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Arcane Photos is a decentralized, blockchain-based Google Photos alternative

17 Aug

A new blockchain-based service called Arcane Photos has launched as an alternative to Google Photos and other cloud-based options for uploading and storing images. The new service is a server-free decentralized solution offering users encryption to protect images from potential data breaches and other privacy issues.

Arcane Photos utilizes the Blockstack decentralized computing network to provide users with access to the new photo-storing service. In a post on Product Hunt, the product’s creator Walterion explained:

‘The most challenging part for us was designing a blockchain app that doesn’t look like a blockchain app! We wanted to make the transition from centralized to decentralized solutions as smoothly as possible. That is where Blockstack comes in to help us with a secure and decentralized authentication service, working on Bitcoin blockchain.Æ

Arcane Photos can be used in any modern web browser and is joined by free office products similarly based on blockchain tech. The service’s primary downside at this time appears to be a lack of options for purchasing more storage; 10GB won’t last long for users who store large full-resolution images.

Articles: Digital Photography Review (dpreview.com)

 
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Video: How to upcycle old TVs and monitors into a natural-looking light source

16 Aug

Matt of YouTube channel DIY Perks has shared a video showing how old televisions and computer monitors can be repurposed to create a natural-looking light source that gives off a similar look to window light.

The 13-minute video walks through the entire process, with Matt taking the time to explain each step of the project and each element involved in upcycling an otherwise faulty display into a cheap, DIY light source.

A screenshot from the video showing the difference the fresnel lens panel makes in preventing light falloff.

One of the key components that makes the light coming from TV and monitor backlights look so natural is a fresnel lens. As Matt explains in the video, these fresnel lenses, combined with additional diffusers, helps to reduce the inverse square law.

The process itself is a bit cumbersome and will vary greatly from one TV/monitor to the next, but the basic principles seem to apply to most displays. You can either choose to re-wire the light source used in the original display or use Matt’s more convenient solution, which is to remove the original light source and put LED light strips in place so wiring and powering the setup is more convenient. Matt even links his preferred LED light strips, which have a decent CRI rating for the most natural-looking light.

A screenshot from the above video showing Matt reinstalling the diffusion panel in one of his upcycled light builds.

Unless you have the tools on hand, it isn’t likely an evening project, but it doesn’t appear to be too difficult either, especially considering similarly-sized light sources will come at a much higher cost than the DIY solution.

Of course, be sure to properly recycle any components not used in the rebuild to minimize waste.

Articles: Digital Photography Review (dpreview.com)

 
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How be a Second Shooter at Weddings and Why it’s Important

16 Aug

The post How be a Second Shooter at Weddings and Why it’s Important appeared first on Digital Photography School. It was authored by Jackie Lamas.

Getting started in wedding photography takes more than your camera gear. In order to really get an idea of what photographing a wedding is truly like, becoming a second shooter can be the perfect way to get you started.

Second-Shooter-at-Weddings

Why it’s important to be a second shooter?

Getting started in weddings means that you should have a high level of photographic experience not only technically, like how to use your camera, but also what goes into photographing a wedding.

Second shooting allows you to shadow a photographer, photograph the entire wedding, and get real hands-on experience without having all the pressure fall on you to get every photo right.

Image: A second shooter can get creative with angles, perspective, and photograph key guests at wedd...

A second shooter can get creative with angles, perspective, and photograph key guests at weddings.

Being a second photographer can also give you insight into the customer service aspects of weddings like keeping to a timeline, knowing what to expect if something goes wrong, and seeing how each photographer you second for handles the pressure.

As a second shooter, you can also determine if weddings and events are something you’d even like to pursue. You also don’t have the pressure of booking a wedding client and then not knowing what or how to go about photographing it or if you’ll even like it.

How be a Second Shooter at Weddings and Why it's Important

Working alongside an experienced wedding photographer can also let you in on industry tips and tricks that they’ve learned throughout the years. You can also ask questions and observe how they work at a wedding. This will help you when you start photographing events as the primary photographer.

Difference between second photographer and assisting

Although it may seem like there isn’t a difference between assisting and second shooting, there is. Assistants are just that. They assist the main photographer with anything from carrying bags and equipment, to helping with veils, styling, or running to grab something for a photo. An assistant is an extra pair of hands.

How be a Second Shooter at Weddings and Why it's Important

Assistants generally don’t help photograph a wedding. However, depending on the terms that the main photographer has set up for the position, sometimes you may.

A second photographer is someone who helps photograph a wedding in tandem with the main photographer. As a second shooter, you are usually responsible for photographing the in-between moments and get a different, more creative angle on photos.

Reach out to photographers

Second-Shooter-at-Weddings

The first step in getting a second shooting gig is to reach out to photographers that inspire you, are looking for help on wedding days, or people you know who wouldn’t mind having an extra photographer at the wedding.

Your email can be simple and concise like:

Hello,

My name is ____________. Firstly, I love your work and it’s an inspiration to me as a new wedding photographer. I was wondering if you needed a second photographer at events, as I would love to learn the ropes before jumping into wedding photography full time. I have the following gear: __________. You can see my portfolio at www.yourwebsite.com.

Thank you so much for your time!

Your name.

Emailing a busy photographer a short and to-the-point email is best. They may say no, which is okay. You should respond with a thank you email along with the message that if they ever need anyone in the future, you are available. They can then keep your information on file should they need a second photographer in the future.

Second-Shooter-at-Weddings

Also, there are many social media groups where you can look for second shooting jobs in your local area. Many photographers can hire on the spot just by looking at your website and gear.

Make sure to sign a contract

Second shooting with a contract is highly recommended. Not all photographers do this. However, you can draft one up for them just in case they don’t have one ready.

Include the details of the event, how long you’ll be second shooting, what you’re expected to cover, and finally, the delivery of the photos and payment.

Second-Shooter-at-Weddings

Many photographers will want you to use your own equipment and will ask you what you photograph with. If this is the case, make sure to put this in the contract as well.

Just as an important note as well, when you second shoot, the images that you take may not be under your copyright. Most contracts will state that copyright belongs to the main photographer since their photography business is the one who was hired by the couple.

Image: Often, second shooters get the candid photos during a wedding event, like this one above.

Often, second shooters get the candid photos during a wedding event, like this one above.

This means that you’re a subcontractor. Therefore any images you produce are copyright and property of the main photographer – even if you photograph the event with your equipment. Check your contract for copyright and usage rights, if any exist.

Gear

Some photographers want you to use their memory cards or even their gear. That way, they don’t have to worry about syncing times, converting raw files into the same format, or image delivery delays to the client.

Second-Shooter-at-Weddings

Try and get a different angle than the main photographer so you can add variety, like these two images of the first dance.

Take your gear with you. Doing so gives the main photographer the choice to let you use your gear or their gear, or a mixture of both.

When you email the photographers, make sure you list all the gear that you know how to use at 100 percent. In the event you don’t know how to you use your flash in manual mode, for example, then put down “flash only in TTL mode.” This can help the main photographer know your photography experience and may even help you learn manual mode or another photography tip!

How be a Second Shooter at Weddings and Why it's Important

Be all-in

Being a second shooter means that you are there to help the photographer with photography. While some second shooters take this approach very seriously, I believe that second photographers should also be at the disposal of the main photographer – within reason, of course.

Second-Shooter-at-Weddings

This means that you help fluff up the dress, put on the boutonniere, help with getting flowers to the bridesmaids, and yes, maybe handing the main photographer a lens or battery.

You’re a team, and it’s important to be all-in when you second. The main photographer is helping you gain experience and learn. It’s best that you also help as much as you can.

Image: While the main photographer focuses on the couple, you can use your eye to focus on other key...

While the main photographer focuses on the couple, you can use your eye to focus on other key moments during the wedding!

Each photographer works differently, however. Showing initiative and being accommodating can also help you get more second shooting gigs in the future with the same photographer.

Take what works for you

Second shooting is really helpful because you get lots of experience with different photographers and get to observe all the different ways that each one works a wedding.

How be a Second Shooter at Weddings and Why it's Important

Perhaps you vibe best with one photographer and not so much with another. That is okay. Make sure to thank the photographer for having you along. Then, in the future, only go with photographers you have a good rapport with and like to be around.

Also, you’ll be able to take away tips and tricks that you feel work for you. If one photographer was excellent at customer service, take away what they said or did, and apply it to your business. Another photographer may have created a really interesting image during the reception that you can try at the next wedding event you have.

How be a Second Shooter at Weddings and Why it's Important

Take what works for you, your style, and your business and leave the rest. That’s one great thing about being the second photographer – you can observe all and still have fun photographing a wedding.

Payment

When you are highly experienced in photography and can create quality images every single time, you may get paid anywhere between $ 25-$ 50 or more per hour for second shooting. Some photographers also offer a flat rate for a set of hours.

Second-Shooter-at-Weddings

If you’re just starting out, you might not get paid, but the experience is completely worth it. Getting your feet wet in the wedding photography industry is more important because you’ll find that weddings are a high-pressured, fast-moving, and a once-in-a-lifetime type of photography.

You don’t get do-overs, so second shooting is the best way to get experience without paying the price for unhappy clients.

How be a Second Shooter at Weddings and Why it's Important

That being said, definitely ask the main photographer before signing a contract what the payment will be. Then you can choose whether the pay is acceptable or not. You do have the choice to take on second shooting gigs for free if you wish or ask for a set rate.

Some experienced photographers help other photographers out and so their pay rate is higher. While others do it to flex their skills, practice, or just fill up their calendar in between jobs.

How be a Second Shooter at Weddings and Why it's Important

In conclusion

Becoming a second shooter is a lot easier than you would think. Reach out to photographers that you admire and spend time observing how they work. When you’re ready, you can then start to photograph your own weddings if you don’t already do!

Do you have any other second shooter tips? Share them in the comments below!

 

Second-Shooter-at-Weddings

The post How be a Second Shooter at Weddings and Why it’s Important appeared first on Digital Photography School. It was authored by Jackie Lamas.


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Nikon announces US pricing, availability of its CoolPix W150 point-and-shoot

16 Aug

Four months after Nikon announced its CoolPix W150, Nikon has released availability and pricing information for the version set to retail in the United States.

As a refresher, the CoolPix W150 features a 13.2-megapixel 1/3.1” CMOS sensor with an electonically-stablized Nikkor 3x zoom lens (30-90mm 35mm equivalent) in front of it. The camera also features a built-in flash and a built-in two-stop ND filter for shooting in bright environments.

As with Nikon’s past W-series cameras, the W150 is waterproof (IPX8), shockproof (from 1.8m/5.9ft) and freezeproof (down to -10°C/14°F, or 0°C/32°F during underwater use).

On the rear of the camera is a 2.7” 230K-dot LCD display used to navigate the menu and compose/review images captured with the camera. Nikon has included 18 different scene modes with the camera in addition to dedicated underwater and underwater face framing features that will automatically correct color casts caused by shooting underwater.

The W150 features Bluetooth and Wi-Fi for wirelessly transferring images to mobile devices via SnapBridge to a connected smartphone or table. Charging is done via the onboard Micro USB port.

The CoolPix W150 is set to ship in September 2019 and is currently available pre-order starting today for $ 169.95 (Adorama, B&H). Nikon is offering a white, blue, orange, pink floral and tropical variations, but U.S. customers are limited to the white model.

Press release:

The New CoolPix W150 – The Waterproof and Shockproof Camera the Whole Family Can Enjoy

From beach vacations and pool-side getaways, to hiking trips and camping expeditions, the family- friendly COOLPIX W150 was made to capture one-of-a-kind moments on every adventure

MELVILLE, NY (August 14, 2019 at 9:00 a.m. EDT) – Today, Nikon Inc. announced the U.S. retail availability of the COOLPIX W150, the latest rugged yet family-friendly compact digital camera. Thanks to being both waterproof and shockproof, the COOLPIX W150 allows users to easily capture and share unforgettable moments on every adventure, vacation or get-together. The W150 boasts an extremely easy-to-use design, sharp image quality and variety of unique scene modes, making it a great travel camera for the whole family.

With a 13.2-megapixel image sensor, 3x optical zoom and full HD video recording, the COOLPIX W150 offers the flexibility to easily capture both stunning still images and Full HD videos, wherever life takes a person. Even those who have never used a camera will immediately be comfortable snapping shots due to the simple menu system, 2.7-inch 230-k dot LCD screen and Target Finding autofocus, which allows for easy detection and focus on the primary subject.

Built to capture memories, the COOLPIX W150 is waterproof up to 10m (33 feet), shockproof from 1.8m (6 feet) and freezeproof up to -10°C (14°F). Additionally, the COOLPIX W150 is equipped with a variety of scene modes and editing functions, allowing users to explore their creativity and create fantastic photos, even underwater. Users can also seamlessly upload to their phone wirelessly for sharing, all with the Nikon SnapBridge app.

Price and Availability

The COOLPIX W150 in white will be available in the U.S. in early September 2019 at a suggested retail price (SRP)* of $ 169.95. For more information on the latest Nikon products, including the new COOLPIX W150, please visit www.nikonusa.com.

Articles: Digital Photography Review (dpreview.com)

 
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Report: The next GoPro will shoot 4K 120fps video, offer screen, light and mic accessories

16 Aug

Photo Rumors, citing sources based in China, is reporting a number of specs for the next generation of GoPro action cameras and has a set of purported images of the unreleased device.

According to Photo Rumors’ information, the action camera — expected to be called the GoPro Hero 8 — will be announced in September 2019.

The updated action camera is said to feature a new design with an optional housing that features cold-shoe mounts on the top and side for attaching accessories. Photo Rumors specifically mentions microphone, LED light and screen accessories. The leaked renderings show off the LED light and screen accessory, the latter of which appears to have a USB-C port on the side of it.

In terms of specs, Photo Rumors is reporting the action camera will be able to shoot 4K video at 120 fps and Full HD at 480 fps, all powered by a 12-megapixel sensor and GoPro-designed GP2 chipset. It’s also said the camera will feature an improved lens design for better image quality.

As with all rumors, the specifications should be taken with a grain of salt, but the renderings look identical to past product images from GoPro and the specifications do align with the incremental improvements GoPro has made over the years to its action camera lineup.

Image credits: Image via Photo Rumors, used with permission

Articles: Digital Photography Review (dpreview.com)

 
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Leica announces APO-Summicron-SL 50mm F2 L-mount lens

16 Aug

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Leica has announced its APO-Summicron-SL 50mm F2 lens, which is designed for the L-mount system. The lens is smaller, lighter and, as you’d expect, cheaper than Leica’s F1.4 variant.

The 50mm F2 has twelve elements; three are aspherical and eight use an anomalous partial dispersion (APD) design to reduce chromatic aberration. Dual stepping motors can move the focus elements from their minimum focus distance to infinity in 250ms, according to Leica. The minimum focus distance is 0.35m (13.8″), with a 0.2x maximum magnification.

The lens is sealed against dust and moisture, and an ‘Aquadura’ coating prevents water from collecting on the front element.

The APO-Summicron-SL 50mm F2 lens is now available for $ 4495.

Official sample photos

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Press Release:

The Leica APO-Summicron-SL 50 mm f/2 ASPH. Brings Ultimate Image Quality and Versatility to the SL Lens Portfolio

The newest, all-purpose Leica lens and next milestone for the 50 mm focal length

August 15, 2019 – Leica Camera sets an even higher benchmark for the Summicron-SL family with another top-flight lens: the Leica APO-Summicron-SL 50 mm f/2 ASPH. Often seen as the standard focal length for full frame cameras, this new 50 mm promises a level of performance high enough to demand a spot in the gear bag of any photographer looking to take advantage of the L-Mount system. Whether the task at hand is travel photography, studio work, architecture, landscape, portrait or documentary photography, the Leica APO-Summicron-SL 50 mm f/2 ASPH. is the new go-to L-Mount lens, delivering results that satisfy even the most discerning photographer.

The new APO-Summicron-SL 50 mm f/2 ASPH. consists of twelve expertly designed lens elements – three of which have aspherical surfaces for correcting optical aberrations – arranged in 10 groups, to achieve ultimate image quality. This lens allows photographers to seamlessly capture natural skin tones, smooth bokeh, outstanding contrast and consistent sharpness from corner-to-corner of its distortion-free images. The APO-Summicron-SL 50 mm f/2 ASPH. keeps chromatic aberrations in check by utilizing apochromatic corrections, where it earns its “APO” designation. This ensures that all colors of the light spectrum are accurately passed through the lens and fall on the same focused point on the camera’s sensor, so the photographer can know that they will get maximum detail in all situations without optical artifacts like distracting green or purple color fringing. To accomplish this, nearly all elements used in the construction of the lens are made from specially formulated, high-quality glass types for the highest possible light transmission. The end result marks an advancement in imaging performance with the venerable “Leica look” and signature rendering.

The thoughtful construction of all Summicron-SL lenses pays special attention to the prevention of stray light and reflections. The optical and mechanical design coupled with high-quality lens coatings serve to maintain the exceptional quality expected from a Leica lens. With their effective weather sealing against dust, moisture, and water spray, combined with an Aquadura coating of the exposed lens surfaces preventing water from beading, the Summicron-SL lenses can be confidently used in most extreme weather conditions.

The autofocus drive of all Summicron-SL lenses employs powerful and robust stepping motors with DSD® (Dual Syncro Drive™). The entire focus range of the lens – from close-up to infinity – can be fully traveled in just about 250 milliseconds to ensure spot-on focus that keeps up with moving subjects. Summicron-SL lenses also take an innovative approach to manual focusing technology, featuring a totally new focus ring construction. With this new method, a ring magnet with alternating polarization is embedded in the manual focusing ring along with a sensor that monitors the status of the magnetic field. The magnetic field changes its polarity when the ring is turned, and the sensor transmits the pinpoint details of user input that drives the focus. This intricate process happens near-instantaneously at the simple turn of the focus ring, enabling even faster and more precise manual focusing with a nicely dampened and weighted feel. The photographer can quickly access the finest manual focus micro-adjustments when they need it, right at the reach of their fingertips

Thanks to the L-Mount standard, the new APO-Summicron-SL 50 mm f/2 ASPH. is also fully compatible with cameras manufactured by partners of the L-Mount Alliance who use the lens mount developed by Leica. The APO-Summicron-SL 50 mm f/2 ASPH. is on sale now at Leica Stores, Boutiques and Dealers for $ 4,495.00.Leica has announced its APO-Summicron-SL 50mm F2 lens, which is designed for the L-mount system. The lens is smaller, lighter and, as you’d expect, cheaper than Leica’s F1.4 variant.

The 50mm F2 has twelve elements; three are aspherical and eight use an anomalous partial dispersion (APD) design to reduce chromatic aberration. Dual stepping motors can move the focus elements from their minimum focus distance to infinity in 250ms, according to Leica. The minimum focus distance is 0.35m (13.8″), with a 0.2x maximum magnification.

As one would expect from Leica, the lens is sealed against dust and moisture, and an ‘Aquadura’ coating prevents water from collecting on the front element.

The APO-Summicron-SL 50mm F2 lens is now available for $ 4495.

Articles: Digital Photography Review (dpreview.com)

 
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Z Cam launches budget E2-F6 and E2-F8 6K and 8K cinema cameras for pre-order

16 Aug

Chinese company Z Cam has launched its new full-frame 6K E2-F6 and full-frame 8K E2-F8 cinema cameras for preorder. The models, which were first introduced during NAB 2019, follow the previously launched E2 4K, offering consumers budget-tier high-resolution versions of the company’s professional cinema camera. Both models will start shipping in October.

The Z Cam E2-F6 and E2-F8 are cube-shaped cinema cameras sold without accessories, making the total cost to set up a fully workable cinema camera higher than the models’ respective $ 4,995 and $ 5,995 prices. Both the E2-F6 and E2-F8 are available with EF / PL lens mounts, and both models likewise feature Gigabit Ethernet connectivity, ZRAW support and full-frame CMOS sensors.

The E2-F6 model can shoot 4K / 120fps and 6K / 60fps footage with 15 stops of dynamic range, whereas the E2-F8 model can shoot 4K/6K/8K at 30fps with a claimed 14 stops of dynamic range. Both models feature 5G and 802.11n WiFi with an external antenna port, built-in stereo microphone, 3.5mm audio-in and audio-out stereo sockets, HDMI 2.0 Type-A, USB-C, two serial ports and aluminum alloy construction.

The E2-F6 is slightly smaller than the E2-F8 at 91.2 x 99.2 x 89.1mm (3.5 x 3.9 x 3.5in) versus 91.2 x 99.2 x 99.1mm (3.5 x 3.9 x 3.9in) — the company hasn’t disclosed the weight of either camera model. Both models can record in 8-bit H.264 and 10-bit H.265 with a max 300Mbps bit rate and 24-bit 48kHz audio. Likewise, both models are compatible with Sony NP-F series batteries, but they’re not included with the cameras.

Both the Z Cam E2-F6 and E2-F8 are available to order through B&H Photo.

Articles: Digital Photography Review (dpreview.com)

 
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Meike adds Canon RF, Nikon Z mount options to its manual focus 85mm F2.8 macro lens

16 Aug

Hong Kong-based company Meike has launched new Canon RF and Nikon Z mount options for its full-frame 85mm F2.8 macro lens. The lens — which is currently available in Sony E, Fuji X, MFT, Canon EF and Nikon F mount systems — is a manual macro lens with an F2.8 to F22 aperture, 55mm filter size, 0 to 1.5x magnification, and 25cm (9in) minimum focusing distance.

The lens is constructed of 11 elements in 8 groups and comes in at just 500g (1.1bs). Like its previous full-frame counterparts, the is features an all-metal body alongside three manual adjustment rings for focus, macro focus, and aperture.

The 85mm F2.8 macro lens for Nikon Z and Canon RF is currently listed on the Meike website. No pricing information is available for these two new models, but the current versions currently retail for $ 269.99.

Articles: Digital Photography Review (dpreview.com)

 
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Three Mistakes That Kill Image Quality (and How to Avoid Them)

16 Aug

The post Three Mistakes That Kill Image Quality (and How to Avoid Them) appeared first on Digital Photography School. It was authored by Adam Welch.

We all want to make the highest quality photographs we possibly can, right? Hopefully, you just gave a very slow yet very serious head nod in agreement to that statement.

There are a host of factors that play into the final quality of your digital images. Even the phrase “image quality” seems to be the best way to sum up all the pieces that have to come together for us to consider our photographs to be of high quality. Sharpness, composition, color balance and contrast are a few variables that jump to mind along with a multitude of others that we can and cannot control.

image-quality-mistakes

In this article, we’re going to look at three mistakes that you could very well be making with your photography right now which could be sabotaging your image quality before they ever leave your camera. Luckily, all of these mistakes are easily remedied once you realize they exist. Let’s get started.

Shooting “wide open” all the time

Make no mistake, from a lens standpoint, we live in an extraordinary time. Lens manufacturers have evolved to the point where we currently see extremely well-constructed optics with beautiful sharpness capable of shooting with relatively enormous apertures.

Not even a decade ago, you virtually could not find a “fast zoom” lens with a maximum aperture wider than F/4 for less than a $ 1,000US – at I least I never did.

Now, it has become blissfully common to acquire an outstanding F/2.8 or wider lens without taking out a second mortgage on your home.

image-quality-mistakes

This new age of lens evolution comes with a few caveats, though. Just because your lens is a low-light beast capable of shooting at F/1.4, doesn’t mean that is an ideal aperture for every situation. You see, lenses have certain “optimum apertures” which provide the sharpest results for that particular lens.

In most cases, the widest aperture of your lens, while providing the best light gathering and arguably the best bokeh, is usually the worst optical setting for your lens. The widest aperture setting of your lens often makes nasty little image problems more apparent. Chromatic aberrations, edge softening, and vignetting all become more pronounced when you shoot wide open.

The solution:

Stop down your lens, even if it’s only by a stop or two. You’ll lose some light, but you will also likely see a markedly visible increase in image sharpness and overall quality. While it’s true that not all lenses are created equal (some show shockingly fantastic performance even at their widest apertures), the outcome will probably only become better if you stop down.

Three Mistakes That Kill Image Quality (and How to Avoid Them)

A good F/1.4 lens will be great at F/2.8 and likely outstanding at F/4. If you’re worried about losing that “creamy” bokeh, you may be surprised to see how little background blur you lose with a couple of stops on the wide end of your aperture. It depends on the relative distance of objects in the scene as much as it does on the aperture.

So if you’re suffering from a lack of sharpness and heavy vignetting try stopping down that lens and observe your results.

Poor body mechanics

No matter your gear, conditions or subject matter, if your camera is moving unintentionally, then your images will likely never be as technically qualitative as they could be. Camera shake robs sharpness and can make an otherwise strong image unusable.

Some of us can naturally hold our cameras more steady than others. In-camera or in-lens image stabilization can help, and of course, a trusty tripod is always a good shooting companion.

All of those things aside, simply being conscious of your body mechanics can go a long way to improve the quality of your photographs. At the same time, a bad grip on the camera and poor bodily positioning can cost you a photo.

The solution:

Whenever you’re shooting handheld, be mindful of how your hands grip the camera and the position of your arms and legs. Keep a flat-footed stance with your legs about shoulder-width apart. If you’re using a DSLR or other interchangeable lens camera, grip the camera body firmly with your right hand with your left supporting the lens. Also apply slight opposing pressure (push with the right, pull with the left). Tuck your arms in close to your body for maximum stability.

This will work to help steady your shot. Along those same lines, gently press the shutter button instead of sharply pushing down, which can lead to the camera jerking.

image-quality-mistakes

Elbows tucked, solid grip and lens support.

Bonus tip:

Be mindful of a handy little formula called the “Reciprocal Rule.” This rule will help you approximate the slowest shutter speed based on your focal length to avoid moderate camera shake. The Reciprocal Rule is incredibly simple:

Three Mistakes That Kill Image Quality (and How to Avoid Them)

So, if you’re shooting with a 50mm lens, the slowest shutter speed you should use would be 1/50th of a second. Shooting at 100mm? Your slowest shutter speed should be 1/100th of a second and so on and so forth. This is not an ironclad rule but it is a highly practical one.

For more ways to obtain sharper images be sure to check out my other article 4 Simple Ways to Get Sharper Photos

Neglecting your settings

As simple as it sounds, not being cognizant of your camera’s settings is one of the most frustratingly preventable image quality killers that you will ever encounter. Consistently out of focus images? Check that your viewfinder diopter is adjusted to your eyesight – especially if you wear corrective lenses. Are your photos suddenly pixelated at high magnification? Make sure you haven’t accidentally changed your camera’s resolution (happens more than you might think) to a lesser megapixel count.

Three Mistakes That Kill Image Quality (and How to Avoid Them)

These are just a couple of points to consider, but there are many more. The bottom line is that if you aren’t continuously aware of what your gear is doing, not only are being a sloppy photographer, but you are also limiting yourself and your work for virtually no reason at all.

The solution:

Brace yourself for a huge surprise! Just kidding.

The easiest way to fix a neglectful mindset towards your shooting is to force yourself to remain vigilant. This means constant checks of your deep camera settings such as image and video resolution/format, camera firmware, and micro AF lens adjustments. Sure, keeping track of all these things isn’t an immersively fun experience, but neither are bad photographs.

Do yourself and your photos a favor and never fall into the trap of complacency when it comes to your camera’s settings.

Summing up…

We all could be better at doing the things we love. Each one of us, no matter how experienced or accomplished, will always make mistakes with our photography. The only way we can prevent those image quality mistakes from constantly occurring, and improve the quality of our photos is to make sure we are aware that anything is wrong in the first place. If you do not see the quality of images you would like, the first step towards finding out the problem is realizing that there is one. From there it’s just a matter of working the problem until you resolve it or significantly mediate it.

Put the tips we’ve listed here to work, and you’ll see your image quality improving immediately.

Oh and remember, we’re all in this together! Feel free to share any other tips for image sharpness, or if you have a sticky little issue with your picture quality, feel free to let us know in the comment section, and hopefully, the community can help!

image-quality-mistakes

The post Three Mistakes That Kill Image Quality (and How to Avoid Them) appeared first on Digital Photography School. It was authored by Adam Welch.


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Nitecore announces ‘world’s first’ smart battery for Sony full-frame mirrorless cameras

15 Aug

Nitecore has announced the NFZ100, the world’s first ‘smart battery’ for Sony full-frame mirrorless cameras, including the a7 III, a7R III and a9 systems.

Like most ‘smart’ electronics, the unique feature of the NFZ100 is the ability to manage and monitor the battery with an accompanying smartphone app. Nitecore NNERGY, as it’s called, is available to download for free on both Android and iOS devices.

Once installed and connected to the NFZ100, the NNERGY app will let you monitor the battery health, battery level, battery voltage and other real-time battery information. Nitecore even offers a dedicated ‘Storage Mode’ within the app that will discharge the battery to 70% to help maximize its lifespan if it won’t be in use for some time.

Individual batteries can be labelled with three-digit identifiers to ensure you can tell them apart inside the app. There is even an option to upgrade the firmware of the batteries as Nitecore further develops its technology. Yes, you read that right, you might soon need to update the firmware of your camera batteries, not unlike you do your camera itself.

The NFZ100 batteries feature 2,280 mAh capacity, which Nitecore estimates is good for 500 still photos when shooting with the Sony a9. Voltage is 7.2V, giving it a power rating of 16.4Wh.

Other features include overcharge protection, over-discharge protection, overcurrent protection, over voltage protection and short-circuit protection. The batteries weigh 82.5g (2.91oz) and measure 52 x 38.7 x 22.5mm (2.05 x 1.52 x 0.89in).

The Nitecore NFZ100 doesn’t appear to be available to purchase through any online retailers as of now and no current pricing information is available. DPReview has contacted Nitecore and will update this article with more information if we get a response.

In the meantime, you can find out more information on Nitecore’s website.

Articles: Digital Photography Review (dpreview.com)

 
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