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Adobe updates Lightroom Classic, Mobile and its ChromeOS app at MAX 2019

05 Nov

As part of its MAX 2019 conference, Adobe has announced updates for all of its photography products, including Lightroom on desktop and mobile platforms, Lightroom Classic, and Adobe Camera Raw. A number of changes arrive as part of these updates, including the addition of interactive edits and guided tutorials in Lightroom on Mac and Windows, advanced exporting in Lightroom for Android and ChromeOS and more.

A screenshot from Adobe showing off the new tutorial interface inside Adobe Lightroom.

The majority of the newly announced updates are for Lightroom on desktop. In addition to the aforementioned guided tutorials and interactive edits, this software is being updated with more advanced exporting options including TIF support, GPU acceleration, a new Fill Edges feature for panoramas that is powered by Content-Aware Fill tech, a new migrator tool for moving to Lightroom from Photoshop Elements and support for directly ordering prints from White House Custom Color.

A screenshot from Adobe showing off the interface for the White House Custom Colour inside Adobe Lightroom Classic.

In addition to the desktop software, Adobe is updating Lightroom for ChromeOS, as well as Android and iOS. As mentioned, both Android and ChromeOS have received advanced export control that includes more options and support for batch exporting images in original, JPEG, and TIF formats. These features will arrive on iOS ‘soon,’ according to Adobe.

As well, all three platforms are getting contextual help, which was first added to Lightroom on Mac and Windows earlier this year. The new help menu is accessible by selecting the ‘?’ icon within the Lightroom app on iOS, Android, and ChromeOS.

Lightroom for iOS is finally receiving the Batch Editing feature that launched on desktop last year and on Android and ChromeOS back in August. With this, users can apply changes to multiple image selections simultaneously, cutting down on editing time when using an iPhone or iPad.

Finally, Adobe Camera Raw and Lightroom Classic are both getting the Fill Edges feature for panoramas that is detailed above. Lightroom Classic is also receiving support for multi-batch export and the ability to easily export and share presets and preset groups with others.

Articles: Digital Photography Review (dpreview.com)

 
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Dell’s new UltraSharp 27″ 4K Thunderbolt 3 monitor has 100% Adobe RGB coverage, built-in colorimeter

05 Nov

Dell has used Adobe MAX as an opportunity to announce the UltraSharp 27 4K PremierColor Monitor, a new 4K (3840 x 2160 pixels) Thunderbolt 3 monitor made with photographers and videographers in mind.

The monitor, which goes under the product code UP2720Q, is the world’s first 27-inch 4K monitor with a built-in colorimeter and Thunderbolt 3 connectivity that not only makes it possible to daisy-chain two monitors together but also lets you fully power a connected laptop at up to 90W.

The monitor features 100-percent Adobe RGB coverage, 98-percent DCI-P3 coverage and 80-percent BT2020 coverage — impressive numbers considering all of the other features this monitor has to offer. The stand-out feature of this monitor is a built-in colorimeter that pops out of the bottom bezel of the display and works with CalMAN color calibration software to consistently check the monitor’s color accuracy.

Other specs include a pixel density of 163ppi, a 1,300:1 contrast ratio, an 8ms response time and a less-then-stellar 250 nits ‘typical’ brightness. Aside from the two Thunderbolt 3 ports (one upstream, one downstream), the display also features one Display Port 1.4 connection, two HDMI connections, three USB 3.2 Gen 2 ports (downstream) and a single USB 3.2 Gen 2 port (downstream) with 2A ‘Power Charging.’

The monitor comes with an included shading hood and is expected to ship January 15, 2020 for $ 1,999.99.

Articles: Digital Photography Review (dpreview.com)

 
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Hoya introduces Starscape light pollution filter for astrophotography

05 Nov

Japanese filter and accessory manufacturer Hoya has introduced its new light pollution cut filter, Starscape. The filter is designed specifically for nighttime photography, enabling photographers to capture star-filled night skies in areas where light pollution could limit visibility.

The Starscape filter is designed to reduce the glare produced by the mercury and sodium vapor lights commonly found in cities. According to Hoya, its filter cuts the greenish and yellow hues that may result from artificial light pollution, ultimately offering what the company describes as ‘natural color reproduction.’ It’s unclear how well it can handle light pollution from LEDs, however.

Hoya will offer the Starscape 1.5 ND filter in 49mm to 82mm sizes; it features a low-profile aluminum frame and 0.5-stop exposure reduction. Pricing and availability information hasn’t been revealed at this time.

Articles: Digital Photography Review (dpreview.com)

 
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Best Fujifilm X-Series Kit for Urban Portraits

05 Nov

The post Best Fujifilm X-Series Kit for Urban Portraits appeared first on Digital Photography School. It was authored by Matt Murray.

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With a range of feature-packed cameras that are fun to use, and a line of stunning lenses, a Fujifilm X-Series kit is the ideal companion for urban portrait shoots.

I have been shooting with the X-Series for four years and love the system and the results I get from it. However, with so many good options available, one problem you may have is choosing a lens or kit to shoot with!

In this guide, I discuss what you need to consider when choosing a lens for a shoot, and a list of my favorite Fujifilm lenses for shooting urban portraits.

Advantages of using a Fujifilm X-Series Kit

There are a few key advantages that the Fujifilm X-Series has for urban portrait shoots. Being a mirrorless system, it’s generally smaller and lighter than DSLR kits. In practice, though, my camera bag probably isn’t much lighter because I usually fill it with more of the excellent Fujinon lenses.

Image: Fujifilm’s X-Series is ideal for urban portrait shoots for so many reasons.

Fujifilm’s X-Series is ideal for urban portrait shoots for so many reasons.

Excellent ergonomics and usability is a hallmark of the system. I love that I can change aperture on the lens instead of via a menu – in fact, I could never move back to a system where I have to change aperture via a menu now. The camera bodies feature shutter speed and ISO dials on top of the camera, so you have all the elements of the exposure triangle at your fingertips without a menu in sight.

Live view is another feature I couldn’t live without – it’s amazing seeing what your exposure will look like before pressing the shutter button. This is particularly useful in low light situations that you often encounter in urban shoots. Another dial on top of the camera is exposure compensation – you can easily adjust the exposure as you look through the viewfinder, which is perfect for the way I shoot.

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Using live view on my Fujifilm X-T3, I could see exactly what adding extra exposure compensation would do when photographing Anne.

Another big advantage of Fujifilm cameras is their stunning color rendition – the best of any digital camera manufacturer. Fujifilm has used their decades of knowledge to produce JPG simulations that bear the names of class film emulsions: Provia, Astia, and Velvia, to name three.

The images in this article are JPGs (Provia simulation) with only small edits made in Adobe Lightroom. You can, of course, shoot in RAW alongside JPG and add your own looks or presets in post-production.

Camera bodies

I prefer to take two camera bodies with me on my shoots: the Fujifilm X-T3 and X-T2.

You can pretty much substitute any of the excellent X-Series lineups into your urban portrait kit, from the X-T series I use to the X-Pro line and the X-E line. I’ve even shot urban portraits with the X100 line of fixed-lens compact cameras.

If you only have one camera body, that is workable – you just need to be careful if you plan on changing lenses in urban environments to minimize the possibility of dust ending up on your sensor. The last thing you want on your mind during a shoot is the feeling of dread that you just let a whole lot of dust bunnies inside your camera.

Image: Choosing a lens for an urban portrait shoot is a balancing act between a focal length that fl...

Choosing a lens for an urban portrait shoot is a balancing act between a focal length that flatters your subject, but still allows you to be close. This image of Bailey was taken with a Fujinon 23mm f1.4 lens.

Lenses for urban portraits

The Fujifilm X-Series boasts a stunning range of superb lenses, with more being added every year. Fujifilm regularly updates a lens road map to let photographers know what new additions are coming. Portrait shooters have many fast primes available to them, as well as weather-resistant primes and a fantastic range of zoom lenses.

When choosing a lens for a shoot, I consider the following things:

Focal length

How flattering is this focal length for portrait photography? The images should flatter your client or model and make them look amazing.

Working distance

What’s the practical working distance of your lens? Ideally, for urban portraits, it’s good to have a lens choice that flatters your client for portraits, but without you being too far away. For me, this rules out some options such as the Fujinon XF 90mm F2 R LM WR lens.

best-fujifilm-x-series-kits-urban-portraits

In low light, I often find myself shooting at, or close to, the maximum aperture of the lens (the smallest number). In this image of Natasha, I was using the Fujinon 56mm f1.2 lens at f1.6.

Maximum aperture

The maximum aperture of the lens determines how wide it can open. The smaller the number, the ‘faster’ the lens is, allowing you to take images at high shutter speeds in lower light. ‘Slower’ lenses will not be able to shoot at the same shutter speeds unless you crank up the ISO, which can affect image quality.

During the middle of the day, this may not be important, but with less light after the sun goes down, fast lenses are important for sharp images and to keep the ISO lower. The X-series lineup has a range of very fast prime lenses with many maximum apertures at F1.4 and even F1.2.

Weather resistance

If planning a shoot in the rain or snow, a weather-resistant lens and body are a must. This is generally something I don’t need to think about – if it does start raining during a shoot, I usually move to an undercover location. Usually, clients don’t want their hair, makeup, and outfits ruined by a downpour.

Listed below are my choices for urban portrait lenses.

Fujinon XF 35mm F1.4 R

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I love this lens – there is real magic to it. It’s my number one choice for urban portraits. The XF 35mm F1.4 is the closest Fujifilm has to the full-frame equivalent angle of view of 50mm – a classic focal length used by photographers for decades.

One of the three original lenses in the X-Series lineup, it has a fast maximum aperture of F1.4, making it perfect for images with a shallow depth of field and night shooting.

Featuring stunning optics and pleasing bokeh, this lens gives you a relatively short working distance for portraits. Best of all, it’s a lot cheaper than most of the other lenses in this guide.

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I love this shot – so much fun! Alyssa in a phone booth, Brisbane, Australia.

best-fujifilm-x-series-kits-urban-portraits

The 35mm F1.4 lens has a magic quality. I love that the lens is flattering for clients, yet it allows you to get quite close to them while shooting.

Fujinon XF 16mm F1.4 R WR

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The next choice on my list is arguably one of the best lenses Fujifilm has ever produced – the stunning Fujinon XF 16mm F1.4 lens.

With a full-frame equivalent of 24mm, you may think this is an odd choice for a portrait session, but it’s a perfect lens for wide-angle environmental shots. With a minimum focus distance of just 15cm, this lens is the perfect option when working in confined spaces.

The excellent build quality of the lens is also matched by its stunning optics. Although any distortion is corrected in-body by the camera, you still need to be careful when shooting with it. Place your model or client towards the center of the frame for the best results.

Image: Sasha sitting on beer kegs in a Brisbane laneway. There wasn’t much room in the laneway...

Sasha sitting on beer kegs in a Brisbane laneway. There wasn’t much room in the laneway, so the 16mm F1.4 was a perfect choice for this shot.

Image: The short working distance and wide angle-of-view enabled me to take this image of Natasha in...

The short working distance and wide angle-of-view enabled me to take this image of Natasha in front of some metal shutters.

 

Fujinon XF 56mm F1.2 R

best-fujifilm-x-series-kits-urban-portraits

The XF 56mm F1.2 R lens is perhaps the jewel in the crown of the X-Series lineup. Stunning image quality and beautiful bokeh make it a winner in anyone’s book.

This is the lens that all Fujifilm portrait photographers either have in their kit or on their wishlist. With a full-frame equivalent of around 85mm, it is substantially lighter than full-frame equivalent lenses for DSLRs. It boasts a super-fast F1.2 maximum aperture, is tack sharp, and has the most pleasing bokeh in the X-Series lineup.

For portrait work, this lens is fantastic. Just bear in mind that in urban environments, it’s not always a suitable choice, as you need a greater working distance when using this lens.

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Sasha in Brisbane, Australia. I love how sharp she looks in this frame, and how the out-of-focus lights have rendered in the background.

Image: Natasha in a laneway, Brisbane. With a bit more working distance, full-length portraits are a...

Natasha in a laneway, Brisbane. With a bit more working distance, full-length portraits are also possible with this lens.

 

Fujinon XF 60mm F2.4 R Macro

Best Fujifilm X-Series Kit for Urban Portraits

Perhaps the most underrated lens in the entire Fujifilm line up, the XF 60mm F2.4 R Macro, was another of the original three lenses released for the system. It had a reputation for being slow to focus, but improvements to the firmware for this lens have made a big difference. I have no hesitation in using it on shoots.

Although it has the word macro in its name, the lens can only shoot at a 1:2 magnification ratio. (Generally, a 1:1 magnification ratio is regarded as true macro.) With a maximum aperture of F2.4, it’s not as fast as other lenses in this article, but the lens still provides excellent image quality and has a very good bang for your buck.

Image: Alyssa at dusk, Brisbane. The XF 60mm F2.4 is an excellent option if the XF56mm F1.2 is out o...

Alyssa at dusk, Brisbane. The XF 60mm F2.4 is an excellent option if the XF56mm F1.2 is out of your budget.

 

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Alyssa in Brisbane. The XF 60mm F2.4 is stunningly sharp.

 

Fujinon XF 23mm F1.4 R

Best Fujifilm X-Series Kit for Urban Portraits

The Fujinon XF 23mm F1.4 R is another lens often mentioned as the best in the X-Series lineup. With the 1.5 crop factor, it’s Fujifilm’s closest lens to the traditional full-frame 35mm angle of view. This angle of view makes it perhaps the most versatile lens in the lineup for any given range of shooting scenarios – a big plus.

Another fast lens with a maximum aperture of F1.4, the lens is optically stunning and produces sharp images and beautiful bokeh.

Although I love this lens, I often leave it at home and take along the XF 16mm 1.4 and the XF 35mm 1.4 instead. However, it still deserves a place in this guide as it’s an excellent choice for urban portrait shoots.

Image: Bailey, Cleveland, Australia. The XF 23mm F1.4 lens is super-sharp and produces beautiful bok...

Bailey, Cleveland, Australia. The XF 23mm F1.4 lens is super-sharp and produces beautiful bokeh.

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Bailey, Raby Bay Harbour, Australia. It was quite dark when I took this shot, but with a higher ISO and some exposure compensation, Bailey looks fantastic – as do the pretty lights in the background.

 

Conclusion

The Fujifilm X-Series lineup is ideal for shooting urban portraits. The range features a range of compact, feature-packed camera bodies, along with optically stunning fast prime lenses.

Although you could invest some serious money in this system, there are many excellent value-for-money options, including the X-E line of camera bodies, as well as the X-T30 and the X-T20. In terms of lens choices, two of the original X-Series lineup – the XF 35mm F1.4 and XF 60mm F2.4 lenses – represent excellent value for money, blowing the competitor’s budget lenses out of the water in terms of quality.

If you have a bigger budget, also consider the X-T3, the new X-Pro 3, and the excellent XF 16mm F1.4, XF 23 1.4, and XF 56mm 1.2 lenses.

I’ve been using the system for four years and love the images the system produces straight out of the camera, thanks to the magic of Fujifilm’s JPG film simulations. The beautiful rendering of colors makes post-processing work a breeze.

What Fujifilm X-Series camera bodies and lenses do you use for urban portrait shoots? Let us know in the comments below.

 

 

The post Best Fujifilm X-Series Kit for Urban Portraits appeared first on Digital Photography School. It was authored by Matt Murray.


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Adobe fulfills its promise: Photoshop on iPad is officially here

05 Nov

In keeping its promise, Adobe has announced Photoshop on iPad is officially here.

It’s been over a year since Photoshop on iPad was officially confirmed by Adobe, but the Creative Cloud giant fulfilled its promise to deliver the program before the end of 2019.

As noted in the initial announcement, Photoshop on iPad relies largely on the same underlying code, but tweaks a few things to account for the more touch-based input method the iPad offers. Like the desktop version of Photoshop, Photoshop on iPad offers full PSD support so working on projects between multiple devices shouldn’t be a problem and new projects created on Photoshop on iPad will automatically be saved to Adobe Creative Cloud so you can pick back up on your computer if need be.

As previous reports from beta testers noted, not all of Photoshop’s features are present in the current version of Photoshop on iPad. In Adobe’s own words, it focused on bringing ‘common tasks and workflows that we know will be useful for most Photoshop users.’ Specifically, Adobe has included basic adjustments, brushes, cloning, spot healing, cropping, eyedropper, masking, layers and a few other features.

More powerful features, such as Select Subject, Refine Edge, canvas rotation and improved brush options will be added over time as Adobe learns ‘more about how customers use Photoshop on a mobile device.’

Photoshop on iPad will run on iPadOS 13.1 or newer on the following devices:

• iPad Pro (Wi-Fi, Wi-Fi and Cellular)
• iPad Pro (12.9-inch) and 2nd generation
• iPad Pro (10.5-inch)
• iPad Pro (9.7-inch)
• iPad 5th Generation
• iPad Mini 4
• iPad Air 2

Adobe is offering a free 30-day trial for Photoshop on iPad. After that, pricing gets a little confusing. If you currently have Adobe’s 20GB Photography Creative Cloud plan (or purchase it before January 31, 2020), iPad on Photoshop will be included alongside Lightroom, Lightroom Classic and Photoshop on desktop.

If you wait until after the cutoff date, you will have four more expensive options: subscribe to the Photoshop single app subscription (which includes Photoshop on desktop and iPad) for $ 20.99 per month, subscribe to the 100GB Photography plan for $ 20.99 per month, subscribe to the Adobe All Apps plan for $ 52.99 per month or make an in-app purchase on your iPad for a recurring $ 9.99 per month subscription to use just Photoshop on iPad.

Below is a little hands-on The Verge did with Photoshop on iPad a month back.

Photoshop on iPad is currently available to download on compatible devices in the iOS App Store. You can find out more about Photoshop on iPad on Adobe’s product page.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe announces Sensei-powered Photoshop Camera app for Android, iOS devices

04 Nov

Today, at Adobe MAX, Adobe announced Photoshop Camera a free AI-powered camera app for Android and iOS devices that will be publicly launched in 2020.

At the core of the camera app is Adobe’s AI technology, Sensei. When taking a photo, Sensei will recognize what the subject matter is and automatically suggest filters to match the content, both in real-time and as a filter after the capture. The filters, which are referred to as ‘lenses’ are curated and created by various ‘well-known artists and influencers,’ but Adobe is also accepting sign-ups for artists interesting in creating custom lenses.

In a blog post announcing the new app, Adobe says:

We built Photoshop Camera as a Sensei-first app on our journey to expand our focus to deliver creative tools, including Photoshop, for everyone. With Photoshop Camera you can capture, edit, and share stunning photos and moments – both natural and creative – using real-time Photoshop-grade magic right from the viewfinder, leaving you free to focus on storytelling with powerful tools and effects.

One of the most impressive features of the Photoshop Camera app is an auto-masking mode that can intelligently select various parts of the images depending on what the particular lens in use is trying to achieve with the subject matter. A few examples include masking out and replacing the sky in an image as well as applying fake bokeh to a shot.

You can sign up for a limited preview version of the app on Adobe’s website. The final version is set for a 2020 release.

Articles: Digital Photography Review (dpreview.com)

 
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Tips for Doing Fine Art Underwater Bubble Photography

04 Nov

The post Tips for Doing Fine Art Underwater Bubble Photography appeared first on Digital Photography School. It was authored by Joanne Taylor.

tips-for-doing-underwater-bubble-photography

Doing underwater bubble photography is both fun and challenging! Read on for easy-to-follow techniques, tips, and tricks for you to try no matter which underwater environment you’re in!

underwater-bubble-photography

Safety

For your safety, have someone on land, in a boat or in the water with you to act as a spotter. Have them keep a floatation device with them at all times too. Underwater photography can be tiring, and you might feel the need for assistance from time to time.

Have drinking water accessible regardless of the weather. Be sure to have sunscreen on and beware of the sun reflections off the water: sunburns hurt!

underwater-bubble-photography

Equipment

There are many devices you can use, including a GoPro, underwater phones, and the disposable ones they sell at the drug store. However, the best way to achieve shots like these is to have an SLR camera within a professionally-made underwater housing. You can still try these types of shots with whichever device you do have, but it is easier to take them with a lot of control going in.

I achieved these shots with a Nikon D7100 and a custom Ikelite housing.

You can shop for professional underwater equipment from a variety of places, but Ikelite – www.ikelite.com has a strong reputation internationally, and for good reasons. You can also check out Mozaik Underwater Camera – www.housingcamera.com

Both websites sell camera and housing packages for underwater photography and also individual housing cases. You definitely want reliable, trustworthy equipment to achieve consistent, sharp images.

Equipment check

Please note that human error causes most floods (where water breaches the housing compartment, and you risk losing your camera and every photo you’ve taken). Common causes of floods are sand, hair, or dust in the O-ring (which you should lightly lubricate every so often) and improperly secured latches.

With a professional underwater housing, you have the same capabilities underwater as you do on land. This saves much time if you’re in deep water – no need to climb in and out of the boat or in and out from the beach. Same for scuba diving – sometimes coming up from a deeper depth is simply not an option. For those using other devices, be sure to know the depth limit of the device, or you risk losing everything!

Tips for Doing Fine Art Underwater Bubble Photography

Camera settings and taking the first few shots

Make sure the lens on both the camera and the housing is clean. There is nothing worse than getting underwater, taking some fantastic bubble photos, and then seeing a sunscreen finger smear in the corner of each shot.

In underwater photography, your body will be moving, so too is the water and the bubbles. So if in doubt, use your camera in Auto Mode the first few times. Alternatively, try setting your camera to F22 and F20 at 1/2000th, 1/4000th, and rely on natural light.

Next, you are ready to get into the water and don’t forget to defog your goggles before putting them on (spit or a defogging spray work great).

Bring your equipment in and determine if it’s working underwater with a few test shots (aim at your feet) and then check the image on your viewfinder. Make any adjustments necessary.

Tips for Doing Fine Art Underwater Bubble Photography

Water and weather

Take into consideration the appearance of the water. You are looking for water clarity. Sometimes, the bottom can be churned up by a recent storm, and there can be a lot of debris. Debris can cause low visibility and definitely with underwater photography, the clearer the water, the better.

If you are in a controlled setting such as a pool, the clarity of the water will depend on the chemicals added. If the water is cloudy due to improper chemical balance, there will be a hazy quality in all of the photographs.

The weather affects the light in your photographs. A cloudy day will allow you to use a flash if you have one. Only add a small amount of flash, or you run the risk of blowing out the bubbles entirely.

If you don’t have a flash, keep shallow and try taking photos in the top two feet or so as the light will only decrease the further down you go. If it’s raining, you can still take photographs. It is fun to get the water droplets falling on the surface of the water while bubbles are rising towards them.

When it’s a sunny day, light streams through the water surface and lights up the bubbles from behind. Try to take a few pictures with the sun in the shot as well.

underwater-bubble-photography

How to create bubbles with containers

Use a variety of containers for different sized bubbles. Try sand buckets, Tupperware, or other plastic bowls. Children’s stacking cups are great too, as long as they don’t have a hole or holes in the bottom. Anything can work (re-usable drinking bottles are great too) but avoid all breakables like glass.

Bring them one by one into the water, so they don’t float away. You would benefit from a helper to pass them to you, so it’s easier to juggle your camera and the buckets.

Start with the smallest, easiest to manage container, and work up to the largest as they are the hardest to maneuver underwater.

Take the container underwater by holding the opening directly over the surface and pushing it down underwater to catch the air inside. Practice tilting the cup slowly underwater to let the air trickle out in a trail of bubbles and practice tilting the cup quickly to let all the air out at one time.

Now take a few test shots of the air escaping the container. You might have to practice a few times not to catch your hand or the container in the shot.

Try taking the container deeper. Be patient until you get the right balance of speed of the bubbles versus shutter speed. Check your viewfinder and make any necessary adjustments regarding shutter speed, focal length, or the strength of your flash if you’re using one.

Tips for Doing Fine Art Underwater Bubble Photography

Try taking a series of images of bubbles using multi-shot (continuous shooting) for a better choice of images later.

Move into another section of the water for a variety of images. If you’re using the sun as a backlight, you may also have to angle your camera up towards the surface of the water to get a better shot.

How to create bubbles without containers

Take the containers out of the water and try kicking your feet and making lots of tiny bubbles.

Tips for Doing Fine Art Underwater Bubble Photography

Editing

Once you have downloaded your images, you are ready to edit.

Adobe Lightroom will make editing easy – though, you can use any editing software of your choice. Cropping will be your most used tool as you eliminate any hands, containers, or debris. Cropping is also necessary to zoom in on a section as you attempt to create the most aesthetically pleasing bubble photograph.

Tips for Doing Fine Art Underwater Bubble Photography

Occasionally, you may want to adjust the color of the photograph by making it bluer or taking all color away to see the bubble shapes in black and white.

Tips for Doing Fine Art Underwater Bubble Photography

Conclusion

Fine art underwater bubble photography takes a lot of patience, so relax and have fun. Bubbles are fragile, finite, and often hard to predict. Your best shots may be a string of bubbles, a cloud of little ones, or a single, large one.

Let’s see what you can do! Please share your underwater bubble photography with us in the comments!

The post Tips for Doing Fine Art Underwater Bubble Photography appeared first on Digital Photography School. It was authored by Joanne Taylor.


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Canon patent application details hybrid speedlight with active cooling via internal fan

04 Nov
The fan, labeled ‘155,’ is located on the bottom of the flash head.

A recent patent application from Canon details the schematics for a hybrid speedlight that has built-in cooling for keeping the speedlight cool with continuous use.

Japanese patent application 2019-185021 shows various ways in which a fan underneath the flash head of the speedlight would pull in air from the ambient environment, direct it over the front of the main flash tube and cycle it out to keep temperatures at a more manageable level. Interestingly, the patent also shows a pair of LED lights above and below the main flash tube, the reason we consider this a ‘hybrid’ speedlight.

Various illustrations in the patent show how the air would be channeled through the flash head depending on where the flash tube is located inside the speedlight. This particular example shows how the air would flow in front of the flash tube (and LED lights, labeled 102 and 104) and cycle out of the speedlight via the empty space behind the flash head and LED lights.

The patent doesn’t specify whether or not the cooling mechanism is more for the main flash tube or the LED lights. But, considering fans aren’t necessarily a requirement on traditional speedlights and the incredible amount of heat LEDs can put out — especially in a confined package without much passive cooling — we believe it would make the most sense that this fan would run at times when the LED lights would be on for extended periods of time, where heat could built up without the chance to dissipate in a reasonable timeframe.

As noted by Canon News, who first broke down the patent, the detailed drawings and tech specifications for this speedlight indicate that quite a bit of work has gone into it already. As with all patents, it might never see the light of day, but it’s an interesting concept nonetheless.

Articles: Digital Photography Review (dpreview.com)

 
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Your Posing Guide for Maternity Sessions

04 Nov

The post Your Posing Guide for Maternity Sessions appeared first on Digital Photography School. It was authored by Jackie Lamas.

your-posing-guide-for-maternity-sessions

Posing can feel a little repetitive after a few shots during maternity photo sessions and if this is how you feel, read the following posing guide for maternity sessions, so that you can get more ideas for your next shoot!

Image: Interacting with the belly is a great pose for maternity photos.

Interacting with the belly is a great pose for maternity photos.

Basic posing for maternity

Basic posing for maternity sessions is centered around the baby bump and the mama-to-be, specifically. You can use very basic posing to build from and add more variety to the poses. However, these basic poses are perfect for any session and can work well in any situation or location.

Image: At 45-degrees from the camera is the best way to highlight the bump. Notice the hand placing...

At 45-degrees from the camera is the best way to highlight the bump. Notice the hand placing to accentuate the silhouette.

In order to flatter the baby bump the best, turn your client at least 45-degrees from the camera to either side. Ask which side is more natural to your client, so they feel more stable and at ease.

After you have turned your client, give her some shape by adding lines to her body. This creates more flow and adds some curves to break up the body. To do this, have your client pop out the knee that is closest to the camera. This helps guide the eye up from her leg to the bump, then ultimately resting on her face.

Image: The knee closest to the camera is best for giving shape to the body, creating a natural leadi...

The knee closest to the camera is best for giving shape to the body, creating a natural leading line.

Finally, use her hands to cradle the bump, further adding emphasis to it. You can pose hands in a variety of ways:

  • Place one on top of the bump and one under
  • Both under
  • One on the side and one under
  • Only one hand on the bump

If your client is wearing a long, flowy dress, pose her hand under the belly, so that the bump is more prominent. With a flowy or loose dress, it can be difficult to fully see the bump’s shape if it’s not gathered underneath.

Image: Same hand position in two different posed shots.

Same hand position in two different posed shots.

Using this basic set up is easy to build upon and add partners or other siblings to the mix. Posing the mama first is helpful as well, so that she doesn’t have to move around too much.

One great tip is to avoid having your clients look directly down at her belly. This can create an unflattering photo. Instead, have her look down with her eyes keeping her chin slightly up. Have her look down as if is she is trying to look past her belly and at her feet.

Your Posing Guide for Maternity Sessions

Posing with partners

Next in your posing guide for maternity sessions, is posing with partners. Posing with partners makes any maternity session a little more intimate.

Pose the mama first and have her partner fit in. This makes it easier to build poses and change it up when you want variety without tiring the mama out.

your-Posing-Guide-for-Maternity-Sessions

Using props can help with posing and highlighting certain details of the session.

Fit the partner in slightly behind your client and have their arms holding the baby bump. The partner can place their hand closest to the photographer under the belly. This might require the partner to come out a bit from behind. That’s okay. If they look comfortable in the pose, it’ll look better in the final image.

your-Posing-Guide-for-Maternity-Sessions

With the hands farthest from the camera, have the partner put their hand on the arm close to the shoulder. The mama can place her other hand on top of her bump.

Your Posing Guide for Maternity Sessions

Another great pose with the partner is to turn the partner away from your client slightly so they’re facing opposite each other with their shoulders touching.

Here, ask them to hold hands and have the mama lean into her partner. With her other hand, have her place it under the bump and pop one knee out to give her body a curve.

Your Posing Guide for Maternity Sessions

The bump isn’t the only focus. Try posing the partner caressing and cradling the bump by kneeling and getting close. Here you can ask them to give the bump gentle kisses. Talk to the baby, or simply close their eyes and enjoy.

your-Posing-Guide-for-Maternity-Sessions

In this pose, have mama look away and get a close shot of the moment. This can eliminate double chins or unflattering poses.

Posing with siblings

The next point in your posing guide for maternity sessions is working with children.

Working with children during a maternity session doesn’t need to get out of control. It’s best to start with the complete family, move onto shots with the mama and siblings, then some creative shots of everyone. Then, finally, let them go and play.

your-Posing-Guide-for-Maternity-Sessions

Allow children to cuddle and get close.

Getting photos of the siblings first can make the whole session go smoother in general. Again, begin by posing mama first. If they are in the session, place the partner next. Then place the children, or child, next to the parents.

Your Posing Guide for Maternity Sessions

For creative posing, if the children are 5 years or younger, you can have the parents hold them. Then get close-up shots of the family interacting.

your-Posing-Guide-for-Maternity-Sessions

Have them hold hands and walk along a path while they talk and interact with each other. These poses are more authentic and help children to be more active in the photos rather than forced to pose.

Switch between natural posing and posed

What is natural posing? It is when you give your clients an activity to do and allow them to enjoy the moment. For example, you can ask your clients to walk along the shore while they look at each other and enjoy the beach views.

Your Posing Guide for Maternity Sessions

Alternatively, it can be having the partner kneel down to the level of the belly and have them talk to the baby. Capture these moments from a bit of a distance so that your clients feel that they can enjoy the intimate moments.

Your Posing Guide for Maternity Sessions

Posed is when you direct your clients to stand, sit, or pose how you want for the final image. This can feel stiff after a while, so mixing natural poses with posed ones can offer a lot of variety in the final gallery.

In conclusion

Posing for maternity photos doesn’t have to be just posed, you can mix in a bit of the excitement and natural expressions adding to a variety of poses to build from.

your-Posing-Guide-for-Maternity-Sessions

I hope your posing guide for maternity sessions helps you with your next shoot. Do you have any posing ideas that work for maternity photos? Post in the comments below!

The post Your Posing Guide for Maternity Sessions appeared first on Digital Photography School. It was authored by Jackie Lamas.


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The Fujifilm 200mm F2 shoots planes, cranes and hydroplanes

03 Nov

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As autumn rolls in in the northern hemisphere I always find myself wishing that summer would stick around just a little bit longer. So, in the spirit of summer, I’m going to take you for a voyage in the wayback machine all the way to August, when the sun was bright and the temperatures warm.

One of the highlights of the warm(ish) season here in Seattle is Seafair, a summer-long festival that culminates with an airshow featuring the US Navy’s Blue Angels and hydroplane races on Lake Washington. Not familiar with hydroplanes? Imagine strapping a turbine engine from a helicopter onto the back of a boat and racing it around an oval loop at up to 320 kph (200 mph). Wild stuff.

Hydroplanes are lifted in and out of the pits by a crane between heats for maintenance.

ISO 1000 |1/5000 sec. | F4.0 | 280mm

It’s a fun event to photograph, but a challenging one as well; your subjects are typically far away and moving very fast. I had been looking for an opportunity to use Fujifilm’s 200mm F2 telephoto and Seafair seemed like just the right event. I paired the lens with a X-T3 body and headed out for two days to shoot in the hot summer sun.

Fujifilm isn’t the first brand I think of when it comes to shooting fast action, but I was dying to try the lens and Fujifilm’s AF system has been getting really good on recent models, so I decided to give it a go. TL;DR – I wasn’t disappointed.

I spent my first day at Seattle’s Boeing Field where the Blue Angels are based during the airshow. I had planned to shoot planes in flight (hmmm… maybe not the best way to phrase that), but I was pleasantly surprised at all the shooting opportunities on the ground. The 200mm F2 came through for me big time here.

Photos of the Blue Angels in flight abound, but the 200mm F2 also allowed me to focus on the ground crews to show the people who make these airshows possible.

ISO 400 |1/640 sec. | F5.6 | 200mm

With a bit of creative positioning I was able to shoot above, around and, in a few cases, straight through the crowd to get some close photos of the planes, pilots and ground crews before takeoff and after landing. I love these types of photos because they add a human element to the story that’s often missing from Blue Angels photos.

Image quality was outstanding. In my opinion, this lens performs as well as any similarly specced optic I’ve tried (comparable to a 300mm F3.0 on full frame). Images were consistently sharp with excellent contrast and looked great straight out of the camera.

The following day I headed out to Lake Washington to shoot the hydros. I quickly discovered what experienced hydroplane photographers already know: the hydros are a lot farther from shore than you think and the lens didn’t provide enough reach to get a tight shot on the boats. Fortunately, I had the lens’s companion 1.4x teleconverter which quickly transformed it into a 280mm F2.8 (420mm equivalent) to get a bit closer to the action.

Hydroplanes skim across the water at speeds in excess of 300 kph. Even with the Fujifilm 1.4x teleconverter attached the boats were a bit far away for a tight frame.

ISO 200 |1/5000 sec. | F3.2 | 280mm

I was impressed with shots using the teleconverter as well, though you do give up a bit of absolute sharpness when it’s used. However, unless you’re pixel peeping or printing very large the difference won’t be apparent to most viewers. It’s also worth noting that I was shooting distant objects on a very hot day, so heat haze likely had some impact on absolute sharpness in these images. Overall, I really enjoyed shooting with the teleconverter attached and didn’t notice any compromises in performance other than a slight loss in sharpness.

And the X-T3? It exceeded my expectations. I mostly used zone focus and the AF was fast and precise. Did it miss some shots here or there? Definitely. But no more than I’d expect from any other camera this side of a Nikon D5 or Canon EOS-1D X Mark II.

The US Navy’s Blue Angels flight demonstration team thunders overhead.

ISO 400 |1/4000 sec. | F3.6 | 200mm

I have to give props to Fujifilm for one other thing as well. I almost always make adjustments to Raw files, but I didn’t need to make adjustments to any of the photos I shot over the course of two days. The entire sample gallery was created by opening Raw images in Lightroom and immediately exporting them as Jpeg images using Fujifilm’s Astia film profile, which did the best job of rendering the blue color of the planes. Fujifilm just gets this part right, and it’s one of the reasons I keep getting drawn to Fujifilm cameras.

My verdict on the lens? Fantastic. I just need an excuse to go use it again.

Articles: Digital Photography Review (dpreview.com)

 
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