick Beginner Tips for Fantastic Mobile Phone Photography appeared first on Digital Photography School. It was authored by Karthika Gupta.


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500px combines Terms of Service and Contributor Agreement, confusing some users

24 Dec

Photography community 500px recently updated its Terms of Service, adding its Contributor Agreement into the TOS to provide a single destination for both. As tends to be the case any time a social network or other service updates its TOS, some users have picked through the text and come away frightened. A recent analysis of the changes by PetaPixel, however, finds little to be concerned about.

500px released its updated Terms of Service earlier this month; users were alerted to the change when the service prompted them to read and agree to the latest TOS. A number of users posted concerns about various snippets on social media, questioning the terms and, in some cases, demanding the company make changes.

PetaPixel recently dug into the latest Terms of Service and compared it to 500px’s older archived TOS, finding that the language has remained essentially unchanged. Some users may be surprised by the changes because of the inclusion of the Contributor Agreement within the updated TOS. Those added terms only apply to users who choose to sell images through the platform, however.

Users always retain the option of deleting their 500px account. The latest Terms of Service explains that:

Upon termination (by 500px or you), 500px will remove your Visual Content from licensing within 180 days and will inform all distributors that the Visual Content should be removed during that time period, provided however that 500px (and our distributors) may retain digital copies of Visual Content for archival and record-keeping purposes. 500px will continue to make payments due to you after termination in accordance with these Terms.

Via: PetaPixel

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Try our most popular photography training resource for just $13

24 Dec

The post Try our most popular photography training resource for just $ 13 appeared first on Digital Photography School. It was authored by Darren Rowse.

dPS Deal 12

Day 12 of dPS Holiday Deals gives you a taste of our most popular course of all time, for just $ 13! Try the 31 Days to Becoming a Better Photographer Printable Guides + Assignments and you can credit your purchase towards the full course starting on the 27th of January.

Save 55% now

We all want to take stunning photos like you see in galleries or magazines and other places. But the question is: how do you get there? How do you learn the skills and master the techniques to take amazing photos?

Instructor Jim Hamel has condensed key learnings from each day of our most popular course into one-page printable cards. Take the tips into the field with you, either printed out or on your device.

31 Printable Course Cards and Assignments

And there’s 31 detailed field assignments to help you consolidate what you have learned by putting theory into practice, getting out there and achieving results you may not have thought possible.

(Not included: Access to the course videos, Full downloadable course notes for each day, Access to the private Facebook Group and Instructor)

Usually $ 29, you can now grab the set of all 31 printable guides and assignments for just $ 13 USD. And if you love it you can credit your purchase towards the full course starting in January.

Check it out before the next deal arrives in less than 24 hours.

Best wishes,

Darren and the team at dPS

PS – You can still grab yesterday’s deal today and save $ 100 on Portrait Fundamentals by Digital Photo Mentor. Check it out here.

The post Try our most popular photography training resource for just $ 13 appeared first on Digital Photography School. It was authored by Darren Rowse.


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Photographer Brandon Hill shoots portraits with the Sony Xperia 1 and Xperia 5

23 Dec

Sony’s Xperia 1 and Xperia 5 smartphones offer powerful photo and video features, including advanced face and eye-detection autofocus technologies inherited from Sony’s Apha-series mirrorless cameras. Sony’s Eye-AF works by analyzing the scene in front of the camera in real-time, and identifying and focusing on human eyes. If the camera or subject move, detected eyes and faces are tracked within the frame. A green square shows that an eye has been identified.

Portrait and commercial photographer Brandon Hill took the Sony Xperia 1 and Xperia 5 to House Studios recently, here in Seattle, to see how they performed. During a busy portrait shoot, Brandon worked with model and athlete Krista Armstead to put together several shooting scenarios, including indoor and outdoor lighting, and even a trampoline, to test the phones’ high-speed shooting and 4K video capabilities.

Sony Xperia portraits – pictures by Brandon Hill

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This is sponsored content, created with the support of Amazon and Sony. What does this mean?

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DPReview TV: The great ultra-wide sunstar shootout

23 Dec

We compared sunstars from eight ultra-wide full frame lenses, including both DSLR and mirrorless lenses, from Canon, Nikon, Panasonic, Sigma, Sony and Tamron, including:

  • Canon EF 16-35mm F2.8 III
  • Canon RF 15-35mm F2.8 IS
  • Nikon F 14-24mm F2.8
  • Nikon Z 14-30mm F4
  • Panasonic 16-35mm F4
  • Sigma 14-24mm F2.8
  • Sony 16-35mm F2.8 GM
  • Tamron 17-28mm F2.8

Who’s the winner? Watch the video and look at the samples below, then tell us which one you think is best in our poll (below).

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

Sample gallery from this episode

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Have your say

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Which lens produced the best sunstars in our sunstar shootout?
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Review: Lensbaby OMNI Color Expansion Pack for the OMNI Filter System

23 Dec

The post Review: Lensbaby OMNI Color Expansion Pack for the OMNI Filter System appeared first on Digital Photography School. It was authored by Anabel DFlux.

lensbaby-omni-expansion-pack

What’s the best way to stand out from the crowd and exhibit some eye-catching colors? By applying some colored gels to a Lensbaby Omni effects system, of course!

Home to some of the most unique lenses in the world (fondly called “art” lenses), Lensbaby pride themselves on developing equipment that gives you a slew of unusual in-camera effects. Their newest mind-boggling contraption, the Lensbaby OMNI Filter System, now has an expansion pack for the color enthusiast in us all.

Review: Lensbaby OMNI Color Expansion Pack for the OMNI Filter System

What is the Lensbaby Omni Filter System?

If you’re an out-of-the-box photographer who hasn’t heard of the OMNI yet, you’re missing out.

In simple terms, the Omni Creative Filter System is a metal ring that holds various effect wands in front of the glass to produce an effect. And it works by using the power of magnets. These effect wands come in the form of crystals, panels, and other doohickeys that opens a world of possibilities when used.

The awesome thing about this product is that you can sort-of ‘make a Lensbaby’ out of any existing lens that you own.

As you can imagine, there is a lot of room for growth with this system. This is where the brand new Color Expansion Kit comes into play.

What does the Color Expansion Pack add to the mix?

lensbaby-omni-color-expansion-pack

The main original OMNI kit only includes three Effect Wands, a long arm to hold the Effect Wand, a short arm to hold the Effect Wand, two magnetic mounts (each mount holds up to two Effect Wands), and a small carrying case to tie it all together. While this is absolutely awesome, and the effect wands are great, they have the downside of, well… not having color. They are all clear wands.

So how does one fill the gap if they have a bit of an inclination towards color and rainbows?

Boom – the Color Expansion Kit.

Color quickly seeps into your work via two multicolored crystals, a rainbow diffraction film, and a variety of luminescent and textured films and gels (that are held up conveniently by the Effect Wands).

The gels and films come in a variety of colors, and depending upon your positioning of them can be very vibrant and intense or just provide a subtle light leak.

Practical, real-life use

Review: Lensbaby OMNI Color Expansion Pack for the OMNI Filter System

Much like the main OMNI system, this expansion pack is self-explanatory and quite easy to use.

There is a large-ringed, donut-shaped disc that holds the magnetic arms that, in turn, hold the effects wands. This disc, depending on your lens filter thread, can either be screwed on directly or use a step-down/step-up ring to attach to your lenses’ glass element.

The filters and microgels are just thin strips that slide into the same effects holder as the diffraction film. This holder is solid and sturdy and ensures that your films don’t slide around. The wind picking up could not cause these to budge!

Shallow depths of field tend to work very nicely with this particular expansion pack, and the filters turn into a part of the bokeh and spread across the frame rather than showcase their rectangular shape.

The wider the focal length you use, the more room you have to play with each of the new components. For example, the crystals work better with 35mm frames than, say, 85mm, as the effect becomes more prominent.

This filter set works best in bright, good lighting as opposed to low light as the filters do darken the frame quite a bit.

Review: Lensbaby OMNI Color Expansion Pack for the OMNI Filter System

Pros

  • A myriad of possible effects.
  • Great color range.
  • Easy to use and simple to learn.
  • Comes with a carrying case.

Cons

  • The individual pieces are small and easy to lose? I’m grasping at straws here for a con. This expansion pack is marvelous.

Final thoughts

Review: Lensbaby OMNI Color Expansion Pack for the OMNI Filter System

The Lensbaby OMNI gets your creative juices flowing, pushes you to try new things, and adds a brand new spark of life to your images. Offer your subjects something different! The addition of color only expands your horizons further.

Can you achieve the same with a do-it-yourself method? Probably. But there is so much room for error or frustration there, versus a system that is already tried and true! I love playing with this system, and I have no doubt whoever nabs it next will too.

They also have a Crystal Expansion Pack, and you can read a review about them here, along with the main filter system.

Have you used any of the Lensbaby OMNI filter systems? Share your thoughts with us in the comments.

The post Review: Lensbaby OMNI Color Expansion Pack for the OMNI Filter System appeared first on Digital Photography School. It was authored by Anabel DFlux.


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How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

23 Dec

The post How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop appeared first on Digital Photography School. It was authored by Jackie Lamas.

how-to-create-twinkle-lights-in-photoshop

Christmas is almost here and like you, many photographers are getting ready to photograph their holiday sessions and are likely using Christmas trees. In this article, we’re going to show you how to add a little more twinkle to your Christmas photos so that you can wow your clients. Even if your trees have lots of lights, this will show you how to create twinkle lights in Photoshop so you can add more cheer to your photos!

Image: Learn how to add twinkle lights to your holiday photo sessions in this article.

Learn how to add twinkle lights to your holiday photo sessions in this article.

Step 1. Create your twinkle lights pattern

In order to add the twinkle lights to the lights and create more lights, you’ll need to first create the brush preset. This isn’t as difficult as it seems. Of course, you could download brush presets online, but there’s nothing like having the perfect brush you’ve created for your photos.

1.1 Create a new document. It doesn’t have to be a large document. Use a predetermined one and make sure you aren’t using artboards and that your resolution is at 300dpi. A white background will help you see what you’re doing.

Image: Create a new document. It doesn’t have to be large since you’ll end up with a bru...

Create a new document. It doesn’t have to be large since you’ll end up with a brush preset that can be sized after.

1.2 Next, go into Brush Settings. If you don’t see this on the icon menus on the left (or where you have your tools), you can open it by going to Windows -> Brush Settings and the window with the settings will pop up.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

Choose the round brush with zero hardness – it should be brush 30 in the brush menu. It’s a predetermined brush.

Here, you’ll want to select the roundness of the brush to around 8%. This will make sure your brush is flat to make the different strokes of the twinkle.

For this tutorial, we’ve made our twinkle with 5 points, but you can get creative with the size and add in additional points if you like.

Image: You can see how the brush is flattened.

You can see how the brush is flattened.

1.3 Choose the angles of your brush. Respectively, they are 90-degrees, 180-degrees, 45-degrees, and -45-degrees to make the five points. You can set a ruler to help guide you, making sure the lines intersect in the middle. For this one, I just painted with the brush by eye.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

1.4 Once you have all five points or as many points as you want for your twinkle, go back to the Brush Settings and change the roundness back to 100%. With this brush, go to the center of your star and fill in the middle with a couple of clicks to add more to the middle.

This will give the twinkle a little more fullness and make it look like an actual light in the Christmas tree.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

1.5 We’re almost done! Finally, we’ll add in a nice Gaussian Blur to the twinkle so it looks more real in the background and the points on the starburst aren’t too harsh when you’re adding them into the images.

Of course, this is preference and you can make one brush with the blur and another brush without so you have options. We’ve added the blur to our starburst. Go to Filter -> Blur -> Gaussian Blur and choose how much blur you want.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

1.6 Now you have a nice full twinkle light! From here, we’ll need to create the Brush Preset pattern so that you can use it in the future on any image in Photoshop. Go to Edit -> Define Brush Preset -> Change the name to what you’d like to call it and click OK.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

This will create your brush pattern! Now you have your twinkle light brush ready to use and you can change the color and size.

Step 2. Clone lights to make the twinkle lights look more real

If you add your twinkle lights to the photo, it will look oddly out of place. This is because it needs an actual light to shine off of an actual light source. The best way to do this is to clone a light in the original photo to other parts of the tree before using the twinkle light brush.

While you could just paint on dots, they don’t have the same color and gradient as a light that is already in the tree and may look out of place.

2.1 To do this, first create a new layer so that your twinkle lights can become moveable after you’ve added them. Also, this will keep you from cloning and using the brush on the original image in case you need to start over, you can simply delete the layer.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

2.2 Now go to the layer of your original image, click on the Stamp Tool. In the menu bar at the top, make sure that you uncheck where it says Aligned. This will make sure to only clone the light as you click on various parts of the layer.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

Click on ATL and click a light. Make sure the brush is just large enough for the light tip so you don’t clone too much of the tree/background.

2.3 Once you’ve made your selection of which light you’ll clone, go back to the new layer and click on the parts of the image you see that you want to add the lights in. Don’t worry, you’re not cloning on the image itself, this layer is transparent and that’s why you can see the photo in the layer below. It helps to see where you’re putting the extra lights.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

2.4 All right, now that you’ve added more lights to the tree, you are ready to add in the twinkle lights brush! Go to Brush and choose the brush you just created. Usually, new brushes show up at the end of the brush list.

Choose your twinkle light brush. Make sure that the color for your brush is set to white. Alternatively, you can choose the color picker and get a warmer yellow color that matches the lights. It’s your choice! You can also add colored lights if you wish!

Leave the hardness and opacity at 100%, go to your new layer where you’ve cloned the lights on. Go to each light and add in the twinkle onto it. Adding the lights and the twinkle makes the twinkle look real and not too fake.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop christmas-twinkle-lights

Change the size for a few of the twinkles so they look more random.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

3. Add in additional colors

The great thing about doing the twinkle lights this way is that because you’ve added them onto a transparent layer, you can move them around and resize them as you need.

The amazing part is that you can duplicate the twinkle lights layer, move it around, and add colors to it to create colored twinkle lights. Here’s a break down of how you do that for multiple colors:

3.1 Duplicate the twinkle lights layer.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

3.2 Move it around and transform it so that it’s not directly on top of the other twinkle lights. If you’re going to add in more colors, I suggest that you don’t add in too many twinkle lights in the original layer so that you can fill in those empty spots with the colored twinkle lights.

3.3 Go to Layer -> New Fill Layer -> Solid Color. Choose a color. I did blue, green, and red. But you can add in any color.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

3.4 You’ll end up with a solid color onto your images. Don’t worry, right-click on the layer and choose Create Clipping Mask to clip it to the twinkle light duplicate layer.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop
3.5 Go to Blending modes at the top of the layer window and choose Color. This will overlay the color on the twinkle lights and make it look more real.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

3.6 A great tip is to merge each color to the twinkle lights layer. Then add a mask so that you can go into the layer with your brush and take out the twinkle lights for that layer without having to deal with the color clipping mask and all that.

It’ll make removing them easier. This is ideal in case you need to remove one from an ornament or face.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

You can also add a clipping mask to the original twinkle lights layer to help brush out unwanted twinkle lights as well.

Image: Using a mask on the layer can help you to take out unwanted twinkle lights.

Using a mask on the layer can help you to take out unwanted twinkle lights.

And that’s it! That’s how you add in additional twinkle lights in color to your image!

Image: Before and after with the twinkle lights in color. You can make it more subtle by adding fewe...

Before and after with the twinkle lights in color. You can make it more subtle by adding fewer twinkle lights.

Use in non-holiday images as well

Use this tutorial on other images where you’d like to add in some twinkle too! It doesn’t have to just be for holiday sessions, simply just use the brush only with a color set.

Image: Use the twinkle lights brush on other portraits that you’d like to add some sparkle to.

Use the twinkle lights brush on other portraits that you’d like to add some sparkle to.

Make sure you’re working on the transparent layer and play with opacity levels and additional colors.

How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop

In a new transparent layer, I selected the twinkle lights brush and added the twinkle lights to various parts of the layer in white in different sizes. Then, set the blending mode to Overlay to get the right look. I also lowered the opacity.

Twinkle lights with more than 5 points

The great thing about adding in twinkle lights is that you’re creating your own brush preset! This lets you create different types of brushes, and one might be adding more points to the twinkle light.

Image: Here’s a comparison of no twinkle lights, a five-point twinkle, and a multi-point twink...

Here’s a comparison of no twinkle lights, a five-point twinkle, and a multi-point twinkle light.

Go through all of the steps in Step One, only this time add more angles and add in more points. It also looks great when you change the size within the same brush.

Image: In the close-up, you can see that the brush preset has more points than the five-point twinkl...

In the close-up, you can see that the brush preset has more points than the five-point twinkle light brush we made previously.

It’s really all about preference, so play around and see what look is the right one for your portraits.

In conclusion

Image: Before and after on another photo. This is more subtle and only uses white twinkle lights.

Before and after on another photo. This is more subtle and only uses white twinkle lights.

It may sound complicated the first time you give it a try, but with time it gets easier! Adding in additional twinkle lights can give your holiday photos a little more twinkle and pop that will make your clients very happy to see in their final images!

Will you be using this tip to add in twinkle lights to your images?

The post How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop appeared first on Digital Photography School. It was authored by Jackie Lamas.


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Gear of the Year 2019 – Rishi’s choice: Sony FE 135mm F1.8 GM

23 Dec
Photo: Dan Bracaglia

I love shooting wide. No, really: I made a whole video about how I even shoot portraits with wide-angle lenses. Wide-angles provide a sense of depth, dramatic perspectives, a glimpse into the subject’s surroundings and even provide an intimacy to portraits by giving the perspective of an observer standing very close to the subject. So you may be surprised by my choice of Gear of the Year: the Sony FE 135mm F1.8 GM.

Perhaps it’s just that I needed something different. Spice up my life, venture beyond 35mm, you know, my favorite ‘telephoto’ lens. Or, maybe Sony just made an amazing lens in the 135mm GM. Perhaps it’s a bit of both.

135mm F1.8 allowed me to focus on my backlit subject, and nothing else. Look at that creamy background.

I took the Sony FE 135mm with me on a recent trip with family and friends, enjoying time together at a cabin and celebrating three years of keeping our daughter alive.

135mm really allows you to isolate your subject, and make it about nothing else, even if some of the environment is included. Rather than jumping around the frame from one point of interest to another, the viewer’s eye can just focus on one story which, below, is a simple one of one sibling looking up to another.

The ‘tunnel vision’ a long focal length paired with a fast aperture provides allows you to create simplistic images that tell just one story, like the love shared between these siblings.

That’s not to say that 135mm doesn’t allow you to portray your subject against its surroundings, it’s just that things are a bit different compared to a wide angle composition. Rather than include an expansive view of your subject’s surroundings with an enhanced sense of depth, the longer focal length allows you to compress your subject against only an isolated – and magnified – portion of its environment.

Take the image below: A wide-angle lens would have included the foliage, the sky, the ground, and other potentially distracting elements, all situated at different depths. This creates a more complex image with an enhanced sense of, well, depth. That can certainly be nice, but sometimes I like the simplicity of the subject and the background essentially appearing at just two different focal planes.

The 135mm focal length allowed me to ‘compress’ the scene, bringing the trees in the background closer to my subject(s), and allowing me to frame my subjects against the green foliage. The long focal length allowed me to magnify only a small portion of the background, allowing me to exclude distracting elements like the sky above or the ground below my subjects.

Technically, the FE 135mm GM lens is superb. Optically, the lens is literally the sharpest lens our friend Roger Cicala at LensRentals has ever tested. That’s at least in part due to the XA (extreme aspherical) element designed to minimize spherical aberration.

The Super ED and ED glass used in the elements in the front group replace traditional large and heavy negative elements commonly used to suppress longitudinal spherical aberration. The result is very little, if any, longitudinal chromatic aberration, commonly seen as purple and green fringing in front of, and behind, the focal plane, respectively.

The 135mm focal length allowed me to easily isolate my subject in this otherwise small and busy indoor space. And thanks to the excellent optics, there’s no distracting green fringing in the high contrast ‘Title’ text behind our subject, despite the fast aperture.

Sony’s 10 nanometer mold precision and other recent improvements ensure smooth aspherical surfaces, meaning that onion-ring bokeh is non-existent. An 11-blade aperture ensures circular out-of-focus highlights, and generally smoother bokeh, even when shooting stopped down. Sure, there’s some mechanical vignetting that leads to a ‘cat’s eye’ effect, but that’s to be expected of a lens of this type, and isn’t severe enough to result in swirly bokeh in the family portrait above.

Just as important as optical quality is the focus performance: especially for candid portraiture. And here the FE 135mm GM is industry leading: focus is lightning fast thanks in part to its four XD (‘extreme dynamic’) linear induction motors. These motors are far faster than the previous piezoelectric design of Sony’s ‘Direct Drive SSM’ system, and are capable of moving larger, heavier elements.

Paired with the excellent autofocus system of Sony’s recent cameras such as the a7R Mark IV, focus is fast enough that I could easily nail focus on the eyes of erratically running toddlers, even with the aperture wide open at F1.8:

This boy was running through a wading pool and momentarily smiled at the camera. Real-time tracking (with Eye AF) coupled with the extremely fast autofocus speeds of this lens allowed me to nail this moment effortlessly.

I’ll admit I’d rarely shot with 135mm primes in the past, typically sticking to a trio of primes (24, 35, and 85) for weddings, or 70-200mm F2.8 lenses for engagement and portrait shoots. I’ve found the 135mm F1.8 to be a different beast, requiring me to think and shoot differently, while often finding myself running further and further backward to get enough space in between my camera and my subject.

The results were, to me, very rewarding. The ‘tunnel vision’ effect of stepping back and using a longer focal length to isolate your subject and compress it against a small portion of its surroundings yields a unique look, particularly when paired with a fast enough aperture so that the background is pleasingly blurred and not distracting. Below, you’ll see my daughter surrounded by others in a park, but by herself in the wading pool happily marching to her own beat.

I couldn’t sum her up any better.

Marching to her own beat.

Note the exceedingly low magenta fringing (longitudinal chromatic aberration) around the water droplets splashing about in front of our subject, despite the magnifying glass the high resolution 60MP sensor of the a7R IV holds up to any lens’ optical aberrations.

Sony FE 135mm F1.8 GM sample gallery

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* Of course I kid: my wedding kit always includes an 85mm, and I happily use 200mm for compression when I want to isolate my subject amidst its surroundings.

Articles: Digital Photography Review (dpreview.com)

 
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Finally, a Road Map to Taking Better Photos of People!

22 Dec

The post Finally, a Road Map to Taking Better Photos of People! appeared first on Digital Photography School. It was authored by Darren Rowse.

Finally, a Road Map to Taking Better Photos of People!

Day 11 of dPS Holiday Deals brings you this fundamental portrait photography course like no other – and it’s from our previous long-time Editor Darlene Hildebrand of Digital Photo Mentor.

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If you’re feeling lost when it comes to taking photos of people then you need Portrait Fundamentals: a road-map to portrait photography skills and confidence for beginners. 

Especially if you are disappointed by how your portrait shots turn out, or don’t even take photos of other people for fear of messing it up!

  • Unsure what camera settings to use for portraits?
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  • So overwhelmed by all the technical stuff you struggle to focus on your subject and enjoy the portrait process?

Then, let Darlene and her team from Digital Photo Mentor guide you. They’ll give you a plan to follow so you can start improving your portraits immediately. 

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This is no ordinary course, it includes over 6 hours of video lessons, a 245-page PDF notebook, 21 practice exercises, quizzes at each stage, and a private Facebook group for students to interact with each other.

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Check it out before the next deal arrives in less than 24 hours.

PS – Did you miss yesterday’s deal? You can save 50% on Andrew Gibson’s Art of Black and White in Lightroom and Beyond course. Check it out here.
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The post Finally, a Road Map to Taking Better Photos of People! appeared first on Digital Photography School. It was authored by Darren Rowse.


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