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  • Why These are My Favorite Free Online Photo Editing Tools

    The post Why These are My Favorite Free Online Photo Editing Tools appeared first on Digital Photography School. It was authored by Ana Mireles.

    free-online-photo-editing-tools

    Are you looking for a way to keep your photography workflow going without your computer? Fortunately, there are some free online photo editing tools that can help you out. Here are a few of my favorites and why.

    Maybe you’re traveling light or your computer doesn’t have enough capacity? Perhaps it just crashed and you sent it to get fixed? Whatever the reason, sometimes you just can’t work with downloadable programs.

    Browser Photo Editors

    But there are no more excuses because here are some great browser tools to solve your needs regardless of your level of expertise.

    Google Photos

    With Google Photos, you can have unlimited storage in their Cloud, but your photos and videos are limited to 16 MP in their file size. If you store files that are bigger than that, it eats into your Google Drive quota. Still, you can back up or share your images from anywhere you have Internet access.

    If you want to learn more about protecting your work, check the article Are Your Photo Backups Rock Solid?

    Back up, storage, archiving, organizing

    Archiving

    In order to keep track of all these images, you can organize them by album. But in case you haven’t gotten around to doing it, you can find them by type: video, movie, animations, collages or photos. Furthermore, you can search for them by the things or places featured in them, even if you didn’t tag them.

    Albums, Artificial Intelligence, Face recognizion, Format

    You can use Google Photos for free; all you need is to have a Google account. In this day and age, most of us already have one anyway.

    Features

    You can also create photo books to print directly from Google Photos. Other features include movies, collages, and animations.

    print, buy, checkout, photobook, photoalbum

    It includes some photo editing tools, but it’s mostly filters and very basic adjustments. If you need to do further edits, I suggest to move on to my next favorite on the list.

    Fotor

    Fotor is a photo editing and graphic design platform that you can use online or download it to your desktop. There is a free version or a paid pro version. The tools available depend on which of these combinations you’re using. Here, I’ll talk, as the title says, of the free online one.

    interface, user experience, home page

    Photo editing

    I like the Fotor editor because it offers a good balance between customizable adjustments and one-click effects. If you want to do some controlled editing, just go to the Basic tab. If you prefer presets, go to Effects and Beauty. In these last ones, you’ll find some free choices and some premium ones.

    post-production, photo-retouching,photo-editing

    Collage

    For the collage feature, it offers many more designs than Google Photos. There are four main categories, and each one has a series of templates. What I find particularly useful is Photo Stitching. With this, you can create a panorama by ‘stitching’ many images into one.

    Collage, Montage, Design tools

    Graphic Design

    However, my favorite part is the ability to do graphic design. From a thank you card to a brochure, you can easily customize the templates with your photos. You can then adjust colors, fonts, and stickers to your liking.

    The templates also cover any social media needs as well as the more traditional formats. Some are free and some you have to get the paid subscription.

    Design, marketing, templates, social media, documents

    Storage

    If you decide to create an account, you also have free storage in the cloud for your photos and any work you make in Fotor. And, of course, if you go for the paid version, the storage space increases.

    Pixlr

    Pixlr is a browser photo editor that offers different versions to fit your needs. Again, there are different versions available that offer certain levels of functionality and effects.

    The free Pixlr Express is very basic – not much more than any other editor.

    Still free, the Pixlr Editor allows you to do more controlled and personalized edits and is the one I prefer to use.

    Pixlr X, which is a blend of the first two, is the paid version, and it comes with more professional features.

    interface, homepage, photo editor

    Pixlr Editor

    The interface is similar to Photoshop or GIMP, to explore these more in-depth, you can check my previous articles: A Brief Introduction to GIMP and How to Set Up the Photoshop Interface.

    You’ll find a tool panel on the left side, the canvas for your image in the middle, and the panels for history, layers and other options on the right.

    photo retouching, adjustments, photo editing

    Tools

    You have all the adjustments you need to correct and fine-tune your image and filters and effects for you to choose from. It also includes two of my most important tools when doing photo retouching – layers and masks.

    layers, photo editing, black and white

    Conclusion

    I hope you liked my list of favorite free online photo editing tools. Remember, there are many solutions out there that are free. I’ll leave you some related articles in case you want to explore some more tools and software.

    Please, also share your favorite free online photo editing tools with us in the comments section.

    Related Topics:

    Your Comprehensive Guide to Photography Post-Processing Software

    3 Alternative Post-Processing Applications that Challenge the Adobe Throne

    Tips on Choosing a Free Photo Editor for Post-Processing

    Free Versus Paid Photography Portfolio Websites – Which is Best for you?

    36 of the Best Online Tools to Boost Your Photography Business

    The post Why These are My Favorite Free Online Photo Editing Tools appeared first on Digital Photography School. It was authored by Ana Mireles.


    Digital Photography School

  • Display duality: The Fujifilm X-Pro3 in the California wine country

    The Fujifilm X-Pro series has historically been marketed to a certain type of photographic purist and is part of a small group of cameras aiming to offer the most analog-like experience possible in an increasingly digital world.

    The latest iteration brings a change that in many ways, doubles down on the traditional concept of the X-Pro-series. While it sees a host of expected under-the-hood improvements, like an updated sensor and electronic viewfinder, the most radical update to the X-Pro3 is the unique implementation of a hidden, touch-sensitive rear LCD.

    I had the chance to shoot around with a pre-production X-Pro3, while on holiday in California. What follows are my initial impressions on the design of the camera.

    All of the images in this article were shot using a pre-production sample of the X-Pro3. As such, image quality may not match the output of final shipping cameras, but is likely to be close.

    Duality of the hidden display

    The hidden display in some ways made me more appreciative of my surroundings and less concerned with snapping a million photos. The wine also helped. Out of camera JPEG, shot using the ‘Velvia / Vivid’ film simulation.
    ISO 160 | 1/1000 sec | F5.6 | XF 50mm F2 R WR

    The addition of touch-sensitivity to the rear LCD counts as pretty darn radical for the X-Pro-series, but the fact that it’s hidden, with no default rear preview, is radical for digital cameras in general (we see you, Leica M-D). This was a design I grew to both appreciate and be frustrated with while cruising the back country roads of Northern California. On the one hand, it made me more decisive in choosing whether I wanted to frame with the EVF or LCD – I mostly committed to the former. And when I did use the LCD to compose, the small inconvenience of flipping out the screen caused me to slow down and be more deliberate.

    This was likely Fujifilm’s intention with the camera’s concept: to make you think more about the image you’re taking, rather than just shooting and ‘chimping’ the rear screen immediately after pressing the button. In other words, to get you closer to the experience of using a film camera.

    The small inconvenience of flipping out the screen caused me to slow down and be more deliberate

    On the other hand I missed a lot of shots because the moment had passed before I could fumble the LCD open or get the finder to my eye in time: these were mostly snapshots of funny moments with my partner. And sometimes it’s these casual snaps that are the most special, interesting or telling. How foolish I felt for not better appreciating the near-instantaneous live view nature of other mirrorless cameras.

    I also found it was an adjustment not being able to pick up the camera and jump right into menus to change a setting, without taking the time to uncover the LCD. Yes, you can access them with your eye to the finder, but it’s hardly an ideal way to navigate settings. There’s also a distinct pause before they appear.

    Waist-level shooting at a touch

    Flip-out touchscreens can be quite handy for landscapes.
    Out of camera JPEG, shot using the “Velvia / Vivid” film simulation.
    ISO 160 | 1/1100 sec | F5.6 | XF 23mm F2 R WR

    Despite the LCD’s fumbly nature, I did find the ability to frame from the waist level, while using the screen to focus or fire the shutter, to be invaluable for candid-style shooting as well as landscape photography (like the shot above). And while some street shooting purists may disagree with this approach, there’s no questioning how simple and practical it is. That said, the screen’s 180-degree articulation means it doesn’t quite tilt far enough for high-level shots. Boo.

    There were a lot of casual images I didn’t take because they happened before I could fumble the LCD open

    But let’s take a step back: Both the X-Pro1 and X-Pro2 both had fixed screens with no touch-sensitivity, a fact that always seemed sensible to me. After all, why would cameras emulating a film rangefinder offer such modern conveniences as a touchscreen? But after handling the X-Pro3, I’m willing to part with my old way of thinking and embrace the new. Modern street/documentary/candid-centric cameras should have an articulating touchscreen! And I’m hoping the next generation X100-series camera (I’m a current X100F owner) also has one, just not one that can only be used at waist level.

    Love for the sub-monitor

    So with the LCD hidden away, what about the flip side? On the back of the camera, where a traditional LCD would normally be, you’ll find a small ‘sub monitor,’ which displays basic camera info, much like a top plate display on an SLR. By default it features a snazzy graphic of the film simulation being used as well as ISO and white balance. It’s truly the digital version of tearing off the film box top and sliding it in the back of your camera: a bit of a parlor trick, but a harmless one at that. I personally love it.

    The sub monitor is truly the digital version of tearing off the film box top and sliding it in the back of your camera

    But if it’s not your cup of tea you can switch from the ‘Classic’ to the ‘Standard’ display which offers 8 customizable rows of camera info, sans cool film simulation graphic. The only downside to this ‘sub monitor’ is the fact that it’s fairly dim and hard to see in bright light, unless held at a very specific viewing angle.

    A worthy upgrade, but not for everyone

    Out of camera JPEG, shot using the new “Classic Negative” film simulation.
    ISO 2500 | 1/200 sec | F2 | XF 23mm F2 R WR

    Ultimately, the X-Pro3 seems to be a solid update to a beloved series and I applaud Fujifilm for adding touch sensitivity and screen articulation to a line I never dreamed would have these features, as well as a better EVF and sensor. However, the decision to hide the screen is a bit perplexing: part of me wishes Fujifilm simply made the screen mechanism fully articulating. This would allow it to both be used flush against the camera, hidden away, or flipped out, and you could still have the rear ‘sub monitor.’ Why not give the people the choice?

    Part of me wishes Fujifilm simply made the screen mechanism fully articulating

    Still, I think this design adds something unique to a camera line perhaps struggling to differentiate itself from a lot of other high-end ILCs, including Fujifilm’s own X-T3. It tosses the traditional Fujifilm rules of what a purists’ digital camera should be out the window, while writing a new set.

    And at the end of the day, limiting factors often lead to photographic growth: my guess is potential X-Pro3 customers already embrace limitation (after all, the optical viewfinder is best used with a limited range of 23-90mm prime lenses) and they’ll learn to love the camera’s hidden rear display, in time. For everyone else who loathes it at first sight, that’s OK. The X-Pro3 isn’t for you.

    Fujifilm X-Pro3 pre-production samples

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    Articles: Digital Photography Review (dpreview.com)

  • The Canon 5D Mark V to Be Produced After All (in 2020)

    The post The Canon 5D Mark V to Be Produced After All (in 2020) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

    The Canon 5D Mark V to Be Produced After All (in 2020)Professional DSLRs aren’t dead yet.

    As was reported last week, Canon has plans to keep at least one of its DSLR lineups alive:

    A photographer’s favorite, the Canon 5D line.

    Rumors indicate that the Canon 5D Mark V will likely be announced sometime in 2020, probably at the end of the year.

    The Canon 5D Mark IV is a popular choice among professional photographers; it’s particularly praised for its high-ISO capabilities, which blow most other cameras out of the water. But the Canon 5D Mark IV isn’t just a great option for low light shooters. It’s an all-around excellent piece of kit, offering good continuous shooting speeds (7 fps), impressive autofocus capabilities (including Canon’s Dual Pixel autofocusing), a rugged body, and dual card slots.

    We can hopefully expect the Canon 5D Mark V to be more of the same, just with some key upgrades. Canon will undoubtedly retain the dual card slots and the rugged camera, though we’ll undoubtedly see expanded high-ISO capabilities and (probably) improved autofocus, not to mention resolution. If we’re lucky, we’ll get increased continuous shooting speeds, though 7 fps is very respectable, especially for a 30+ megapixel camera.

    Given the overwhelming interest in mirrorless cameras, we can also expect some cross-pollination between mirrorless and DSLR lineups. While the Canon 1D X Mark III will likely be the first Canon DSLR to feature in-body image stabilization, the Canon 5D Mark V may be the second.

    Note that the Canon EOS R II is also rumored to come out around the same time as the Canon 5D Mark V, and will probably have many of the same features. Hopefully, this will include dual card slots, a feature that was sorely missed by professional photographers who considered the Canon EOS R, as well as in-body image stabilization.

    So I’d like to ask you:

    Which camera would you be more interested in – the Canon 5D Mark V or the Canon EOS R II? And Canon 5D Mark IV users, might you consider switching to mirrorless?

    Share your thoughts in the comments!

    The post The Canon 5D Mark V to Be Produced After All (in 2020) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


    Digital Photography School

  • Tamron developing a compact 70-180mm F2.8 telephoto zoom for Sony E-mount

    Tamron has announced the development of a compact tele-zoom for full-frame Sony E-mount bodies: the 70-180mm F2.8 Di III VXD. The lens will be just 149mm (5.9″) long and will weigh in at 815g (1.8lbs), and it will use the same 67mm filters as the two other lenses in the series: the 17-28mm F2.8 and 28-75mm F2.8.

    The 70-180 will offer ‘several’ specialized glass elements and will use the company’s VXD linear focus motor. The minimum focus distance is a relatively short 0.85 meters (33.5 inches). The lens will be sealed against dust and moisture, and will have a fluorine coating to repel oil and water from the front element.

    Tamron says that the 70-180mm F2.8 Di III VXD will be available in Spring of next year.

    Press Release:

    Tamron Announces the Development of Compact and Lightweight High-Speed Telephoto Zoom Lens for Sony E-Mount Full-Frame Mirrorless Cameras

    Much-anticipated third model in its series of F/2.8 high-speed zoom lenses delivers superb optical performance with extremely quiet, fast focus

    70-180mm F/2.8 Di III VXD (Model A056)

    October 23, 2019, Commack, NY – Tamron announces the development of a new high-speed telephoto zoom lens for Sony E-mount full-frame mirrorless cameras, the 70-180mm F/2.8 Di III VXD (Model A056). Availability of this new zoom is planned for Spring 2020. The lens will be on display at the upcoming Photo Plus Expo in New York City this week and Salon de la Photo in Paris next month.

    Developed under the concept of “making high-speed zoom lenses user-friendly,” Model A056 features a compact and lightweight design, an ideal match for full-frame mirrorless interchangeable lens cameras. The 67mm filter diameter is the same as all other Tamron lenses in this series. The optical design includes several specialized glass elements that contribute to the lens’s superb imaging performance and its very short 33.5 in MOD (Minimum Object Distance) expands overall versatility. The lens adopts Tamron’s newly developed VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism that produces a quiet, quick autofocus drive.

    Other features that support a great shooting experience include a Moisture-Resistant Construction helpful for outdoor shooting and Fluorine Coating for easy maintenance. In addition, Model A056 is fully compatible with various camera-specific features including Fast Hybrid AF and Eye AF. This new model joins the 17-28mm F/2.8 Di III RXD (Model A046) and the 28-75mm F/2.8 Di III RXD (Model A036) and brings Tamron’s total of F/2.8 zoom lenses for full-frame mirrorless cameras to three.

    Main features

    1. Comfortably compact (149mm / 5.9 in) and light weight (815g / 28.7 oz).
    2. 67mm filter diameter, same as all other Tamron lenses for full-frame mirrorless cameras.
    3. Superb optical performance and MOD of 5 in. for a broader range of photographic versatility.
    4. Extremely quiet and fast newly developed VXD linear motor focus mechanism.
    5. Moisture-Resistant Construction and Fluorine Coating contribute to a comfortable, user friendly photographic experience.
    6. Compatible with various camera-specific features including Fast Hybrid AF and Eye AF.

    * Specifications, appearance, functionality, etc. are subject to change without prior notice.

    Tamron 70-180mm F2.8 Di III VXD specifications

    Principal specifications
    Lens type Zoom lens
    Max Format size 35mm FF
    Focal length 70–180 mm
    Image stabilization No
    Lens mount Sony FE
    Aperture
    Maximum aperture F2.8
    Aperture ring No
    Optics
    Special elements / coatings Fluorine coating
    Focus
    Minimum focus 0.85 m (33.46″)
    Autofocus Yes
    Motor type Linear Motor
    Full time manual No
    Focus method Internal
    Distance scale No
    DoF scale No
    Physical
    Weight 815 g (1.80 lb)
    Length 149 mm (5.87″)
    Sealing Yes
    Zoom method Rotary (extending)
    Power zoom No
    Zoom lock Yes
    Filter thread 67 mm
    Hood supplied Yes
    Tripod collar No

    Articles: Digital Photography Review (dpreview.com)

  • Tips for Creating Compelling Nature Photography

    The post Tips for Creating Compelling Nature Photography appeared first on Digital Photography School. It was authored by Karthika Gupta.

    tips-for-creating-compelling-nature-photography

    Nature photography is one of the most common forms of photography out there today and in this article, I’m going to give you tips for creating more compelling nature photography.

    Instagram alone has more than 80 million posts under the hashtag #naturephotography. Not to mention that variations like #naturephotos and #naturephotoshoot have their own massive following. No matter what genre of photography you practice, getting out in nature and capturing images of the natural world is always fascinating.

    Perhaps some of the charm and pull of nature photography has to do with the fact that it is free, easily accessible (depending on where you are), and there is never a shortage of subject matter, light or even creative framing – all elements that contribute to a stellar photo.

    Tips for Creating Compelling Nature Photography

    Nature photography doesn’t have to be boring or mundane. Nor is nature photography only images of dramatic landscapes in exotic faraway locations. Even your house plant or tree in your backyard can become compelling nature photography if done correctly. There are a few things you can do to take your nature photography from boring to amazing.

    Focus on the subject

    Look at any photography course, cheat sheet, or guide. It will talk about the importance of your subject as it relates to the overall image. The subject is everything. A subject can make or break an image, and I don’t say that to just sound dramatic.

    Some photos have so much going on that we are confused about the message. On the flip side, some images use a shallow depth of field to focus on one element, yet nothing else gives context to what is going on in the image. We are often left wondering what the intention of the image is.

    Don’t let that happen to you. Focus on the subject based on what story you are looking to tell. Ask yourself if the subject helps or distracts from that story.

    tips-for-creating-compelling-nature-photography

    We were photographing wild horses in Utah when the sun set. My subject was still the horses but, for me, the element of the setting sun just added more drama to the scene.

    If you want to photograph a tree in your backyard in the Fall, wait until all the leaves turn a bright red color to complement the story of fall colors. If you want to photograph a landscape at golden hour, figure out the direction of the sunset and watch the weather to see if conditions are right for a dramatic golden hour and sunset.

    Understand what you are photographing and the story you want to tell. This will help you conduct the right kind of research needed for executing your shoot and the results you want.

    Understand the light you are working with

    If there is one thing I would shout from the rooftops as it relates to photography, it is about the importance of light in photography.

    There is no such thing as bad lighting. Lighting is just different at different times of the day.

    Not all lighting is the same in terms of quality of light. Light is just different at different times of the day. Sometimes the light is perfect – that warm, soft glow that translates beautifully in pictures. Other times, the lighting is harsh and strong. I wouldn’t say that type of lighting is always bad – it is just not the same every time.

    tips-for-creating-compelling-nature-photography

    Morning Light In The Tetons

    tips-for-creating-compelling-nature-photography

    Harsh mid-day sun in the Himalayas

    Image: Setting sun along the Oregon coast

    Setting sun along the Oregon coast

    The sooner you train your eye to read the different types of light, and what it can do to your images, the sooner you will be able to analyze your imagery better. You’ll also get photos closer to the style you like without wasting too much time in post-processing. No amount of editing can really fix an image taken in poor lighting conditions.

    As it is with nature photography, you cannot always control your light source, that is, the sun. There might be many instances that you are out in nature during the harsh midday sun. This light is strong and very warm. Learn to use that to compliment your photos.

    If you can get outside during golden hour, use that light to add some drama to your nature photos. But make sure that you don’t photograph directly into the setting sun as it leads to a lot of sun flare entering your frame (unless that is the effect you are after). It can also make the shot appear muddy and blown out to the point of not being able to see the subjects clearly.

    Focus on the details

    Most of us focus on the bigger picture when we photo nature and landscapes: big skies, large mountains, or even vast open waters. But there is something to be said about slowing down and noticing the details around you. The feel and texture of sand, the colors of pebbles at the beach, the curling leaves under flowers or the colors of a butterfly’s wings. There are so many ways to include details in your images to create compelling nature photography.

    Just because something is larger than life, doesn’t mean it is the only thing that matters. Details create depth, texture, and complement the narrative.

    tips-for-creating-compelling-nature-photography

    Explore colors in nature

    I recently came across a YouTuber who prepares natural paints from colors found in nature and uses that for her art. I found it fascinating to watch her grid stones and use their powder for colors, harness indigo from blueberries and red from wild roses. There are countless colors that are found in nature if only we know where to look.

    Use colors to convey emotions and meaning. We all know that some colors are associated with certain types of feelings in the eyes of the viewer. Yellow evokes happiness and enthusiasm. Red means strength and energy. Orange shows creativity and warmth. Green signifies harmony and growth.

    Use colors in your photography to give that element of wow to your images. Nature has an abundance of color all around – just look for it.

    Tips for Creating Compelling Nature Photography

    Simple always triumphs complex

    I alluded to this earlier in the article, where I talked about the chaos in an image. Clutter can be messy and sometimes put off a person in real life. Some busy photos where there is a lot happening can be complex and chaotic. Life is crazy enough. We don’t always need to take that into our art.

    Nature Photography has the power to transform us to a magical and fantastical place, someplace calm and peaceful. By simplifying our photos, we can transport the user to a place of calm so that they can emotionally connect with our images.

    Image: I used a simple black foam board to highlight the white and the fellow of these flowers.

    I used a simple black foam board to highlight the white and the fellow of these flowers.

    I hope these simple tips help you create more compelling nature photography. Nature has the power to heal in so many ways, and by using that effectively in our imagery, we can convey that narrative to our audience.

    Do you have any other tips for creating compelling nature photography? Share with us in the comments!

    The post Tips for Creating Compelling Nature Photography appeared first on Digital Photography School. It was authored by Karthika Gupta.


    Digital Photography School

  • CalDigit launches new, rugged 512GB ‘Tuff nano’ USB-C SSDs with 1055MB/s read speeds

    Computer accessory manufacturer CalDigit has released its ‘Tuff nano’ series, a lineup of compact external USB-C SSDs.

    As the name alludes to, the ‘Tuff nano’ SSDs feature a protective rubber housing around a metal frame, akin to Lacie’s rugged external drives. This design offers a certified IP67 rating with the ability to be submerged under one meter of water for 30 minus, as well as dust and shock resistance.

    Inside, the bus-powered SSDs is a Toshiba M.2 NVMe SSD capable of read and write speeds up to 1055MB/s and 900MB/s, respectively. Data is transferred via USB-C (USB 3.2 Gen 2) and although the drives come pre-formatted for macOS (HFS+), they will also work with ChromeOS, iPadOS, Linux and Windows devices.

    The drives measure 7.59cm x 5.44cm x 1.45 cm (2.99in x 2.14in x 0.57in) and weigh just 74g (0.163lbs).

    CalDigit’s ‘Tuff nano’ SSDs are currently available in 512GB capacity for $ 149.95 on CalDigit’s online store. Color options include ‘Charcoal Black,’ ‘Olive Green,’ ‘Royal Blue’ and ‘Tomato Red.’

    Articles: Digital Photography Review (dpreview.com)

  • Utah Senator introduces Drone Integration and Zoning Act of 2019

    Republican Utah Senator Mike Lee was heavily involved in the unsuccessful Drone Federalism Act of 2017, a bill sponsored by California Senator Dianne Feinstein that sought to restrict drone usage by giving local government and property owners jurisdiction over National Airspace. Now he’s back with a new bill, the Drone Integration and Zoning Act, that will allow cities, states, and Native American tribes to set their own rules on low-flying drones, effectively overriding regulations set by the Federal Aviation Administration (FAA).

    In a statement regarding the new bill, Sen. Lee said:

    ‘The FAA cannot feasibly or efficiently oversee millions of drones in every locality throughout the country […] The reason that the states have sovereign police powers to protect the property of their citizens is because issues of land use, privacy, trespass, and law enforcement make sense at the state and local level. The best way to ensure public safety and allow this innovative industry to thrive is to empower the people closest to the ground to make local decisions in real time and that is exactly what the Drone Integration and Zoning Act does.’

    Basically, if passed, it would give home owners, local businesses, and counties full control over the first 200 feet of airspace above their designated property lines. Above 200 feet, FAA rules would apply. The FAA is not in favor of being overruled by local governments as these new ordinances would create even more confusion amongst drone operators. In a statement to Axios, DJI’s Director of U.S. legislative affairs, Mark Aitken, said the bill would ‘spur state and local governments across the country to impose harsh and conflicting taxes and fees on professional and recreational drone flights, throttling an industry still in its infancy.’

    Currently, 34 out of 50 U.S. states, including California, are legally allowed to enforce their own regulations and restrictions on drone use at a county level. One state where this isn’t allowed is Michigan and a group of people, including the Michigan Coalition of Drone Operators, is fighting back. Back in December, a Genesee County sheriff arrested and detained Jason Harrison for flying in a park. The flight was legal, despite them attempting to rewrite legislation on drone use to fit their preferences – something that is in violation of Michigan State Law – Public Act 436 of 2016.

    A follow-up trial is scheduled for November 8th in Flint, Michigan. If the judge rules in Harrison’s favor, it will hopefully set a precedent for how National Airspace is dictated across the U.S. While the Drone Integration and Zoning Act of 2019 will likely not gain much traction with Congress, it’s still worth writing your Senator to explain how patchwork drone laws will only cause chaos and confusion amongst operators and lawmakers, alike.

    Articles: Digital Photography Review (dpreview.com)

  • Review: Laowa 17mm f1.8 Lens with Micro-Four-Thirds Mount

    The post Review: Laowa 17mm f1.8 Lens with Micro-Four-Thirds Mount appeared first on Digital Photography School. It was authored by Mark C Hughes.

    review-laowa-17mm-f1.8-lens-MFT

    review-laowa-17mm-f1.8-lens-MFT

    The new Laowa 17mm f1.8 lens for MFT

    There are a lot of gear reviews for new photography gear. Many focus on technical specifications and others focus on sharpness and precision of the optics. I had a chance to spend a few weeks with the Laowa 17mm f1.8 lens for Micro-Four-Thirds (MFT) mount. This is a bit of a different lens that requires a slightly different approach to a review. I am hoping this approach will help you decide if this is a lens for you.

    review-laowa-17mm-f1.8-lens-MFT

    The New Laowa 17mm f1.8 lens is a fully manual compact design with metal construction, a small metal hood and clear markings on the barrel

    review-laowa-17mm-f1.8-lens-MFT

    This lens fits 46mm threaded filters (common for MFT)

    Technical Specifications

    I will run through the technical specifications of the Laowa 17mm f1.8 lens as they have some interesting but limited impact on this review (aside from the price). As a 17mm lens on an MFT mount, this has a corresponding field of view that corresponds to a 34mm lens on a full-frame (FF) sensor (65 degrees). The lens has nine elements in seven groups with a seven-bladed iris. The filter diameter is 46 mm, and the weight is 172g. It is not weather-sealed, and the MSRP is $ 149USD.

    Image: Works great even in low light conditions

    Works great even in low light conditions

    Practical details

    Aside from the mathematics of technical specifications, I think a lens review should provide more practical details. Details that describe the intangibles about the lens. Things you only realize when you have the lens in your hand or on your camera.

    review-laowa-17mm-f1.8-lens-MFT

    Perfectly balanced with smaller MFT camera bodies like the Pen F

    For starters, this is a completely manual lens with manual focus and manual aperture control.

    It is a small but solid – really solid – lens with metal construction and even a small metal lens hood (not much shading from this guy). This lens does not feel plastic-y in any way shape or form. The movement of the aperture ring and focus control feels great, and the aperture ring has quiet click settings (it is not clickless but moves easy) and the markings on the focus ring are clear.

    This lens feels like something from the best film era vintage lenses and is well-sized to match the size of smaller MFT camera bodies.

    review-laowa-17mm-f1.8-lens-MFT

    Works well with the Olympus EM5 MK II

    Focal range

    At 34mm FF equivalent, the Laowa 17mm f1.8 is a prime lens size that, along with a 50mm FF equivalent, should be in any photographer’s bag. Some famous photographers have operated with only lenses in this range. At a 34mm FF equivalent, it provides a relatively wide field of view and a more forgiving range for focus. Wider lenses tend to be more forgiving when trying to focus them. With the manual focus on this lens, not getting focus perfect can still result in usable images.

    Image: Because it has a wide field of view, you can get pretty close.

    Because it has a wide field of view, you can get pretty close.

    Image: Once the focus is set, the lens performs well.

    Once the focus is set, the lens performs well.

    Sharpness

    As for image quality, the lens does reasonably well. It is not the sharpest (even when you nail focus) and it is clear that when fully wide open, the lens is sharper in the center of the image but softer at the edges. Saying this doesn’t really describe the image results from this lens. The image is sharp where it needs to be and softer where is it okay to be softer. The look from the lens is great. In addition, the seven-bladed iris produces very nice starbursts when closed down for night shots of light sources.

    Image: Even with close-ups, there are little problems resolving the images and little vignetting.

    Even with close-ups, there are little problems resolving the images and little vignetting.

    review-laowa-17mm-f1.8-lens-MFT

    The seven-bladed iris allows for very nice starbursts at night

    Size

    As for size and usability, this Laowa 17mm f1.8 lens fits smaller MFT bodies really well (like a Pen F) and looks a little dwarfed on a bigger body (like an EM1X). Not only does this lens fit well on smaller bodies, but it looks entirely old school like the cameras that are going for that stylistic approach.

    I had many people asking me if I was shooting with a film camera when I had this lens on my Pen F. I seemed to reinforce this feeling when I tried to focus and take a photograph and took forever. This is not a run-and-gun lens.

    review-laowa-17mm-f1.8-lens-MFT

    The lens is small and can seem overly-small on larger MFT bodies

    Old-school feel and slow approach to photography

    I am old enough to have shot film with manual film cameras. I thought I had left that all behind to use all the technical horsepower in modern cameras to really nail technically-challenging circumstances trying to get the best images. As a consequence, I had forgotten about the slower process of taking photographs when all you had was a split prism and a needle for a light meter.

    When you connect a manual lens on an MFT camera, you operate primarily with the histogram/light meter to get a good exposure. You have to think about ISO, shutter speed, aperture, and focus. It takes time.

    Image: Fun to experiment with when you have the time

    Fun to experiment with when you have the time

    Slow photography is like slow food

    I remember years ago traveling in Italy and going to a slow food restaurant.

    The whole concept with slow food is to make it more of an experience and to take time to savor the flavors and textures. I think shooting with a manual lens is similar. It means that you are shooting slower and have to think way more about your images – no run and gun.

    Slow photography is forced on you when you shoot with this type of lens. With cell phones, you pull them out and shoot. You barely focus. There is no thought to the process, and maybe that means that people can focus on the subject matter of their images. However, at other times, it means that you really aren’t thinking much about the images you are taking.

    Image: Despite being quite a wide lens, there is little obvious distortion with the Laowa 17mm f1.8...

    Despite being quite a wide lens, there is little obvious distortion with the Laowa 17mm f1.8 lens.

    Nailing focus

    Trying to nail focus with a manual focus lens also means you have to slow down. Back in the old manual focus film camera days, you had split prisms and micro prisms in your viewfinder to help you get your focus right. These tools are not available on modern digital cameras.

    However, with mirrorless bodies on MFT cameras, you have other tools at your disposal including magnification and focus peaking. I was able to custom set my camera’s buttons to allow me to set one button for magnification and another for focus peaking. It’s still not fast, but it worked fairly well.

    Image: Even for moving subjects, such as from a balloon, once you have your exposure and focus set,...

    Even for moving subjects, such as from a balloon, once you have your exposure and focus set, it performs like any other lens.

    This magic of this type of lens is that you need to slow down and think about the image you are composing. You need to think about everything from ISO to aperture to shutter speed and finally focus. If any are off, you can instantly see that you have screwed up. If you think back to the film days, it wouldn’t be until you got your images developed that you would know you messed up. When I was using this lens, I knew immediately when I screwed up, even when I thought I had all the settings right.

    Image: Limited distortion even for buildings

    Limited distortion even for buildings

    That process of slowing down and understanding what you are doing was a great deal of fun. The lens was wide enough and fast enough (aperture wise, not in any other way) that I would feel comfortable taking only this lens out to take some shots.

    Not for the faint of heart

    Slow means you can’t shoot fast. This seems obvious, but when someone says to you, “take our picture, “…they pose and wait for you. This lens will not do that quickly, regardless of how good you are.

    You can take portraits, but you need to plan the shots and be ready when the opportunity comes up. An old street photography trick used to be to set your exposure with an intermediate aperture, put your focus at 3 feet, and point and shoot. In practice, this is not quite so simple. Nailing the exposure is a little trickier because you need to be looking through the lens to get the exposure balanced.

    Image: This lens is great to travel with because of its width and small size

    This lens is great to travel with because of its width and small size

    The Results

    I really enjoyed the Laowa 17mm f1.8 prime lens. I have other similar prime lenses, but all are equipped with autofocus and electronic apertures. They also feel pretty plastic. They are more expensive, but sharper. This lens feels great, is super-solid, shoots well and needs lots of attention to your images. It forces you to shoot like a photographer. You feel like a photographer. It also makes you look like a photographer.

    At $ 149 USD, the Laowa 17mm f1.8 lens is quite the value. My images turned out great and I fell in love with taking slower pictures again. I had a chance to slow down and smell the roses, or in this case, take more deliberate thoughtful images.

    Would you use a lens like this? Share with us in the comments below.

    The post Review: Laowa 17mm f1.8 Lens with Micro-Four-Thirds Mount appeared first on Digital Photography School. It was authored by Mark C Hughes.


    Digital Photography School

  • Lomography launches LomoMod No.1 DIY cardboard camera with a liquid-filled lens

    Lomography has introduced LomoMod No.1, a DIY medium-format camera constructed from cardboard, as well as a new lens with a shutter and aperture unit. The lens can be filled with liquid from a syringe, according to Lomography, in order to produce ‘unique artistic aesthetics’ using tea, coffee, and more.

    Much in the same way as Google’s cardboard virtual reality headset, Lomography’s new LomoMod No.1 ships as flat-packed sustainable cardboard that the customer assembles at home. This process appears fairly straightforward, as the construction doesn’t require glue or screws to put together. In addition to being moddable, the cardboard camera is also doubled-sided to offer matte black and UV pattern options.

    Below is a gallery of sample images taken with the camera:

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    Beyond the cardboard camera body, the LomoMod No.1 features a unique lens that replaces traditional filters with an injectable design. The companion shutter and aperture module feature both normal and bulb modes with support for long exposures. The unit features customizable aperture plates, as well, for creating ‘unique’ bokeh. Rounding out the design is a tripod mount and PC-sync and cable release socket.

    The full kit ships with:

    • 11 Sheets of Cardboard Cutouts
    • 1 Sheet Aperture Plates Set
    • Sutton Lens Module
    • Aperture and Shutter Module
    • 120 Film Spool
    • Tripod Nut
    • Tube
    • Syringe
    • Valve
    • Colorful Stickers
    • Photo Book & User Manual

    The Lomography LomoMod No.1 is available to pre-order for $ 59 USD. Units have already started shipping in Hong Kong but won’t start shipping in Japan, the United States or Europe until early next month.

    Articles: Digital Photography Review (dpreview.com)