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Prime Lens Comparison – 24mm vs 35mm vs 50mm vs 85mm vs 135mm
The post Prime Lens Comparison – 24mm vs 35mm vs 50mm vs 85mm vs 135mm appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video, Julia Trotti does a prime lens comparison with portrait photography.

You’ll learn about focal lengths, background-to-foreground separation and compression, and distortion.

Take a look.

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In this video, Julia compares the following lenses using her Canon 5D MkIII:
- Sigma 24mm f1.4
- Canon 35mm f1.4
- Canon 50mm f1.2
- Canon 85mm f1.2
- Canon 135mm f2
Julia first tests the lenses shooting full body photos with her model, Maralyn, from the same standing position to show how much background compression each lens shows, as well as the bokeh.

Then she does shots where her model fills more of the frame. To do so, she moves closer and further away to get the model in roughly the same position in the frame but showing what happens to the background in each shot.

The Sigma 24mm has the least background to foreground compression (shows more of the background) when doing full body shots.

The 85mm and the 135mm have great compression, and large background to foreground separation, with no distortion. The 135mm has the most background to foreground separation and compression of all these lenses.

Be sure to watch the video to see the photo examples that detail how the background compression is effected by each lens.

You may also find the following helpful:

How to use Focal Length and Background Compression to Enhance Your Photos

5 Important Focal Lengths to Know and the Benefits of Each

Get Your Creative Juices Flowing with Different Focal Lengths

8 Focal Lengths Illustrated

The post Prime Lens Comparison – 24mm vs 35mm vs 50mm vs 85mm vs 135mm appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School
June 29, 2019
Weekly Photography Challenge – Sport

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

This week’s photography challenge topic is SPORT!

Travis Yewell

Go out and capture sporty photos. It can be the kids playing sport, adult sports, animals playing sports, cycling, motorsports and action shots, or even sports related items. They can be color, black and white, moody or bright. You get the picture! Have fun, and I look forward to seeing what you come up with!

Kolleen Gladden

Thomas Schweighofer

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

Tips for Shooting SPORT

Top 5 Tips for Extreme Sports Photography

Tips for Doing Better Indoor Sports Photography

How to Photograph Agility Events and Other Dog Sports

Tips from the Sports Photography Pros to Help You Get the Money Shots

3 Tips for Taking Better Motorsport Photos

Tips and Tricks to Help You Take Better Youth Sports Photos

Weekly Photography Challenge – SPORT

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

Share in the dPS Facebook Group

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

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

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

Digital Photography School

June 29, 2019
Think Tank Photo releases Digital Holster 150, a waist holster for super-tele zooms

Think Tank Photo has released the Digital Holster 150, a top-loading waist holster designed specifically for use with super telephoto zoom lenses.

Think Tank Photo says the holster was built to replace a backpack for times when you’ll only be carrying around one super telephoto zoom lens and an attached camera body. Like Think Tank Photo’s other holsters, the Digital Holster 150 is designed to be used with a belt system, such as the Pro Speed Belt V3.0 or other belt system.

The holster features an integrated seam-sealed rain cover, a front pocket that’s large enough to hold a 150mm lens filter, an internal pocket for memory cards or lens cloths and an attachment point for monopods or other modular components. There’s also an additional divider included so you can pack another smaller lens or accessory if your camera setup doesn’t require all of the internal space.

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Think Tank Photo has provided two example setups that would fit inside the Digital Holster 150:

• Nikon D5 with 200–500mm F5.6 VR II attached
• Canon 7D Mark II with Sigma 150–600mm F5–6.3 Sport attached

The Digital Lens Holster 150 is available to purchase from Think Tank Photo for $ 109.75.

Articles: Digital Photography Review (dpreview.com)

June 28, 2019
Panasonic Lumix S 24-105mm F4 Macro OIS sample gallery

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The Lumix S 24-105mm F4 Macro OIS is Panasonic’s standard zoom and kit lens for L-mount cameras including the Lumix DC-S1R and Lumix DC-S1. We’ve been using this lens a lot lately, and though it doesn’t carry the ‘Pro’ designation like Panasonic’s other two L-mount lenses, it’s still a solid performer. Let us know if you feel the same in the comments below.

See our Panasonic S 24-105mm F4 gallery

Articles: Digital Photography Review (dpreview.com)

June 28, 2019
Why Hiring an Assistant at Weddings Makes you a Better Photographer
The post Why Hiring an Assistant at Weddings Makes you a Better Photographer appeared first on Digital Photography School. It was authored by Jackie Lamas.

It’s no mistake that many wedding photographers have assistants and even second shooters at weddings. The reason being is that photographing a wedding longer than 5 hours on your own can be very challenging, especially since there are many important wedding details and moments that need extra coverage.

Hiring an assistant means you have help carrying your gear and keeping distractions at bay so you can photograph the important moments smoothly.

What is an assistant?

A photography assistant is not to be confused with a second shooter. While sometimes used interchangeably, the two terms are actually different, and it’s really important to know the difference.

An assistant is an extra pair of hands available for you during the wedding day.

They may be in charge of carrying the equipment, helping with setting up additional cameras and being available for any need that the photography may have during the wedding day.

Assistants can help gather details during a wedding day and help with styling as well.

Many assistants are aspiring wedding photographers or seasoned wedding photographers. It can vary in the level of experience. This is something that you should look into while interviewing or hiring an assistant.

Assistants can also help with styling certain shots like the wedding rings, or help to gather flowers. They can also help with posing families during that portion of the wedding day.

Assistants also offer a second point of view. They offer ideas to get better shots or additional photos that perhaps you had not thought of previously. They are also helpful when you need an opinion and also someone to talk to as weddings can run up to 12 hours or more depending on how much you are covering.

What is a second shooter?

A second shooter is a second photographer. Usually, the second photographer is solely responsible for taking photos of the event alongside you, the main photographer.

A second photographer can get those in-between candid moments that happen when the main photographer is busy photographing something else.

The second shooter helps to get a different angle of the same setup. Or perhaps they can be trusted to photograph a portion of the day alone while you cover another. For example, if you’re photographing the bride and her bridesmaids, the second photographer may cover the groom and his groomsmen.

Also, if you’re photographing the bride and groom together, the second photographer can shoot from a completely different angle. This gives the final images more variety of the same moments throughout the wedding day.

Having a second photographer can get images from a different angle.

Sometimes the assistant can also be a second photographer during certain parts of the day but perhaps not the whole day. For example, you can hire a second photographer and an assistant so that the two jobs don’t overlap during the day. That way, you have both a second pair of photos taken while having someone help carry your equipment and to help you set up.

Be clear about expectations

This brings me to this very important point; be clear about expectations when you’re looking to hire an assistant. Make sure that you outline what their responsibilities are.

An assistant can help carry gear when the terrain is less than ideal for your gear to be in. Like a sandy beach near the ocean.

Perhaps you’re only looking for an assistant? In that case, be sure to outline that their responsibilities will not include photographing the event at all. They will only be there to help with setting up, carrying equipment, and helping the main photographer during the event.

If you’re looking for a combination of the two, outline that from the beginning. Make sure to advise them to bring useful equipment if you will have them use their own. Also, specify which parts of the event they will be covering. Perhaps you need them to be an assistant during most of the day but will need them to be a second photographer during the ceremony only.

Be clear about what your assistant should help you with. For example, posing the family or helping to fluff out the wedding dress.

Also, be aware that it is very difficult to be a second photographer and an assistant simultaneously. You will need to be very clear about what you need from the person helping you at the event.

Be a team player

All photographers work and handle their businesses differently. However, when you are photographing a wedding, it’s best to make it clear that you and your assistant are a team. You are both there to work at the wedding together.

This creates an openness for the assistant to help with styling, and to offer their opinion or aesthetic input. This can be really helpful during the wedding day. Working together rather than bossing or ordering the assistant around can be really helpful since the assistant will feel included and part of a team.

Keep in mind the level of experience the assistant may have, which can also help you immensely during the event. Most seasoned wedding photographers have, at some point, been second photographers or assistants themselves. They are eager and accommodating on wedding days. If they are seasoned pros and are helping you out, consider their input.

When you are hiring someone who is just getting started, it’s important to talk with them before starting the photography. State your expectations, where gear is in your bag, how you approach the wedding day, and what you’ll need from them.

Some assistants are barely getting their feet wet and may need extra coaching. If this is the case, approach them with the mindset of being a team. They will work harder for you and be more willing to anticipate your needs.

Assistant contract

It is very important to have a contract drafted for the assistant position. Too often does it happen when images get published, used, sold, or otherwise from assistants who weren’t the main photographer.

A contract can outline image delivery expectations if they helped photograph a portion of the event, and what their pay is to be.

The contract can help you set boundaries, and outline their responsibilities, as well as set the pay for the event. Don’t skip on this tip! All too often we hear horror stories of assistants that never returned the equipment, didn’t deliver images and got paid what was due!

Having a contract is good to have for all parties involved.

Payment

Even though you can hire someone who is just getting started in the wedding photography business, this doesn’t mean that you can pay them less than you would expect to be paid if you were assisting.

They give you a pair of extra hands and help you for hours carrying most of your equipment, so pay them accordingly. Some more seasoned wedding photographers may have a going rate. However, it’s good to research your area for the going rate, either hourly or a set rate for the entire event.

Take into consideration the following:
- The amount of time they will be hired to assist
- Will they also be using their photography skills to photograph certain parts of the event?
- Will they be using their own equipment or your own? If they are using their own equipment, then factor that into the payment.
- How much will they be carrying in equipment?
- Milage, gas, or extra costs
If the assistant will be there with you during the dinner portion of the event, make sure you let the bride and groom know. That way, they will know you have an assistant also eating at the wedding, even if it’s a vendor meal. If they aren’t going to stay for dinner, make sure you state what meals you’ll be covering or if you will be paying for their meal at all.

An assistant can help make a first look go smoothly by helping with positioning the bride and making sure to be available to switch lenses, cards, batteries, etc.

It’s also really important to state how the assistant will be getting paid. Will they be paid by bank transfer, deposit, invoicing, or any other method? That way they know when and how they will be getting paid for assisting at the event.

Having an assistant makes you a better photographer

The reason to have an assistant at a wedding is that it ultimately makes you a better photographer. It frees you up from carrying your equipment so that you can focus on taking important photos rather than checking to see if your camera bag is within reach.

Assistants can help with lighting, adjusting extra cameras, or even helping style the bride’s veil during the portraits. Having an extra pair of hands makes it easier for you to focus on getting the shot without having to do it all on your own.

Also, having someone there to help with making sure that the wedding photography goes smoothly and quickly will help you to focus on what really matters – getting the shot.

Moreover, having someone to talk to during the long wedding day can help you stay focused and in the present moment.

In Conclusion

Hiring an assistant during a wedding event can help you be free to really focus on photographing each and every special moment of a wedding day.

They can help by carrying your equipment, be a teammate and help with lighting or offer ideas. An assistant can be an extra pair of hands and eyes during the day too.

Have you hired an assistant before? If so, what additional tips would you include?

The post Why Hiring an Assistant at Weddings Makes you a Better Photographer appeared first on Digital Photography School. It was authored by Jackie Lamas.

Digital Photography School
June 28, 2019
Canon patent details triple image stabilization system for low-light video recording

A diagram from the patent that details the process of integrating multiple image stabilization systems together.

Canon has patented a new image stabilization system that utilizes three different technologies to prevent blurry images: lens stabilization, image sensor stabilization and electronic image stabilization. The system would add another layer of movement prevention over Canon’s existing dual image stabilization option that uses both lens and digital stabilization when shooting in video mode.

The patent was first posted on the United States Patent and Trademark Office’s website (USPTO) on June 27. According to the document, Canon’s triple image stabilization system, which uses a combination of lens, sensor and electronic image stabilization technologies, kicks in to prevent slow shutter speed blurs that may otherwise exceed the capabilities of the current Dual IS system.

Canon splits camera shakes into two different categories: low-frequency for slight movements that can be corrected using electronic stabilization and high-frequency for stronger shakes like the vibration from a moving vehicle that can be corrected using optical stabilization.

The patent details a third type of movement Canon called ’accumulated shake’ resulting from low shutter speeds experienced in dim environments. In the case of recording in low-light situations, Canon explains:

…so-called ‘accumulated shake’ may occur, which is a blur occurring in a subject image due to the position at which an optical image is formed being displaced during exposure, and therefore, it may be impossible to acquire a favorable image even if a region that is to be cut out is adjusted.

It appears Canon patented this new system as a potential solution for this problem; the patent explains the system offers ‘favorable shake correction corresponding to the shutter speed.’ Based on the details provided in the patent, Canon may envision future cameras that utilize a detection method for determining when accumulated shake is a problem in order to utilize the triple image stabilization system.

The feature may be used to reduce blurs in videos recorded in low-light settings, but only speculation about Canon’s intentions is possible at this time. As with any patent, Canon may never bring this technology to the consumer market.

Articles: Digital Photography Review (dpreview.com)

June 28, 2019
Instagram is rolling out photo and video advertisements in Explore tab

Instagram rolled out its redesigned Explore tab in May, introducing topic shortcuts, direct access to IGTV, and more. In an update today, the company has revealed another addition to Explore: advertisements. Instagram users will begin seeing sponsored posts in the app’s Explore tab over the ‘next few months,’ the company announced this week.

According to Instagram, more than half of the accounts on its platform use the Explore tab every month to discover new content and 80% of accounts follow at least one business in the app. The company plans to bring these two realities together by introducing sponsored posts in Explore.

When an advertisement is encountered, users will see a direct link to purchase items from the company that paid for the ad, as well as a ‘Sponsored’ label below the brand’s name. Instagram presents the new addition as a way for advertisers ‘to be part of what’s culturally relevant and trending while reaching new audiences who are looking to discover something new.’

It’s unclear how many users currently see the advertisements, which Instagram says it plans to introduce ‘slowly and thoughtfully in the coming months.’ Users will simply start to see ads at some point over the next few months ‘as part of their browsing experience,’ the company said this week.

It’s unclear how often users can expect to see advertisements in Explore once they are fully deployed on the platform. The first advertisements will arrive today and direct users to Instagram’s own IGTV, The Verge reports. In the future, ads will include both images and videos. This marks an expansion of advertisements on the platform, where they can already be found in Stories and the regular user feed.

Articles: Digital Photography Review (dpreview.com)

June 28, 2019
Tamron 17-28mm F2.8 for Sony E-mount available in July for $900
Tamron has announced pricing for its 17-28mm F2.8 Di III RXD lens for full-frame Sony mirrorless cameras.

The 17-28 is marketed as the ideal companion to Tamron’s excellent 28-75mm lens, adding a useful wideangle range. The 17-28 is 9cm (3.9″) long and weighs in at 420g (14.8oz.). And, since the zoom and focus are internal, it never gets any longer. The lens is sealed against dust and moisture.

The lens has a total of 13 elements, including two low-dispersion and one extra-low-dispersion element. It has a BBAR coating to reduce ghosting and flare and a fluorine coating to resist fingerprints and moisture. It has a minimum working distance of 19cm (7.5″) and maximum magnification of 0.19x. The lens is threaded for 67mm filters, just like the 28-75.

The Tamron 17-28mm F2.8 Di III RXD will ship in late July for $ 900.
Tamron Announces Launch of Large Aperture, Ultra Wide-Angle Zoom Lens for Sony E-Mount Cameras that is Extremely Compact and Lightweight with a Filter Diameter of 67mm

June 28, 2019, Commack, NY – Tamron announces the launch of the 17-28mm F/2.8 Di III RXD (Model A046), a large aperture, ultra-wide-angle lens for Sony E-mount full-frame mirrorless cameras. The Model A046 features a filter diameter of Ø67mm (astonishingly small for a full-frame, large aperture, ultra-wide-angle zoom lens) as well as an unprecedented light weight of 14.8 oz. and diminutive length of 3.9 in. The compact size provides excellent balance on the small profile mirrorless cameras and is easy to carry. The lens will be available July 25 at approximately $ 899 at authorized Tamron USA retailers.

The Model A046 offers a large F/2.8 aperture throughout the entire zoom range and delivers high-resolution and contrast edge-to-edge. The combination of ultra-wide-angle focal length, large constant F/2.8 aperture and an MOD (Minimum Object Distance) of 7.5 in. at the wide-angle end encourages richly expressive and creative photography in a multitude of scenarios.

The new 17-28mm zoom’s AF drive system is powered by the RXD (Rapid eXtra-silent stepping Drive) stepping motor unit that enables it to deliver high-speed, high-precision and superbly quiet operation, making it suitable for shooting virtually noise-free video as well as still photographs.

In addition, the new zoom lens features Moisture-Resistant Construction and a hydrophobic Fluorine Coating that repels fingerprints and dirt. Plus, the Model A046 is fully compatible with various camera-specific features including Fast Hybrid AF and Eye AF. High performance, combined with exceptional portability, make the 17-28mm zoom ideal for daily use.

PRODUCT HIGHLIGHTS
1. Companion model to the compact, popular Tamron 28-75mm F/2.8 Di III RXD (Model A036) zoom
Sharing the same development concept as the highly esteemed Model A036 that launched in May 2018, the 17-28mm zoom (Model A046) was designed with the top priority of high optical performance in a form factor that is light and compact. Tamron engineers have achieved an unrivaled small size (3.9 in) and light weight (14.8 oz) for a zoom range of 17-28mm. The overall length does not change when zoomed or during focus, thereby creating stable, well balanced operation and excellent mobility. In addition, Model A046 features a filter diameter of just 67mm, very small for an ultra-wide-angle zoom lens. It has the same filter size as its sister lens the Model A036 allowing the use of the same lens cap and filters. The two zooms together create an extremely compact system that covers 17 to 75mm and weighs less than 35.3 oz.
1. Superb high-resolution performance
The 17-28mm zoom’s optical design consists of 13 lenses in 11 groups, including three aspherical lens elements, two LD (Low Dispersion) lens elements and one XLD (eXtra Low Dispersion) lens element that has properties close to those of fluorite. Together they efficiently suppress chromatic and other aberrations. Additionally, Tamron’s legendary BBAR (Broad-Brand Anti-Reflection) Coating effectively reduces ghosting and flare. Leveraging camera functions*, it provides excellent optical performance matching the latest high-resolution image sensors from edge-to-edge throughout the entire zoom range. The combination of compact size and light weight plus high-resolution performance lets users capture a wide variety of genre including landscapes, architecture and casual snapshot photography.

*When shooting with the camera’s lens correction function enabled.
1. Extreme close-up capability enables versatile creative expression with ultra-wide-angle zoom
The 17-28mm zoom focuses close. The MOD at the 17mm wide position is 7.5 in (same as Model A036) and the maximum magnification ratio is 1?5.2. At the 28mm end, it achieves the maximum magnification ratio of 1:6 while reaching the MOD of 10.2 in This remarkable performance allows users to create compositions that emphasize perspective (the closer subject is larger and the more distant one is smaller) and that are unique to wide-angle lenses.
1. The RXD stepping motor unit is exceptionally quiet
The AF drive incorporates a sensor that accurately detects the position of the lens while the RXD motor unit delivers optimized AF control. This achieves very fast and accurate autofocus operation, allowing users to maintain pin-sharp focus on continually moving subjects or when filming video. The exceedingly quiet operation is an important advantage because it virtually eliminates extraneous sounds during video recording. In addition, the compact configuration of the RXD AF drive system contributes to the unprecedented size and weight reduction.
1. Moisture-Resistant Construction and Fluorine Coating
Environmental seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain drops and afford Moisture-Resistant construction. This feature provides an additional layer of protection when shooting outdoors under adverse weather conditions. Also, the front surface of the lens element is coated with a protective fluorine compound that has excellent water- and oil-repellant qualities. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, moisture or oily fingerprints, allowing for much easier maintenance.
1. Consistent design and operation throughout all Tamron lenses for full-frame mirrorless cameras
Similar to the 28-75mm (Model A036), the 17-28mm (Model A046) has a zoom ring at the front and a focus ring at the rear. Zooming, focusing and other functions are identical in this series to ensure consistent operation. The design is not only beautiful, it is functional as well and features an outer housing hugging the smooth contours of the lens body, deftly worked Luminous Gold brand ring and the precise, rigid metal lens mount. The Luminous Gold brand ring solidifies the characteristic look of a Tamron-branded lens whether on its own or attached to a camera body.
1. Versatile, exciting combination when paired with the 28-75mm F/2.8 Di III RXD (Model A036)
Two high-performance partners, the 17-28mm combined with the 28-75mm, cover the super-broad range from 17mm ultra wide-angle to 75mm medium telephoto, and maintain excellent speed with an open aperture of F/2.8. The total weight of the two lenses is 34.2 oz, less than 1kg. This compact but potent combo makes the most of the mobility of mirrorless cameras. In addition, both models have a filter diameter of 67mm, so the same filters such as PL (Polarizer) and ND (Neutral Density) may be used with both models, and lens caps are interchangeable.
1. Compatible with main camera-specific features and functions
Tamron’s new 17-28mm zoom is compatible with many of the advanced features that are specific to certain mirrorless cameras. This includes the following:

– Fast Hybrid AF

– Eye AF

– Direct Manual Focus (DMF)

– In-camera lens correction (shading, chromatic aberration, distortion)

– Camera-based lens unit firmware updates

* Features vary by camera. Please consult your camera’s instruction manual for details.

* As of May, 2019.
Tamron 17-28mm F2.8 Di III RXD specifications

Articles: Digital Photography Review (dpreview.com)
June 28, 2019
How To Use Lightroom Classic With Two Monitors
The post How To Use Lightroom Classic With Two Monitors appeared first on Digital Photography School. It was authored by Darina Kopcok.

One of the best ways to enhance your workflow in Lightroom is to use two monitors.

Utilizing two monitors in Lightroom helps you work faster. You can also sort through your images more quickly. You can work with your thumbnails on one screen, and the full-sized image on another.

If you’re a high-volume shooter, such as a wedding photographer, you should seriously consider working with two monitors. You’ll find that it can make your workflow a lot more streamlined and productive.

Your second monitor doesn’t have to be as big or as high quality as your primary one. In fact, you can even connect a laptop to your monitor.

A two monitor set-up is great to have if you shoot tethered or travel with a laptop.

Alternatively, you can have two stand-alone monitors, depending on what kind of operating system you have, or a computer with a built in monitor, like an iMac.

For example, in my own workflow, I use a 27-inch iMac and a separate monitor in a similar size.

How to set up two monitors in Lightroom

To set up a two-monitor display, you first need to connect your second monitor and then get Lightroom to recognize the secondary display.

To do this, go to Window -> Secondary Display -> Show.

Then go to the monitor icons on the left side of the Filmstrip -> click the monitor icon labeled “2” to activate the secondary display.

The default for the secondary display is Loupe View, but you can change it.

The other options are Grid View, Compare View, Survey View, or People View. Click and hold the monitor icon marked “1” to see these options.

People is where Lightroom identifies faces in images, including new ones you add to your library. That way, you don’t have to assign keywords to tag people in your photos manually.

If you click and hold the icon labeled “1,” you’ll see a similar list of options for your primary monitor.

You can zoom and filter photos in Loupe View.

Loupe View on the second monitor allows you to zoom into the photo by clicking on the image. You can also right-click your mouse and change the color of your workspace background.

Note that Loupe View has three different modes: Normal, Live, and Locked.
- In Normal, if you click on a thumbnail in Grid View on monitor 1, you’ll see a large version displayed in Loupe View on monitor 2.
- In Live, the photo displayed in Loupe View changes as you move the cursor over the thumbnails in Grid View.
- With Locked, the last photo viewed in Loupe View stays on the screen until you select one of the other modes.
To access Normal View, click on a thumbnail in Grid View on monitor 1 to see a large version displayed in Loupe View on monitor 2.

While in Live View, the photo displayed in Loupe View changes as you move the cursor over the thumbnails in Grid View.

In Locked View, the last photo viewed in Loupe View stays on the screen until you select one of the other modes.

Compare View in the secondary window offers the same functionality as the Compare View in the primary window.

Survey in the secondary display offers the same functionality as the Survey view in the primary window.

Options for display with two monitors

You can customize your workspace on two monitors in the following ways:
- Use the Develop module on your first monitor and enable Loupe View on the second monitor. This will allow you to zoom in on the second monitor to check finer details such as noise, focus, or for chromatic aberration.
- Set Grid View on the first monitor and Loupe View on the second monitor. You can look at one photo on one screen and thumbnails on the other.
- Use Grid View on the first monitor and Survey or Compare View on the second monitor. This is recommended when you want to quickly cull images.
- Alternately, you can have Grid View on your second monitor and Loupe View on the first monitor.
To hide the top or bottom panels in the secondary display, click the grey arrows, the same way you hide panels in Lightroom’s main window. Click them again to unhide them.

The “Full Screen” option in Lightroom is enabled by default. When you click on it, the window on your second monitor is taken out of full-screen mode, giving you a re-sizeable window that can be moved around the screen.

You can swap the displays around in Normal Screen Mode. In this mode, you can drag and drop the window over to the second display, automatically changing their positions.

You can also display the second window as a floating window by clicking the Second Monitor button in the main window and deselecting Full Screen.

To close the second window, –> click the Second Window button, or click it and deselect Show.

To sum up

One last note: be sure that at least the main monitor where you view your final images is calibrated. You want to make sure that the color in your images is technically correct, especially if your images will be printed.

If you have been doing your Lightroom post-processing on one monitor, you’ll find that getting a second monitor will change your editing life.

Do you use two monitors? What are your thoughts? Share with us in the comments below.

The post How To Use Lightroom Classic With Two Monitors appeared first on Digital Photography School. It was authored by Darina Kopcok.

Digital Photography School
June 28, 2019
TurtleRig launches latest versions of its Bulb Extensions for Flashpoint/Godox strobes

Lighting accessory manufacturer TurtleRig has announced the launch of its latest Bulb Extensions for Flashpoint and Godox strobes.

As explained in the three-minute promotional video above, the third-generation Bulb Extension units move the flashbulb forward 32mm (1.25in) so less light is wasted when used with certain speed-rings and light modifiers. The result is not only more light per flash (TurtlRig claims between 1/3rd to one stop of additional light) but also more even light, since modifiers like beauty dishes and parabolics benefit from having the light project more evenly than would be possible with the standard flashbulb position.

At the time, TurtleRig offers its Bulb Extensions for four different Flashpoint/Godox units, including the AD200, AD400, AD600 and AD600 Pro. Prices start at $ 20.95 and go up to $ 22.95 depending on the model.

Articles: Digital Photography Review (dpreview.com)

June 28, 2019