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Landscape Photography Accessories You Need to Own

The post Landscape Photography Accessories You Need to Own appeared first on Digital Photography School. It was authored by Nisha Ramroop.

Every photo genre has its arsenal of accessories. Portrait photographers choose light modifiers; macro photographers have extension tubes and sports photographers walk with monopods to support heavy telephoto lenses out in the field. Similarly, landscape photographers pack a few accessories to help them work with the natural environment, time of day and elements to maximize their time. Here are a few key accessories that you will want to leave in your camera bag.

1. Filters (Polariser, ND, GND, UV)

Filters are a great way to shape your available natural light and there are many different kinds. The most common ones used for landscape are the polarizer and the graduated neutral density filters.

Polarizer / Circular Polarizing filter (CPL)

Some landscape photographers never leave home without this accessory. The major pros of CPLs include the way they enhance your colors (think blue skies) and also cut glare/reflection. In contrast, there are situations when you will not want to use a polarizer.

Adding a polarizer to the previous scene cuts the glare on the water and enhances the colors of the ocean

Neutral Density (ND)

This filter is basically a darkened piece of resin/glass that reduces the amount of light that enters your lens. Furthermore, in a proper ND filter, the color of the light is not affected (neutral). It is most useful in bright conditions, where you want to use a longer/lower shutter speed or wider aperture. ND filters come in different increments, which vary the amount of light that you block.

Graduated Neutral Density (GND)

Also known as a split neutral-density filter, GNDs selectively transmit light. Therefore it is essentially an ND where only part of the filter is darker, which allows you to reduce the brightness in part of your image. As a result, it is particularly useful in a contrasty scene with a bright sky.

A Graduated Neutral Density filter helps balance the sky

Ultraviolet (UV)/Haze/Clear

While these filters do little to affect your image, their main purpose is to protect the front element of the lens from dust and scratches. That being said, compromising on the quality of a UV filter may degrade the quality of your images. The best reason to add a UV filter would be for lenses that need a filter in place to complete its weather sealing.

2. Remote shutter/Intervalometer

So by now, you know that when capturing an image, minimizing vibrations goes a long way towards the eventual sharpness. It is one of the reasons that most cameras have a built-in delayed shutter function (usually 2 or 10 seconds). A remote shutter release gives you even more control over this functionality and comes in wireless/wired options. Some remote shutter releases (or cable releases) have basic or expanded options.

One of these options, available in advanced remote shutters, is interval timing. An interval timer (interval meter or intervalometer) gives you the option of automatically taking images at preset intervals for a defined period. Hence the intervals can be small (seconds) or long (hours). This feature allows you to capture light as it changes over a period of time and is more commonly known as time-lapse photography. Consequently, the lines between advanced remote shutter controls and intervalometers became blurred over the years, as each now has similar functions. Most of the recent ones are now easier to use as they are integrated into phone apps.

Fun with an Interval Timer

Some camera models come with built-in interval timers. If your camera already has this, you need an intervalometer only when the more advanced features are required. This includes setting the timer to wait more than 10 seconds before shooting or more time options before/between each image. Another good reason is if you want to tweak your settings between your images. When using the built-in function, the interval timer locks your camera for too long before you can make adjustments.

3. Rain protection

Even if you have a weather-sealed camera, large amounts of water can still damage it. As a landscape photographer, you have to be prepared for weather changes. Alternatively, it may be your choice to shoot in the rain or snow. If either is the case, you are better off playing it safe and protecting your camera body, lenses and any connected electronic accessories.

Protection can be a simple or expensive solution, which ranges from shower caps or plastic/garbage bags with holes cut out or a purchase option. Camera rain protection (ponchos, sleeves, jackets, raincoats) are all variations of customized plastic solutions, tailored for shooting easier in inclement weather. Therefore, they are usually heavy duty or thin enough to maintain access to your controls, but more durable than your everyday plastic bags.

A Neutral Density filter allows you to shoot longer exposures during the day.

Ponchos/Sleeves are thicker plastic capes that fit snugly over your camera and usually have a drawstring to securely cover the lens body. Jackets are made from a similar weatherproof material as raincoats, which are usually more breathable material. These have cinch straps for medium and larger sizes and slip on and off quite easily. Thus jackets and raincoats for your camera are more durable (and pricier) than ponchos and sleeves. Whichever solution works for you, most take up very little space and should own a place in your camera bag.

4. Flashlight

Considered an essential pack for night photographers, this small tool comes in handy when you least expect, so keep one in your bag. If you are a sunset chaser, a small reminder that night follows closely. A flashlight can be useful to do a quick sweep of the area to ensure you do not leave anything behind. Furthermore, if you are a night shooter, these come in handy to focus or light paint a subject in the dark.

Pro Tip: Choose a tough and lightweight flashlight and store it in an easy to reach outer pocket of your camera bag.

5. Tripod feet

Chances are you already know the importance of having a good tripod. In some conditions, such as mud, snow, uneven terrain or wet sand, adding tripod feet elevates your stability. Additionally, you can buy a one fit for all, although most of the top-rated tripods customize their tripod feet by terrain.

Conclusion

Some of the accessories you take with you can make the difference between a successful expedition and an average one. Choose what you pack wisely or customize it based on location. Either way, some accessories should just be part of your everyday bag, just in case.

Which accessories do you always have with you?

The post Landscape Photography Accessories You Need to Own appeared first on Digital Photography School. It was authored by Nisha Ramroop.

Digital Photography School

June 9, 2019
The FAA devises a new strategy for Remote ID

Remote identification (Remote ID) is the concept that drones need to be equipped with a digital license plate. Knowing who is flying an unmanned aerial system (UAS) where, and when, is imperative for increasing safety and security. Two senators on opposite sides of the political spectrum even urged U.S. Transportation Secretary Elaine Chao to take action recently.

This Thursday, the Federal Aviation Administration (FAA) informed its Drone Advisory Committee (DAC) that a final rule on remote identification of drones could take up to two years to implement. This latest development also finds them looking to the committee for alternate strategies including how to get operators to voluntarily use remote ID.

‘We realize that there’s no schedule I can give you or anyone else can give you that will be quick enough to get to remote ID, from a regulatory standpoint,’ said Jay Merkle, executive director of the FAA’s drone integration office. ‘So we think working with industry to get early adoption of [technical] standards and voluntary compliance is a good way to start enabling and unlocking’ flights over people and beyond line of sight.

Remote ID for UAS has been a long time in the making. The process was introduced over two years ago. Rulemaking was supposed to begin on May 1st but was pushed back to July 21st. The newly-formed DAC hasn’t been neglecting it, however. ‘The reason for delay is not because people haven’t been working on it,’ Merkle said, describing the rulemaking as ‘very complex.’

Articles: Digital Photography Review (dpreview.com)

June 9, 2019
Teaching at Porto Photo Fest this October

Just a quick heads-up for anyone based in Europe that I’ll be teaching several classes at the Porto Photo Fest on October 12-13 this fall. This is the only time I’ll be teaching in a public event this year.

The folks at PFF gave us a lot of control in structuring the classes (which they may live to regret!) But we think we have come up with some really cool stuff.

PLEASE NOTE: There is currently early bird pricing in effect. So if you might be interested, it’s worth acting in a timely manner.

Co-Teaching with Sara Lando

I’m stoked to once be again collaborating with Sara Lando, one of the most creative people (and brilliant photographers) that I know. We will be co-teaching a class, something we last did together in Ireland in 2017.

This Sunday, October 13 class will be on photographing people. It will be taught from two different perspectives. Sara and I will essentially be representing the right and left sides of your brain respectively.

We’ll be flipping back and forth from between the lighting/technical side and the interpersonal/creative side. This is a class designed both to enhance your strengths and, more important, to really go after your weaknesses. At some point Sara and I will probably get into an argument. (Not to worry, she’s Italian, so this is perfectly normal.)

This setup is probably my very favorite approach to teaching lighting, because it interweaves some more organic/human/creative layers with f/stops and lighting techniques.

The course description is not very detailed, so here is what you should know. We’ll be a class of (max) 20 people, usually split into two groups of ten. We’ll work all day progressively hitting both the interpersonal stuff (with Sara) and the technical stuff (with me.)

We will further separate into smaller groups of 3-4 people, and you’ll be shooting all day. Lighting equipment will be provided. If time permits, we may bust out a little Iron Chef-style competition at the end of the day. We’ll have to see. No matter what, this class will be both fast-paced and fun.

Portrait Class details and signup

In the Fish Bowl

Later Sunday evening, Sara and I will transition from our co-class to an onstage event where we’ll be putting some of these yin-yang principles to the test in front of an audience, real-time, mistakes and all. Think of it as a tag-team portrait session between two brains that think nothing alike.

If you are in the day class, you are automatically included in the evening event. But you can also attend separately.

(Way) Outside the Box

On Saturday morning (October 12) I’ll be doing a 3-hour talk on some of the things we usually don’t think about as photographers. But these are things that, in retrospect, probably should have been obvious. This is an evolution of a talk I have given in Seattle, Berlin and London.

This class is designed to help you to integrate your photography with the rest of your non-photo life skills and expertises; to learn to think of photography not as an end-all but as a catalyst for creating more powerful and unique other things.

We’ll look at how other photographers have quietly applied this approach to great ends, and I’ll help you to roadmap how you can learn to adapt this thought process to your own situation.

In short, the key to being able to compete effectively with the bajillion other image makers out there is to create, and then own, a very un-level playing field. Because if life is not going to be fair anyway, it should at least be unfair in your favor.

Class details and signup

Strobist

June 9, 2019
Food Photography – When to Use Natural Light (and When Not To)

The post Food Photography – When to Use Natural Light (and When Not To) appeared first on Digital Photography School. It was authored by Suzi Pratt.

Food photographers, professionals and amateurs alike, know that natural lighting is among the best tools to take drool-worthy photos. However, there’s a time and a place to use natural lighting, and times when you won’t want to. In this article, we’ll discuss what natural lighting is and how it affects your photos – for better or for worse.

What is natural lighting?

Simply put, natural lighting is light produced by the sun. Another related term is ambient light, which refers to the available light in an environment. Ambient light could also be considered natural light if the photographer’s equipment is not producing it. In most parts of the world, natural light is abundant and can be used at no charge. This is one of many reasons why it is preferred by many photographers.

Two types of natural lighting

Generally speaking, there are two different kinds of natural lighting that you might want to utilize for photography. If you plan to utilize natural light for photography, it’s wise to learn about the different patterns of sunlight. Depending on where you live, you might have more of one than the other. You may have to adjust your style accordingly.

Direct light

Direct sunlight that results in a look with harsher shadows.

A cloudless environment with full sunlight in the middle of the day produces direct light. This light is very intense, resulting in high contrast and very sharp shadows. The color of the light will vary depending on the time of day. In midday, it will be a neutral white color and a warmer tone of gold in the late afternoon. Depending on your photography style, you may prefer direct light if you wish to emphasize dramatic shadows and high contrast.

Diffused light

In a cloudy or overcast environment, natural light will appear diffused. This results in a soft, low contrast look with little to no shadows. Most photographers tend to prefer this lighting as you can make just about anything look good with it. If you have lots of direct light, you can also turn it into diffused light by using something like a shoot-through reflector.

Natural sunlight that has been softened with a diffuser.

What about artificial lighting?

The opposite of natural lighting, artificial lighting is produced by gear such as speed lights or strobes. If the idea of flash photography intimidates you, consider this. Most forms of artificial lighting strive to recreate natural lighting. For example, a bare flash with no diffuser is akin to direct light, while a flash with a softbox results in diffused light. Even if you plan to use artificial light, it helps to understand natural light and how it affects your creative style.

Natural light or artificial light? This is natural…

…this is artificial light. It adds some dimension to the background but isn’t drastically different than the naturally lit image.

When to use natural light for food photography

Before determining what kind of lighting to use, consider your intended creative output. Do you want food photos with punchy colors and clearly defined shadows? If so, you want direct light and a cloudless, full-sun day is what you want. But if you want soft, diffused light for an evenly lit photo, a cloudy day will suit you best (or a sunny day with a reflector).

After you figure out your preferred creative style, take a look a the weather. You may have to plan your photo shoot around weather patterns if you want a particular quality of natural light. Alternatively, you’ll have to bring extra gear with you to compensate for it.

Food photographed in natural light during the daytime, when the light is neutral in color.

When you may not want to use natural light

There are two times of the day when natural lighting may not be your best friend. Those are the blue hour and golden hours of the day. These times of day are cherished by landscape photographers as they provide the most dramatic lighting in the sky. However, this may not be ideal for food photography. That’s because both blue and golden hours emit different colored light. A dish shot at blue hour may have more blue tinges to it, while the golden hour will cast it in a warmer tone. Some of this can be fixed in post-production, but most food photographers prefer shooting with neutral daylight so that the food retains its natural color.

Food photographed in natural light during blue hour, just after sunset. Natural light at this time of day distorts colors all around. Great for landscapes, not for food.

In Conclusion

Generally speaking, using natural light is the simplest solution for photographers. It’s rather straightforward to use natural lighting, although adding tools to your kit such as reflectors and diffusers will help you take it to the next level. Also helpful is a general knowledge of lighting patterns throughout the day so that you don’t end up planning a natural light shoot during golden or blue hours (unless you want that colored light!).

What do you think? Are you a natural light photographer, or do you prefer artificial light? Let me know in the comments below!

The post Food Photography – When to Use Natural Light (and When Not To) appeared first on Digital Photography School. It was authored by Suzi Pratt.

Digital Photography School

June 9, 2019
DPReview TV: Panasonic DFD vs. Canon dual-pixel autofocus
To DFD or not to DFD, that is the question.

Panasonic’s proprietary DFD (Depth from Defocus) autofocus system has both critics and fans, but Chris and Jordan think the system might have received a bad rap. In this episode they compare DFD to Canon’s Dual-Pixel autofocus system. Might the results surprise you?

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!
- Introduction
- How the autofocus systems work
- Face detect C-AF
- Single point C-AF
- Tracking C-AF
- Video C-AF
- Shooting experience
- Panasonic GH5 comparison
- Wrap-up
Articles: Digital Photography Review (dpreview.com)
June 8, 2019
Wildlife Photographer of the Year Disqualified Due to Image Manipulation

The post Wildlife Photographer of the Year Disqualified Due to Image Manipulation appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Africa Geographic announced its 2019 Photographer of the Year title, awarded for a dark, captivating close-up of an elephant.

Just days later, the image was disqualified and the Photographer of the Year title revoked.

In a statement that’s become more and more familiar in past years, Africa Geographic explained that “post-production work by the photographer resulted in certain tears in the ears of the elephant not being accurately reflected.” This violated one of the Photographer of the Year entry rules:

“Entries should be a faithful representation of the original scene. Localized adjustments should be used appropriately. The objective is to remain faithful to the original experience, and to never deceive the viewer or misrepresent the reality.”

Africa Geographic provided another, unedited version of the same elephant:

Note the holes and rips on the elephant’s left ear.

The CEO of Africa Geographic went on to say: “We are gutted to have missed this detail about the rips in [the elephant’s] ears…That said, we will take this on the chin and improve our systems going forward.”

When asked about the image, the winning photographer claimed that the violation was unintentional (that it accidentally occurred when he was “cleaning up the image,”) and the contest judges have accepted this explanation.

This brings to mind a few questions:

First, how unintentional was this violation? Looking at the disqualified photo, I have trouble believing that the photographer removed the holes and rips in the elephant’s ears by accident. Did the photographer not realize that such post-processing violated the contest rules?

What are your thoughts? Did the winning photographer know that they broke the rules?

And the second big question:

Should this type of editing be allowed?

This is a much more difficult question, one that comes down to our values as photographers. Personally, I lean toward prohibiting this type of editing. There’s something important about showing an animal as it truly is, including all the hardships it’s faced, which I think the rips and tears in the elephant’s ears exemplify.

But I’d love to have your input:

What are your values when it comes to editing nature photography? What should be allowed in nature photography contests?

The post Wildlife Photographer of the Year Disqualified Due to Image Manipulation appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

June 8, 2019
Best smartphone cameras of 2019

There are plenty of factors to consider when choosing your next smartphone, and it’s not a decision that should be made based solely on any individual feature. But we hear from a lot of folks that camera performance is right at the top of the list of considerations when it’s time to upgrade, and we’re often asked which smartphone camera is the best.

While we rank the Google Pixel 3 as the best all-around smartphone camera, it’s important to consider your unique photographic needs. Here are the smartphone cameras we think are worth consideration for a range of use-cases.

If you’re well-versed in smartphone imaging terminology, skip right ahead. But if you’d like a quick primer, here are some of the terms you’ll see referred to frequently in this guide:

Computational photography: Image capture and processing techniques that replace traditional optical processes with digital, or computational, ones.

Portrait mode: A photo mode that mimics the blurry-background effect known as bokeh. It’s used commonly for portraits, but isn’t necessarily limited to that use case.

Night Sight: Specifically, a proprietary Google camera mode that captures multiple frames and combines them to create a final image with more detail and less noise in dark situations. Other manufacturers offer their own, similar, modes but the Pixel 3’s is especially impressive, thanks to its use of super resolution that makes the mode useful even for daytime shooting.

Hybrid zoom: A method for zooming that combines traditional optical zoom with computational techniques, allowing for better detail rendering at intermediary focal lengths than digital zoom alone.

Best all-around: Google Pixel 3

It’s certainly not flawless, but if there’s one mobile device to recommend above all others for pure imaging prowess, it’s gotta be the Pixel. Sure, you’ll have just one main camera lens at your disposal, but Google’s clever multi-frame image processing brings capabilities to a single camera that are downright spooky.

Night Sight does an impressive job of rendering very dark scenes, and can even be used to bring out even more detail in well-lit scenes (provided your subject isn’t moving too much). It even uses machine learning to provide more pleasing colors. Portrait mode handles tricky subjects like hair convincingly, videos are well-stabilized, and it’s all integrated with Google’s powerful Photos app.

So who shouldn’t buy a Pixel 3? If any of the following use-cases are your primary goal for your smartphone photography, then you should consider our picks in those categories. And of course, if you’re deeply entrenched in iOS and/or you can’t stand Android, you’ll probably be happier with the iPhone XS.

Best for video: iPhone XS

The iPhone not only offers 4K/60p standard video recording (a notch above the Pixel’s 4K/30p) but it also offers HDR video capture at 4K/30p. This mode uses multiple frames for impressive dynamic range, and is simply some of the best footage we’ve seen from a smartphone.

The XS is a fantastic all-around camera in its own right, going so far as to even simulate optical properties of lenses like mechanical vignetting, so if you plan on consistently shooting a mix of stills and video it’s worth considering over the Pixel.

On the stills side, we’re particularly impressed by Apple’s decision to capture a wider (P3) color gamut and display high dynamic range photos in a manner that takes advantage of the HDR capabilities of the display – something no other phone (or camera) on the market does to-date. Not to mention that we’re partial to Apple’s color rendition over Google’s – the latter tends toward cooler white balance and less saturation.

We give the Pixel 3 an edge in our recommendations thanks to features like Night Sight and computational Raw (read up on all of that here) but the XS isn’t far behind.

Best portrait mode: Google Pixel 3

Oh, portrait mode: sometimes it’s pretty good, sometimes it’s okay, and sometimes it’s downright terrible. It’s a feature that’s very much a work-in-progress on every phone, but we think the best implementation currently is on the Pixel 3. Google uses its dual-pixel sensor as well as machine learning to identify subjects and backgrounds, giving a slightly more realistic, progressive blur. While others use similar approaches, Google’s additional use of machine learning to help the camera understand depth cues makes it stand out from the rest. It’s good enough for Instagram.

Best for zoom: Huawei P30 Pro

Huawei is the first manufacturer to bring folded optics to the smartphone market, packing a 5x telephoto lens into its P30 Pro alongside standard and wide-angle camera units. Other phones offer 5x digital zoom, but this tends to degrade image quality and the P30 Pro’s 5x optical zoom image quality is significantly better. Furthermore, it utilizes hybrid zoom to fill in the gaps between its standard and tele lenses for improved image quality compared to simple digital zoom.

Though it lacks the impressive optical telephoto reach, the Samsung Galaxy S10 and S10+ are also worth considering for more focal length flexibility. They each provide 2x telephoto and ultra-wide lenses in addition to a standard wide-angle unit. If the P30 Pro isn’t available in your area and you’re one of the Android faithful, the S10-series are also good all-rounders.

Best budget smartphone camera: Google Pixel 3a

Flagship phones have packed in more and more impressive features in recent years and likewise, MSRPs have ballooned right along with them – up to and beyond the $ 1000 mark. In this context, Google’s Pixel 3a is bargain for $ 400.

You can easily spend less on a phone by opting for a device that’s a generation or two old, but you’ll be missing out on the significant camera tech improvements available on current models. That’s why the Pixel 3a is sort of groundbreaking. By sacrificing a few features reserved for the flagship (the 3a lacks wireless charging, water resistance and uses a slower processor) and some nice-to-have imaging features (no wide-angle selfies) you’ll still get the latest camera tech and save a bunch of money.

Should I wait for the next round of flagship phones?

You don’t have to be James Holzhauer (YES RICHARD I KNOW THAT NOBODY OUTSIDE OF THE US WATCHES JEOPARDY JUST GIVE ME THIS ONE THING) to know that betting on new flagship smartphones debuting in the fall is a safe wager. Should you wait a few more months for the latest and greatest? That depends.

The next crop of phones will likely rely on machine learning for smarter algorithms to process images, isolate Portrait Mode subjects and offer more focal lengths and zoom ratios. Screens will get bigger and nicer, bezels will continue to shrink and the Battle of the Notch wages on.

With smartphone sales down there’s more motivation to make the next generation even more enticing

Things get interesting on the camera hardware side. Rumors point to Google adding another rear camera, and murmurings of a triple-camera iPhone are looking increasingly plausible. That’s good news for anyone with an eye on a budget model too: if the XS successor adds a wide-angle camera to the mix, then the XR successor may adopt the dual-lens module currently used by the flagship.

If nothing else, with smartphone sales down there’s more motivation to make the next generation even more enticing (and the ‘affordable’ versions more affordable). If you’re an early adopter or hoping for a few more features on a budget model, you might want to hold off. But if you’re upgrading from a phone that’s more than a generation old, you’ll probably be satisfied with the advancements present in the current crop of flagships for some time.

Articles: Digital Photography Review (dpreview.com)

June 8, 2019
Fujifilm GFX 100 review in progress
Our coverage so far is based on a camera running non-final firmware, so is focused on the handling and features, rather than the camera’s performance.

The Fujifilm GFX 100 is the 100 Megapixel medium format camera the company had previously promised. It’s a dual-grip mirrorless camera that uses the GF lens mount. The addition of on-sensor phase detection for faster focus and in-body image stabilization significantly expands the range of photography it can apply itself to.

This combination of high resolution, image stabilization and on-sensor phase detection looks to not only drive home its large-sensor advantage over full-frame, but also expand the types of photography to which medium format can be easily applied, making it potentially the most flexible bigger-than-full-frame camera ever.
- 102MP BSI-CMOS 44 x 33mm sensor
- On-sensor Phase Detection
- 5-axis image stabilization
- Continuous shooting at up to 5 fps
- 4K video with 4:2:2 10-bit HDMI output
- 5.76M-dot removable OLED viewfinder
- 16 or 14-bit Raw capture
The Fujifilm GFX 100 will be available at the end of June with a recommended price of $ 10,000, including the viewfinder.

What’s new and how it compares

The camera’s 102 Megapixels are what attracts the attention, but the GFX 100 brings a lot more than that.

Read more

Body and handling

The GFX 100 uses a twin-grip design, and no dedicated dials which radically changes the way the camera handles. The duplication of control isn’t always successful.

Read more

Operations and controls

The GFX 100 brings the well-polished interface from the Fujifilm X-T3 but adds an even greater degree of customization.

Read more

Sample gallery

We’ve been shooting the GFX 100 in a range of circumstances, to see how adaptable it is.

Read more

Articles: Digital Photography Review (dpreview.com)
June 8, 2019
Astropad 3.2 update shows it isn’t going away anytime soon—and teases a Windows version

Astropad may have been ‘Sherlocked’ with Apple’s announcement that the ability to use an iPad as a secondary display will be baked into macOS 10.15 Catalina as a feature called Sidecar, but that hasn’t stopped Astropad from updating its third-party solution.

Yesterday, Astropad 3.2 was released with a few new updates and a note from its founders saying they have no plans to stop Astropad development, even amidst Apple’s Sidecar announcement.

Astropad 3.2 brings along your normal bug fixes and under-the-hood fixes as well as a fix to minimize pixelation. According to the update notes, the development team re-engineered the data flow from Mac devices to iPads ‘in order to push data more efficiently between devices.’ This fix should mean pixelation is ‘significantly reduced’ when your iPad is connected to a Mac device over strong Wi-Fi networks or USB. Astropad notes the changes should especially be noticeable when scrolling through text documents and websites.

On iOS, Astropad Studio 3.2, Astropad Standard 3.2 and Astropad Mini 3.2 should all be available to update in the iOS App Store if you currently have the apps on your device. The macOS app should automatically update to the latest version, but if not, Astropad has a dedicated download page where you can manually download the updated version.

As for future plans, Astropad’s founders have written up a blog post explaining that Astropad isn’t going anywhere anytime soon. Under the headline ‘We’re not going anywhere,’ the note reads:

We’ve spent the last five years building innovative products like Astropad and Luna Display that cater to true creative professionals. Our team has always doubled-down on delivering rich features, deep customization, and low-latency input. Why? Because that’s user-driven and that’s what we do.

So while Apple’s Sidecar merely scratches the surface of a Mac-iPad workspace, we went all in on the bells and whistles. What does this mean for you? If you have basic needs, Apple’s Sidecar may do the trick. But if you’re a pro, we’ve built Astropad to cater to your creative workflow.

Oh, and one more thing: the message from the founders also hints that a Windows version of Astropad is in the future. ‘We see a bright future in that exciting new space and we hope you’ll join us along for the ride,’ reads the message. ‘So while we may be the underdogs, we’re ready to charge head-on because we’re just as committed to creative pros as we’ve always been — whether that’s via Mac, PC, or beyond.’

Articles: Digital Photography Review (dpreview.com)

June 8, 2019
Analog gems: 10 additional film cameras worth buying right now

Analog gems part 2

Back in 2017 we shared our list of 10 excellent, affordable film cameras worth considering. Jump to today, in 2019, and public interest in analog photography has only continued to grow. So much so that we thought it was high time to revisit our original list and call out ten more film cameras worthy of your time and money.

These cameras were selected based on reader feedback, research and the staff’s collective analog lust. All of them can be found pretty easily on the second-hand market in good working order, most for a relative bargain. So get ready to hunt through your freezer for a long-expired roll of film, it’s time for Analog Gems Part 2.

Read Analog Gems part 1Note: cameras are arranged from least to most expensive.

Nikon EM

History: The Nikon EM was by all measures, a commercial flop for the brand. Yet decades later it has endured as Nikon’s smallest, lightest and best-looking (opinion) film SLR. Launched in 1979, this Aperture Priority-only camera was reportedly built with female shooters in mind – the stylish good looks are courtesy of famed auto designer Giorgetto Giugiaro. It’s anyone’s guess why the camera sold poorly; manufacturing stopped by 1982, but the theory is most women at the time preferred the EM’s fully-manual siblings to what is essentially a simplified, fashion-forward, budget model. Still, despite its entry-level status, the EM is as reliable as its pricier siblings from the same era.

If you’re after a small, handsome little camera that’s super simple to use, look no further

Why we like it: If you’re after a small, handsome little camera that’s super simple to use, look no further. The EM features a very accurate center-weighted meter that’s powered by two S76 or A76 batteries. A small button below the film rewind acts as a negative two stop exposure compensation when pressed. The camera is fully electronic in operation but can function on no juice with limited shutter speeds – an ‘M90’ mode locks the shutter speed at 1/90 sec, the camera’s standard ‘Auto’ mode sets the shutter speed to 1/1000 sec. The body is mostly built of a copper and aluminum alloy, though the top and bottom covers are polycarbonate.

Find one: These cameras are incredibly easy to come across in new, or like-new condition for between $ 20 and $ 75. They only come in black. The EM’s arrival on the scene also brought with it the introduction of Nikon’s budget E line of glass. Of this line, the 50mm F1.8 E and the 100mm F2.8 E are both impressive performers and quite compact in size. It’s very easy to find the former kitted with the EM on places like Ebay.

Also consider: The Nikon FM was a step up from the EM – they’re a little pricier and chunkier but come with full manual controls.

Konica C35 EF

History: The C35 EF is a compact rangefinder camera that debuted in 1975. It sports a very sharp 38mm F2.8 lens and the World’s first pop-up flash. Other than choosing to activate the flash or not, the camera is fully automatic in nature. A small red light on the back illuminates if the exposure is too dark and the flash is needed. Focus is set by choosing one of four zones.

Why we like it: A personal favorite of Andy Warhol, there’s something oh-so-appealing about these boxy little cameras. They’re fairly well-built, easy to use and an eye-catcher for sure. Perhaps most importantly, the lens is very sharp and metering/flash output tends to be accurate. The flash is powered by standard AA batteries. The meter uses a discontinued 1.35v mercury cell battery, however the MR-44 battery adapter will allow you to use a common silver oxide battery (392 or SR41) instead without any issues.

A personal favorite of Andy Warhol, there’s something oh so appealing about these boxy little cameras

Find one: You can find a C35 EF used, in good condition for between $ 20 and $ 75. They come in two varieties, the later version has a self timer (and a greater range of shutter speeds for the camera to choose from).

Also consider: The C35 EF3 debuted several years after the original C35 and sports a redesigned 35mm F2.8 lens. It’s also got a lighter body and has an even greater range of shutter speeds for the camera to select from. Available in 7 colors, including a cherry red variety, these can be a little trickier and pricier to track down than the original C35 EF.

Note: The C35 EF3 is shown above

Fujifilm Instant Mini 70

History: Launched in 2011, the Fujifilm Instax Mini 70 is one of the brand’s most-stylish and affordable instant cameras. As its name suggests, it uses the Fujifilm’s Instax Mini format, which comes in packs of 10. The Instax brand itself was actually first introduced back in 1998 and has grown extremely popular, especially in recent years.

Why we like it: Of all the instant cameras currently on the market, we picked the Mini 70 as our favorite thanks to its balance of price to features. It’s lightweight, looks cool and is very easy to operate. The camera’s powered by two lithium CR2 batteries which provide ample power for many packs of film. It’s also fairly well-built and offers some very basic manual controls (+2/3rd EV and flash on/off).

It’s light-weight, looks cool and is easy to operate

Find one: These cameras are still being made and can be purchased new in a wide variety of fun colors for around $ 50-75. We like Island Blue.

Also consider: The Fujifilm Instax Wide 300 uses the brand’s largest format instant film and is both easy to operate and well-built. It’s certainly a chunky beast of a camera, but that’s par for the course in this format.

Olympus OM-1/N

History: The Olympus OM-1 is a small, lightweight SLR that debuted in the early 1970’s at Photokina. It was originally called the M-1, which didn’t make Leica too happy (given their existing M-series rangefinder line), so the name was later changed to OM-1. Purely mechanical in nature, the OM-1 offers only manual controls. The OM-1N was a slightly updated model offering a redesigned wind lever, and some improvements designed to make it easier to work with a flash.

Why we like it: The OM-1 features a large viewfinder packed into a small, light SLR. It’s an attractive little camera that has some unusual design elements, like its shutter speed dial around the lens barrel. These cameras are very well-built and only need batteries to operate the meter, which takes a now-discontinued 1.35v mercury cell battery. But not to worry, there’s an adapter for that too – the MR-9 battery adapter will allow you to use a common silver oxide battery (386).

It’s an attractive little camera that has some unique design elements

Find one: These cameras can easily be found in good condition for between $ 50 and $ 150 in the two-tone silver-and-black variety. An all-black version is also available but for a good bit more cash. The OM-1 often sells with the original kitted 50mm F1.8 lens.

Also consider: The Olympus OM-2 can be purchased for just a little more than the original OM-1 and gives you automatic exposure controls as well as manual controls. There’s also no mercury battery to worry about . However the camera is fully electronically controlled, so power is needed to use most shutter speeds.

Photo by Alan Drummond

Pentax MX

History: The Pentax MX was released as a professional-level camera in 1976 during a time when competition in the SLR market was stiff and SLRs were getting ever smaller. The MX remained Pentax’s flagship until the 1980s. Externally similar to the Pentax ME, the MX is purely mechanical and offers only manual controls. The ME on the other hand is electronically-controlled with both manual and auto functions. The former was geared toward professionals, the latter toward enthusiasts.

Why we like it: The Pentax MX is a handsome camera – it’s among the smallest and lightest SLRs on our list (second to the Nikon EM) and very well constructed. Operation is fully-mechanical, so if the battery dies (two LR44 batteries) you only lose the lightmeter. Controls are simple and direct – the viewfinder is impressively large.

The Pentax MX is among the smallest and lightest SLRs in our list

Find one: The Pentax MX can be found in good condition for between $ 75 and $ 200, often with the original kitted Pentax 50mm F2 included (splurge on the much nicer 50mm F1.7 if you can find it). The two-tone silver-and-black models are far easier to find than the all-black finish.

Also consider: The Pentax ME is similar in size and weight to the MX and can be found for considerably less cash. It doesn’t have the same reputation for reliability as the MX and requires batteries to operate (except at 1/100 sec), but it is still a very good bang for your buck.

Photo by Pierre-Jean Parra

Canon T90

History: Introduced as Canon’s flagship camera in 1986, the T90 is also arguably the most advanced FD-mount camera ever made. The year after its debut Canon unveiled the all-electronic EF-mount on EOS cameras with support for autofocusing lenses, effectively nailing the coffin shut on future FD development. Still, the T90 offers a ton of modern features – like a top plate display, multi-function control dial and incredibly sophisticated ambient and flash metering modes, plus 4.5 fps burst shooting – in a tough, beautiful body. Its release also ushered in a more curvaceous era of Canon SLR design, one we’re still very much in. The Current EOS-1D X Mark II owes a lot to the T90, after more than 30 years.

Why we like it: It’s almost impossible to hold the T90 and not think about modern Canon DSLRs – so much of their ergonomic excellence is rooted in this camera. From a usability standpoint, the T90 is a pleasure to shoot with – it’s powered by 4 AA batteries. Nicknamed ‘The Tank,’ these cameras can take a lot of abuse. Did we mention 4.5 fps continuous shooting?

The T90 offers a ton of modern features like 4.5 fps burst shooting

Find one: There are some common T90 problems to keep an eye out for, like sticky shutters and faded top plate LCDs, but it’s not hard to find one in great working order. Good condition models can be had for between $ 150 and $ 250, body-only. And because the FD mount was discontinued, lenses for the T90 are often a bargain. Just be aware, almost every second-hand T90 will be missing its original eyecup.

Also consider: The Canon T70 is the boxy, more 80s-looking predecessor to the T90. It offers a top plate LCD, continuous shooting (a lackluster 0.7 fps) and multiple metering modes. Unlike the T90 it is a fully-automatic camera. You can find them for around $ 50.

Nikon FE2

History: We wavered back and forth between recommending the FE2 and the FM2 and ultimately chose the former as they’re easier to find in good condition, for a decent price. These two mid-range cameras are very similar both in design and in terms of their reliability – both are also relatively light and compact for an SLR. The FM2 was released in 1982 and only has manual controls, while the FE2 was released in 1983 and has both manual and automatic controls. The ‘M’ in FM2 refers to it’s purely mechanical design, the ‘E’ in FE2 refers to its electronically-controlled design.

Why we like it: The FE2 can be operated in a fully manual capacity or in an aperture priority mode. Conveniently, you can adjust exposure compensation by + / – 2 stops (available in third stop increments) when shooting in aperture priority. Metering is center-weighted and accurate. The camera is powered by two S76 or A76 batteries and will still work with no batteries, albeit in a limited capability (only 1/250 sec and bulb). These cameras are very well built and easy to come across in good working order.

These cameras are very well-built and easy to come across in good working order

Find one: You can expect to pay between $ 150 and $ 250 for an FE2 in nice condition, though that price seems to slowly be creeping upwards. They come in both all-black as well as two-tone black and silver. If you score a particularly minty one you can likely expect it to serve you for many years to come.

Also consider: The original Nikon FE can be had for a bit less money than the FE2, and you don’t sacrifice much (slower top shutter speed, flash sync speed, no TTL flash). On the other hand, for more cash you can get yourself the purists’ camera in a Nikon FM2.

Photo by Paul Chin

Konica Big Mini BM-200 or 300-series

History: There are a few different varieties of the Konica Big Mini that came out in the early 90’s – including several with zoom lenses. For simplicity’s sake we will focus on the non-zooming BM-200 and 300-series (which are quite similar). These lightweight point-and-shoots sport the same sharp 35mm F3.5 lens and are fully-automatic in nature. Two LEDs in the viewfinder let users know whether autofocus can be achieved and whether the flash will fire.

The flash output is well-balanced and the lens is impressively sharp

Why we like it: Big Minis are simple to use and provide excellent results – the flash output is well-balanced and the lens is impressively sharp. There’s also something to be said for their understated rectangular design. They can, however, be a tad fragile due to their mostly plastic construction. But treat a Big Mini with a little TLC and it’ll likely keep on snapping for years. One more note of caution: Be careful not to open the rear door too far when loading/unloading a roll as doing so can tear a crucial bit of electric ribbon. This is the primary failure point on these cameras. The Big Mini is powered by a CR123 battery.

Find one: These cameras can be found in good condition for between $ 150 and $ 250. They come in both silver and dark grey.

Also consider: The Big Mini F sports an even faster 35mm F2.8 lens and same boxy form-factor but tends to cost a fair bit more than its slower siblings.

Nikon F100

History: The Nikon F100 is a modern film SLR released in 1999, the same year as the Nikon D1. Slated right below the flagship Nikon F5 (and later F6) in the company’s film SLR lineup, it sports many pro-level features like Nikon’s excellent Matrix metering (as well as spot and center-weighted), 4.5 fps shooting, automatic bracketing and a variety of autofocus modes.

The F100 operates and handles a lot like a modern Nikon DSLR

Why we like it: The F100 operates and handles a lot like a modern Nikon DSLR – it looks like one too. It’s these familiar controls and use of the F-mount make it the perfect camera if you’ve got Nikon glass and are curious about trying your hands at film shooting. The F100 is also well-constructed, though a tad hefty for a film SLR – power comes from 4 AA batteries or an optional MB-15 battery pack. One word of caution: The rubber covering on the back of these cameras has a tendency to get sticky with age – this can be rectified with some careful (and time-consuming) scraping.

Find one: Because the F100 came out toward the end of the film era, these feature-packed cameras can be found for relatively little cash. Pick one up in good condition for $ 150-250. They only come in black.

Also consider: The Nikon F90 series debuted a few years prior to the F100 and offers many of the same features, but with only a single autofocus point. They can be found pretty easily for less than $ 50.

Photo by Ángeles Andrade

Fujifilm GS645S

History: Fujifilm made some wacky-looking medium format cameras in the 80’s and this one is no exception – just look at that bumper. The GS645S belongs to the greater GS645 family of compact, fixed lens medium format cameras, all of which shoot a 4.5 x 6 image. The ’S’ model offers a 60mm F4 lens that produces a 35mm (35mm-equiv.) field of view. Focusing and exposure controls are all located around the lens. There are no auto settings.

Because it shoots 4.5 x 6, you get 15 shots per roll

Why we like it: The GS645S is an excellent small and lightweight medium format option for street or travel photography. The lens is sharp and the camera is well-built. Power comes from two LR44 batteries. Because it shoots 4.5 x 6, users get 15 shots per roll. And though the default vertical orientation takes some getting use to, the camera can easily be operated vertically (for a horizontal field of view).

Find one: These cameras are slowly creeping up in price but can usually be found in good condition for between $ 300 and $ 450.

Also consider: The GS645S’ siblings are also worth your consideration. The original GS645 features a collapsible 75mm F3.4 lens and the GS645W features a 45mm F5.6 lens. You’ll pay around the same price for these models.

The wrap

There you have it, 10 cameras ranging from 70’s SLR classics to odd-ball 80’s compacts. As always, feel free to suggest other great analog camera buys in our comment section below. And for more analog fun, jump back to our original list: Analog gems: 10 excellent, affordable film cameras. Feel free to leave suggestions for Part 3 in the comments.

Articles: Digital Photography Review (dpreview.com)

June 8, 2019