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  • Google brings its impressive camera tech to new mid-range 3A, 3A XL smartphones

    Google has unveiled the Pixel 3a and 3a XL, a pair of mid-range phones that put the best parts of its flagship devices—namely the cameras—into more wallet-friendly packages.

    Announced today at Google I/O, the phones feature 5.6″ and 6″ 1080p OLED displays (respectively), Snapdragon 670 processors, 4GB RAM, 12.2-megapixel rear cameras and 64GB of storage. Both units have USB-C charging (no wireless charging), fingerprint readers, 3.5mm headphone jacks and Google’s Active Edge technology, which summons ‘Hey Google’ with a quick squeeze of the phone.

    The two new devices look similar to Google’s more powerful Pixel 3 and Pixel 3 XL devices, but come in slightly taller, feature a downward-facing bottom speaker and feature a spot on the top for the 3.5mm headphone jack. There’s no notch on either phone.

    Diving into the camera details, the Pixel 3a and 3a XL use the same award-winning main rear camera found inside the Pixel 3 and 3 XL, with a 12.2MP Sony IMX363 1/2.55″ (1.4?m pixels) dual-pixel sensor and an F1.8 lens (76-degree FOV, 28mm equiv.). Missing is the 19mm equiv. wide-angle ‘group selfie’ front camera found on the original Pixel 3 phones, but this is mitigated by the wider FOV (84-degree FOV, 24mm equiv.) of the traditional 8MP F2.0 (1.12?m pixels) front-facing camera on the 3a. All the smarts packed into the Pixel 3 camera, like Night Sight, Super-Res Zoom, and learning-based Portrait Mode, are all available on the new devices.

    Video capabilities remain the same, with a maximum specification of 4K/30p, and steadycam-like footage thanks to a combination of optical and electronic stabilization.

    What’s powering the cameras inside the 3a and 3a XL differs, for obvious cost-cutting reasons. Rather than the Qualcomm Snapdragon 845 and Adreno 630, the Pixel 3a and 3a XL use the older, less powerful Qualcomm Snapdragon 670 and Adreno 615. The Pixel 3a and 3a XL also lack Google’s custom Pixel Visual Core processor, meaning all image processing is done on just the CPU and GPU.

    The Pixel 3A and 3A XL are available in black, white and a new color Google calls ‘purple-ish’ for $ 399 / £399 and $ 479 / £469, respectively.

    Articles: Digital Photography Review (dpreview.com)

  • Gear Review: The Lastolite Halo Compact Reflector

    The post Gear Review: The Lastolite Halo Compact Reflector appeared first on Digital Photography School. It was authored by Sean McCormack.

    The Halo Compact is a new reflector/diffuser design from Lastolite (a Manfrotto company). In January, at The Societies Convention in London, I got a glimpse of the first batch on the Manfrotto stand. It looked great on display, and in the demo, it packed down really small. It was also attached to standard light stand fitting on display. As the owner of a few Lastolite products, I’m quite aware of how innovative they are, and that they do make quality products. Some of these are used day in and day out in the studio (e.g. the Hilite and the Triflector).

    The Halo Compact on the Lastolite/Manfrotto stand at The Societies Convention.

    Now I own a lot of reflectors. From large 5-in-1 disc reflectors to the already mentioned triflectors, to 6’X3’ frame reflectors; I even have a California Sunbounce. I’m not exactly in need of a new one, least of all something that’s well on the way to being €100 with shipping.

    However, I was still interested in one major selling point – how compact it is when it is packed down. Seeing as I’d flown to the convention, I knew it would be a perfect travel reflector. I went to buy one. No luck. The small amount of stock that was in the shop at the convention was gone, so I left empty handed.

    My next look at the Halo Compact in person was at The Photography Show in March. I happened to chat with one of the folks at the stand, and it turned out to be Matt Bailey. Matt had taken over from Gary Astil as a product designer, so we got chatting about the Halo, and how it solved quite a few problems.

    Needless to say, I bought the diffuser version with the frame and a silver/white reflector cloth as well, to give me the best variety for shooting situations. I could have gotten the reflector with frame and the diffuser cloth if I preferred.

    The Lastolite Halo Compact Reflector setup

    The blue containing pouch

    The Lastolite Halo Compact Reflector comes in a small, dark blue, zipped pouch. It has a carabiner to attach to a clips, belts or even belt loops. The material and finish are far better than the old royal blue material Lastolite formerly used, which tended to fray behind the zip, rendering the zip useless.

    When you open the zip, it reveals what looks like a tent pole rods (but pre curled), and a fabric. You’ll also a find ¼” 20 screw back to back in the pouch so it can screw to a magic arm.

    The rods are similar to tent pole, but curved.

    You’ll find assembly is straightforward. Attach all the rods together. Finish the frame by pushing the two sides of the handle together in a kind of dove tail joint fashion.

    The handle pushes together to make the frame rigid. It also houses a tripod fitting.

    A quick glance at the handle and you’ll see the inbuilt ¼” 20 hole for a light stand in the handle. This is one of the great features of the Halo.

    That’s it. It’s sturdy and firm.

    To get either fabric on, you click a clip in place on either side of the handle and then clip them all on at even spacing around the frame.

    The grip on the handle is great and I found it reasonably easy to hold outdoors, despite holding it in my left hand on my right side in the wind.

    I’m not saying it’s not a kite, but it was far better than the floppy eBay reflector I’d used earlier that day.

    Why do you need this?

    So why would you bother with having this at all?

    The answer is simple.

    You want to have control of the light.

    Here’s what undiffused evening sun looks like.

    While it’s not as harsh as midday sun, it still has hard shadows and causing squinting.

    By using the diffuser, the light is spread, making is softer.

    Obviously it’s also lower in intensity, so you have to open your shutter to compensate.

    Another typical way of shooting with evening sun is to use backlighting.

    Here you can lose the direction of the light, but adding a silver reflector can bring back contrast and shape.

     

    You could also opt for a more subtle white reflector.

    Pros and Cons

    Pros

    • Sturdy
    • Good modifier options with reflection and diffusion
    • Compact, perfect for travel
    • Reliable brand with known quality
    • Built in stand adaptor

    Cons

    • Longer setup time than a popup
    • More expensive, but still not the most expensive

    Conclusion

    While a little on the expensive side compared to the eBay popups, the Lastolite Halo Compact Reflector is still an affordable product. Despite the longer setup time, I feel the compact pack means this product will live in or on my camera (via the carabiner) permanently, vs the pops that are left behind when I’m travelling more compactly.

    I’ve included the downside of the price and longer setup time in my rating, but in truth, I’m delighted with this product.

    Now to sell some of my other reflectors!

    Have you used the Lastolite Halo Compact Reflector? What are your thoughts? Share with us and our readers in the comments below.

     

    The post Gear Review: The Lastolite Halo Compact Reflector appeared first on Digital Photography School. It was authored by Sean McCormack.


    Digital Photography School

  • 5 Attributes of a Great Product Photo for Your Online Store

    As an online store owner, you are constantly striving to design your shop in the most appealing way to your customers. And the first step to success is to make your product photos shine bright like a diamond. Why Exactly You DO Need Great Product Photos for Your Online Store People don’t buy before they see. Some of them even Continue Reading

    The post 5 Attributes of a Great Product Photo for Your Online Store appeared first on Photodoto.


    Photodoto

  • On the trail of the best Texas BBQ with the Sony a7R III

    Sony’s a7R III is a high-resolution flagship camera, and a showcase for some of the company’s most innovative imaging technologies. In addition to 42MP resolution and advanced on-sensor autofocus with face and eye tracking, the a7R III also offers 4K and high-speed HD video capture.

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    Photographer Chad Wadsworth has been working with the a7R III and Sony’s FE 24mm F1.4 GM in Texas, on the hunt for the best barbecue in the state. From traditional family-run joints in Lockhart, to the trendy new generation pit-masters of Austin, Chad captured the experience every step of the way. Watch our video for a flavor of the experience, and check out a gallery of his images, above.

    This is sponsored content, created with the support of Amazon and Sony. What does this mean?

    Articles: Digital Photography Review (dpreview.com)

  • Nissin MG80 Pro flash announced with command/slave modes, modeling light and more

    On May 1, Nissin Digital unveiled its new MG80 Pro hot shoe flash with integrated Nissin Air System (NAS) radio commander and slave modes, support for multiple battery types, and a built-in color LCD. The GN60/83Ws flash packs a Quartz flash tube, heat-resistant head, 8W LED modelling light, removable Fresnel lens, and compatibility with both standard AA NiMH and Lithium-ion (Type 14500) batteries.

    When used with four Li-ion Type 14500 batteries, the flash offers a 1.5s recycling time, which increases to 3.8s when used with four rechargeable AA batteries. Users can expect around 280 flashes when using four 650mAh Li-ion batteries, or around 320 flashes when using four 2450mAh rechargeable batteries.

    The MG80 Pro supports TTL, manual control, and HSS, has a transmission range up to 100m (328ft), and a zoom mode covering focal length options from 24mm to 200mm. Other specs include a metal shoe with ring lock, tilt/swivel head, support for micro SD and SDHC cards for firmware updates, and a weight, without batteries, of 520g (18oz).

    The flash will be available for Canon, Nikon, Sony, Fujifilm, Panasonic and Olympus cameras. According to Flash Havoc, Nissin plans to release the MG80 Pro in ‘late May,’ but a price has not been revealed.

    Articles: Digital Photography Review (dpreview.com)

  • How to Make Interesting Abstract Smoke Photos

    The post How to Make Interesting Abstract Smoke Photos appeared first on Digital Photography School. It was authored by Rick Ohnsman.

    How would you like to learn a little “photo magic?” A magician not wanting to reveal his secrets might tell you his trick was all done with “smoke and mirrors.” The expression speaks of a kind of deception used to fool the viewer. No fooling here though, as you’ll learn the technique. You really will photograph smoke and later, mirror your image to add even more interest. So it really is smoke and mirrors. Shall we begin?

    Abstract smoke photography - Firebird

    Can you see the Firebird? How was this done? Read on for the tricks to this abstract magic.

    Tools for the trick

    Here’s what you will need to create your photo:

    Camera

    Most cameras will work for this kind of photography. Being able to use manual control and manual focus will make things easier. You will also need to be able to fire a flash mounted off-camera using either a wired or wireless method. A lens which will allow you to focus on an object a few feet away will be best. The shots shown here were done with the Canon “nifty fifty”, a 50mm f/1.8 prime lens mounted on a Canon 50D camera. For a relatively inexpensive lens, it is very sharp.

    Abstract Smoke Photography - Use stick Incense

    A package of 40 incense sticks from the dollar store is probably enough for a lifetime of smoke photography.

    Flash

    You will want an external flash you can mount off-camera. The pop-up flash on the camera won’t work for this. You will be mounting the flash off to the side of your shot so it illuminates the column of smoke pointing perpendicular to the direction you’re pointing the camera. Having a light stand on which you can mount it will be helpful. You also don’t want any of the light to hit the background or flare into the camera, so a snoot which will direct the beam of the flash at the smoke column works well. You may also be able to fashion a “barn-door” arrangement with cardboard (or even tape). Whatever works to keep the light only on what you want – the smoke column.

    Tripod

    The flash will provide plenty of light and also freeze the action, so you really aren’t concerned about motion blur. The advantage of a tripod is simply to help you compose and frame the shot and provide some consistency.  If you don’t have a tripod or simply prefer to handhold your camera, that’s okay too.

    To better see the smoke and also give you more flexibility later in editing, a black or very dark background will work best. Black posterboard, black cloth, the black side of a reflector, or whatever you have should work. Because the column of smoke you’ll be photographing will be relatively small, you won’t need anything very large.

    Smoke-producing object

    Incense, the kind that comes in stick form, works very well for this kind of smoke photography.  It’s cheap, burns for a long time, and produces just the kind of smoke needed.

    Location

    Unless you have an absolutely calm day with no wind, shooting outdoors probably isn’t going to work. Even the slightest air currents will affect your smoke pattern. Shooting indoors, particularly in a modern home, might be a good way to test your smoke detectors but having the alarm go off just as you’re getting started with your work is rather disruptive.  I found shooting in the garage to be a good option. It was dark, the air was still, and after the session, it was easy to open the door and clear the smoke. Just be aware of the requirements needed; still air, no smoke detectors, (or at least temporarily disarmed ones), the ability to make the room dark, and a door or window you can open afterward to clear the smoke afterward, and you’ll be set.

    Abstract Smoke Photography - Setup diagram

    Setting up

    The diagram above shows a basic setup. Put your camera on a tripod a couple of feet from where you will place the incense stick.  Taping the stick to light stand may allow you more flexibility in positioning it in the frame, but whatever you use, you will want to frame the shot so you put just the tip of the stick at the bottom of the frame, leaving a couple of feet above for the column of smoke. Whether you use a portrait or landscape orientation with your camera is up to you, just remember the smoke will drift around. Being a little loose with the framing isn’t a bad idea, you can always crop later.

    The background should be a couple of feet behind the incense stick. If you light properly, it won’t show anyway so this isn’t crucial.

    Position the flash on a light stand so it’s to the side of the camera and points perpendicularly to the camera angle. You will be side-lighting the smoke. Some photographers also put a reflector on the opposite side to bounce a little light on the other side of the smoke. You can experiment and see if you like that.  The shots here use only the one flash. As mentioned above, what is crucial is that no light fall on the background nor flare into the camera lens. A snoot is the easiest means of achieving this.

    Abstract Smoke Photography - smoke photo straight out of camera

    The smoke patterns are constantly changing and no two will be alike.

    Camera and flash settings

    In the darkened room where you’re working, use a flashlight or other dim lighting so you can still see the incense stick and do your framing. Focus on the tip of the stick, then turn off the autofocus so the focus stays locked.  Leaving on autofocus will almost guarantee frustration, as while shooting, the camera lens may hunt, trying to find and focus on the drifting smoke.

    Shoot in Raw mode, (which you usually do, yes?) Doing so will allow greater editing flexibility later.

    Set your camera around ISO 200, f/8 and about 1/60th of a second for starters.

    Leave the flash off.

    Make a shot before lighting the incense in the darkened room.

    You should get a totally black frame and that’s what you want with no flash.

    Now put the flash in manual mode and set it to about half power. You should have already connected it to the camera with a cord or perhaps set up a radio trigger so it will fire when the shutter is tripped.

    Make a shot with the flash on and you should be able to just see the tip incense stick.  If so, you’re now ready to get smokin’.

    Abstract Smoke Photography - The Seahorse

    This image is straight out of the camera. Note the tip of the incense stick at the bottom right.

    Making your photos

    Light the incense stick, blow out the flame and a thin column of smoke will rise from the tip.

    Make a shot and check it. Is it focused?

    Be sure, as you don’t want to make a whole series only to later find out they aren’t sharp. If you need to adjust your focus or perhaps go to a smaller f/stop for more depth of field, do so now.

    Also, check the exposure. If things are too bright, drop the flash power or reduce the ISO. If the smoke is too dim, do the opposite. You want to clearly see the smoke, but nothing else.

    If all looks good, keep making shots. Occasionally wave your hand near the smoke column or gently blow on it to vary the smoke pattern. You will want some variety so you can later choose your favorite shots.

    Abstract Smoke Photography - Smoke photo mirrored and colored with a gradient

    This is the same image as the one before it, but horizontally mirrored and colored with a gradient.

    Basic editing

    What program you want to edit with is up to you. You will want to adjust the blacks so as to leave only the white smoke details. Then adjust the whites, highlights, shadows, exposure, and contrast by eye, tuning the shot to your liking.

    If there are elements you wish to eliminate, paint them out with a black adjustment brush or use layers and masks in Photoshop if that is your preferred technique.

    Abstract Smoke Photography - horizontal and vertical mirroring

    The Gordian Knot – This image was mirrored both horizontally and vertically and then colored with a gradient.

    Mirrors and colors and abstracts, oh my!

    You got the smoke, now what about the mirrors? Yes, the white smoke patterns on a black background are interesting but you can take this much further. I used Corel Paintshop Pro, but Photoshop would work too. Or for that matter, any photo editor that supports layers will work. (Keep in mind Lightroom does not support layers so while you can edit, colorize, and do other things with it, the mirroring part is beyond its capabilities).

    Here are the basic steps:

    • Open in your basic edited smoke image. Select the entire image and copy it.
    • Paste the copied image on top of itself as a new layer.
    • Mirror (flip) the upper layer horizontally or vertically. (In Photoshop, Edit, Transform, and Flip Horizontally or Vertically).
    • Change the blending mode on the upper layer to Lighten. You will now see the upper layer mirrored and superimposed over the lower layer and some interesting patterns will be created.
    Abstract Smoke Photography - Alien Gas

    Alien Gas – A straight smoke shot later colored green.

    Abstract Smoke Photography - Negative version of smoke photograph - Purple Haze

    Purple Haze – Now, take the image above, reverse it so it’s a negative, (the black becomes white and the green becomes purple), then mirror it both horizontally and vertically.

    You can move the layers so they overlap each other in various ways and change the pattern. You might want to make the canvas larger and put the mirrored image next to itself or even have multiple layers with the image flipped both horizontally and vertically.

    You’ve now entered the realm of abstract art and anything goes.

    Maybe you’d like to add some color?

    Create another layer at the top of the stack and fill it with a gradient.  Now use the Overlay or Soft Light blending mode and watch your smoke take on the colors of the gradient.

    If you’d like to hand-paint the smoke,  create a blank layer at the top. Turn the blending mode to Overlay, and using the Brush tool (and a color of your choice) to paint the smoke, watching the white smoke take on that color while the black is left untouched.

    Try putting a photo on the upper layer and switching the blending mode on that layer to Overlay.

    Abstract Smoke Photography - The Witch Doctor

    Like Rorschach inkblots, what you see is very individual. I call this one – The Witch Doctor

    Something I find fascinating with these abstract smoke compositions is that they resemble Rorschach InkBlots. Everyone interprets them differently and can see different images in what are, after all, just random patterns of drifting smoke. The titles on these shots are what I interpret.

    What do you see?

    Smoke in other photos

    You may have reasons to want to include smoke in your photos that is not an abstract interpretation. The same basic technique can work with side lighting.

    The “Smokin’ Hot Peppers” was lit with two flashes, one on either side of the vase and an incense stick placed in and behind the peppers in the vase.

    Abstract Smoke Photography - Smokin Hot Peppers

    A flash on either side of the subject was the only difference here, otherwise, this image uses the same technique.

    Pseudo-Smoke

    Here’s one last trick that could work for you when you want something that looks like smoke but you’re in a no-smoking workspace.

    Get some dental floss, fray it a bit, and tie it to a penlight or small flashlight letting the light shine down the length of the floss and onto your subject.

    Now make a long exposure during which you keep the floss constantly moving. Smokeless smoke, just another option to have in your bag of photo tricks.

    Abstract Smoke Photography - Pseudo Smoke Effect - Simulated Smoke

    Looks like smoke, but it isn’t.

    Conclusion

    You’ll find that photographing smoke is all about the lighting. Side or backlighting will work best and a dark background helps the smoke show up better. Beyond that, it’s simply a matter of experimenting.

    Give it a try and make a little photo magic. And share with us in the comments below!

     

     

    The post How to Make Interesting Abstract Smoke Photos appeared first on Digital Photography School. It was authored by Rick Ohnsman.


    Digital Photography School

  • This background removal tool just got a fancy new Photoshop plug-in

    The online background removal utility Remove.bg has now made its way directly into Adobe Photoshop in the form of a plug-in.

    Until now, the only way to use Remove.bg was to open up the web app in your browser and upload an image. Now, after downloading the plugin through Adobe Exchange, you can easily remove the background from a portrait, product photo or any other image with the click of a button or two.

    Based on a past experience with the web-based version, Remove.bg isn’t perfect by any means, but it’s impressive considering how quickly it removes the background and it serves as a nice starting point at the very least, as it can create a layer mask of the cutout.

    The Remove.bg plugin relies on the Remove.bg API, meaning pricing and usability is anything but simple. Even with the free plan, you’ll need to sign up for a Remove.bg account, which in turns provides you with an API key. With the free account, you’ll be limited to 50 background removals with images no larger than 625 x 400 pixels (0.25MP) and a single 2500 x 1600 (4MP) ‘HD’ image per month with the plug-in.

    You’re still free to use the web app version of Remove.bg free of charge, but the convenience of the plug-in is going to cost you if you’re planning on working with larger images. Remove.bg offers monthly subscription plans, as well as pay-as-you-go plans, each of which have different tiers depending on how many images you plan on processing and how large the files are.

    A screenshot of the pay-as-you-go pricing options for Remove.bg

    Below are a few example images provided by and processed via Remove.bg:

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    You can find more information regarding pricing on the Remove.bg pricing page and download the Photoshop plug-in via Adobe Exchange.

    Articles: Digital Photography Review (dpreview.com)

  • Easy Beginners Tips for Long Exposure Photography

    The post Easy Beginners Tips for Long Exposure Photography appeared first on Digital Photography School. It was authored by Christian Hoiberg.

    Learning about Neutral Density Filters and how you can use them to slow down the shutter speed was a big turning point in my landscape photography. I instantly fell in love with the soft and dream-like feeling I was able to achieve – it was like giving life to my not-so-interesting images.

    I’ve learned a lot since that day, and while I don’t only do Long Exposure Photography anymore, it’s still an important part of my work and it’s something my students often like learning about. After all, it has the power to instantly transform an otherwise standard image into something more fascinating.

    As with anything else, it takes a lot of practice to master a subject but I want to help you on the way by sharing some crucial tips that will make life just a little easier.

    1. Prefocus when using Neutral Density Filters

    There weren’t a whole lot of articles and tutorials to study when I started exploring with Neutral Density filters. This meant that it took a bit of struggle to find a solution to some of the mistakes I made. One of the things I simply couldn’t figure out was why all my images with a 10-stop filter were blurry…

    After some back and forth I understood that it was because I used autofocus.

    Remember that a 10-Stop ND Filter is essentially a piece of black glass. Try looking through it with your eyes when the sun is low on the sky and I’ll bet you can barely see anything. This is the case for the camera as well. Most cameras aren’t able to properly set the focus when dark ND Filters are used – just as they aren’t able to automatically focus at night.

    The solution is to switch over to manual focus. I know this sounds tedious to some of you but here’s an easy workaround if you prefer autofocus:

    1. Mount the camera on a tripod and find your desired composition
    2. Focus roughly one third into the image (depends on the scene and desired look)
    3. Change to Manual Focus (read your owners manual to figure out how it’s done with your camera/lens)
    4. Place the Neutral Density filter in front of the lens
    5. Calculate the shutter speed and take the picture!

    Since you switched to manual focus, the camera isn’t going to try to focus after you attach the ND filter; instead, it’s keeping the focus you set.

    Note: Remember to repeat the process when you’re changing compositions and to switch back to autofocus when you’re done using the filters.

    2. Avoid light leaks by covering the viewfinder

    The biggest frustration I’ve ever had when working with long exposures was the mysterious purple glow that appeared in the center of my images.

    It turned out that this is caused by light leaking through the viewfinder and the solution is quite simple: cover it up!

    Some professional DSLR cameras have a built-in ‘curtain’ that you can close by flipping a small switch next to the viewfinder. If your camera doesn’t have this, I recommend using a piece of cardboard to place in front of the viewfinder.

    It’s also possible to purchase covers custom made for your camera.

    Now it should be said that these light leaks don’t always occur. It’s most common when:

    • You’ve got a light source directly behind you (such as the sun or a streetlamp)
    • You’re using a shutter speed of 1 minute or longer

    I’d still make it a habit to cover the viewfinder whenever you’re using a shutter speed of 20 seconds or more.

    3. Remote Shutter + Bulb Mode = Sharp Images

    One of the biggest challenges you’re going to experience when experimenting with Neutral Density filters and slow shutter speeds are getting razor sharp images. There are many factors that can result in the images being unsharp; one of the most common is camera shake.

    The maximum shutter speed of most DSLR cameras is 30 seconds. In order to use a shutter speed longer than this, you need to use a function called ‘Bulb’. In Bulb mode, the image is being captured for as long as the shutter button is pressed.

    You can imagine (and try if you don’t believe me!) that manually pressing the shutter button for one or two minutes is going to cause a significant amount of vibration to the camera. What does that lead to? Blurry images.

    A remote shutter is absolutely essential in this case. You can find a cheap version but I recommend a remote shutter that has:

    • the possibility to ‘lockup’ the button
    • an LCD display that shows time

    Conclusion

    Long Exposure Photography is a lot of fun and it’s a great way to improve your understanding of how the camera fundamentals (ISO, Aperture and Shutter Speed) work together. Since we’re working with shutter speeds of up to several minutes there are many factors that might result in failure but the results can be mesmerizing.

    The tips I’ve shared in this article gives the solution to some of the most common obstacles and I hope they will remove some frustration for you. If you’d like to learn everything you need to know in order to capture beautiful images using slow shutter speed, be sure to take a look at my eBook ‘The Ultimate Guide to Long Exposure Photography‘.

     

    The post Easy Beginners Tips for Long Exposure Photography appeared first on Digital Photography School. It was authored by Christian Hoiberg.


    Digital Photography School

  • Polaroid Originals launches ‘Upside Down’ Stranger Things OneStep 2 camera, I-Type film

    In honor of Season 3, Stranger Things has teamed up with Polaroid Originals to release an ‘Upside Down’ Polaroid OneStep 2 and accompanying Stranger Things-branded film.

    Officially named the ‘Polaroid Originals OneStep 2: Stranger Things Edition,’ there’s nothing notably unique about the OneStep 2, aside from its unique colorway and upside down branding, a nod to the ‘Upside Down’ realm in the Stranger Things universe.

    Polaroid Originals says the camera features a fixed-focus lens, a built-in flash, USB charging and a self-timer. The battery life is rated for up to 60 days and the lens has a focusing range from two feet to infinity. It works with Polaroid Originals i-Type film as well as 600 instant films.

    Speaking of films, Polaroid Originals is also selling a special edition film. The color I-Type film comes in packs of 8 and features 16 different designs inspired by various locations throughout Hawkins, the town where Stranger Things takes place.

    The Color I-Type Film Stranger Things Edition is sold individually or in packs of three for $ 16.99 and $ 48.00, respectively. The Polaroid Originals OneStep 2: Stranger Things Edition is sold on its own for $ 109.99 or with a three-pack of film as a ‘Starter Set’ for $ 157.99.

    Articles: Digital Photography Review (dpreview.com)

  • Field Test: Could the Nikon 200-500mm f/5.6 be the Most Versatile Wildlife Lens?

    The post Field Test: Could the Nikon 200-500mm f/5.6 be the Most Versatile Wildlife Lens? appeared first on Digital Photography School. It was authored by Shreyas Yadav.

    Wildlife photography is exciting as well as challenging. Imagine you are photographing a Tiger at a distance and suddenly the Tiger attacks a deer! Alternatively, imagine you are in an African savanna where you are photographing a grazing herd of Elephants at a distance, and right after that, you see a beautiful Eagle on the nearby tree. To photograph these type of objects, you need to have a wide range of zoom lenses. You may have experienced this while on a Jungle Safari. Changing a lens while in the field can be difficult.

    Nikon 200-500 f/5.6 lens mounted on a camera, zoomed to 500mm

    It looks like Nikon has considered the needs of Wildlife photographers and produced a versatile, fixed-aperture telephoto lens at a quite reasonable price; the Nikon 200-500mm f/5.6.

    The Nikon 200-500 f/5.6 lens, priced at around US$ 1400, weighs about 2300g (81.02oz). The best part is the lens has a fixed maximum aperture of f/5.6. In addition to a fixed aperture, there are three extra-low dispersion glass elements (ED), powerful vibration reduction (VR) – making this lens optically superb – and it also comes with a tripod collar. The lens is stable when mounted on a tripod, and it comes with HB-71 lens hood. The lens also works great with both full-frame (FX) and crop-sensor (DX) Nikon cameras. The telephoto zoom range and beautiful optics make this lens perfect for birds, nature and wildlife photography.

    This field review of the Nikon 200-500 f/5.6 lens, looks at how the lens performs from the perspective of a nature and wildlife photographer. It examines how this lens performs in the wild, as well as looking at the lens controls and ergonomics. This is important, especially if the lens has to be used from dawn to dusk in the wilderness.

    This lens is versatile for photographing wildlife, mainly because of it’s:

    • Capability to photograph small and large objects
    • Convenience to capture both nearest and farthest objects, thanks to the zoom range!
    • Excellent compatibility with full-frame (FX) and crop-sensor (D) cameras, which means you can use the same lens on either of your camera bodies
    • Compatibility with the latest Mirrorless cameras (requires an FTZ lens adapter)
    • Travel-friendly size
    • Excellent vibration reduction
    • Convenient grip when you hold the lens collar

    Specifications

    Focal Length

    The focal length of the lens is from 200mm to 500mm. Being FX lens, effective focal length on FX bodies is 200mm to 500mm. On DX Nikon bodies, the effective focal length is approximately 300mm to 750mm.

    The lens is capable of photographing small objects such as this Ground orchid (at focal length of 310mm)

    Image of large-sized Elephant approaching from a distance of around 300ft (110 yards) at a focal length of 200mm.

    Image of large Elephant approached closer at a focal length of 500mm.

    Small sized Oriental white-eye bird photographed at a close distance of 8ft at a focal length of 500mm.

    Aperture

    The maximum aperture is f/5.6, and the minimum aperture is f/32. The Nikon 200-500 f/5.6 is an E-type lens (Electromagnetic diaphragm mechanism). It provides better control on the aperture blade as compared to mechanical linkages. This feature is compatible with newer cameras; however, with older DSLR cameras, an aperture is fixed to f/5.6.

    Extra-low dispersion glass elements

    The lens has 3 ED glass elements. ED glass element helps in reducing chromatic aberrations and offers overall better image quality.

    Minimum focusing distance

    This is the minimum distance between the lens and an object at which the lens focuses. The Nikon 200-500 f/5.6 has a minimum focusing distance of 2.2m (7.2ft). For wildlife and bird photography, this is a perfect minimum distance. With a minimum focusing distance of 7.2ft, the lens acquires perfect focus in most cases.

    Autofocus

    Thanks to Silent Wave Motors (SWM), the lens focuses quietly and with accuracy. The lens indicates this feature as AF-S. While you autofocus, you can instantly override autofocus by manual focus and vice versa (M/A). The lens can be focussed manually (M) as well.

    Teleconverter support

    The Nikon 200-500 f/5.6 is compatible with TC-14E III (1.4X) series teleconverters when used with DSLR cameras which can autofocus up to f/8. During low-light conditions, autofocus performance of the lens along with TC-14E III is satisfactory and usable. With the TC-17E (1.7X) and TC-20E (2X), aperture goes beyond f/8, hence autofocus is not possible. For this reason, it is not recommended you use the Nikon 200-500 lens with TC-17E and TC-20E teleconverters.

    Camera compatibility

    Full-frame (FX) cameras, crop-sensor ( DX ) DSLR cameras and Nikon mirrorless cameras (Optional FTZ mount adapter required) are compatible with the lens. This E-type lens (Electronic diaphragm) will work with the following cameras (you can change the lens aperture on these camera bodies): D5,D500, D4,D4S, D3, D3s , Df, D850, D810, D810A, D800, D750, D700, D610, D600, D300, D7500, D7200, D7100, D7000, D5600, D5500, D5300, D5200, D5100, D5000, D3400, D3300, D3200, D3100.

    On older versions of cameras, such as Nikon D200, you cannot change the aperture. The aperture will be fixed to f/5.6.

    Filters (Optional)

    The Nikon 200-500 f/5.6 accepts 95mm screw-on filters. When carrying this lens into the wilderness, I recommend you have a filter. It protects the front glass element from dust, mild drizzle and minor scratches. I use the filter while photographing and do not see any significant loss in image quality. However, make sure you use a high-quality lens filter to ensure minimal loss in quality.

    Vibration reduction

    This lens has excellent vibration reduction performance. I have achieved sharp images at 1/30th during low light conditions. Nikon claims to have the benefit of 4½ stops. I always keep the VR “ON.”

    There are two VR Modes – Normal and Sports. Normal mode works fine for me while hand-holding the lens on the ground, and also in the safari vehicle. I tend to keep it set to Normal mode.

    Image of Warbler bird with Vibration Reduction OFF. Feathers are not clearly visible Exif: 500mm f/5.6 1/400s ISO 2000, VR OFF

    Image as it is from a camera with Vibration Reduction ON. Feathers are sharp. The lens is a handheld. Exif: 500mm f/5.6 1/400th ISO 2000, VR ON

    Weight

    Weighing in at approximately 2300g (81.2 oz), the lens initially feels somewhat heavy. However, as you start hand-holding this lens regularly, you get used to the weight. I am now able to handhold this lens for two to three hours without any issue.

    Lens Hood (included)

    The HB-71 Lens hood is a plastic hood. It is a decent hood but slightly big to fit in the bag. However, I do use a hood on the lens mainly to protect the front glass element of the lens from minor bumps, tree twigs, and rain.

    Lens Size

    The lens Diameter is 4.2inches (108 mm), and the length is 10.5 inches (267.5 mm) at 200 mm zoom. The lens fits perfectly in mid-sized camera bags such as Lowepro Flipside 400 with the body attached. You can invert and fit the lens hood as well.

    Controls and ergonomics

    Controls

    Lens controls

    The Nikon 200-500mm f/4.5 has five controls:

    M/A – M

    M/A means while autofocusing you can override it with manual focus if required.

    M is a full-manual focus.

    Full/Infinity – 6m

    Full allows the lens to focus on the entire focusing range. I use Full all the time and have never missed the focus.

    Infinity – 6m option limits the focusing range of the lens. The lens will focus from 6m to infinity. Any object which is closer than 6m won’t be in focus. I recommend using the Full option.

    VR ON – OFF

    Vibration reduction(VR) ON-OFF. Set this to ON. I set it to ON even when mounted on a tripod.

    NORMAL-SPORTS

    Set the VR type to NORMAL. For wildlife and birds, NORMAL mode works great. NORMAL mode works great while I am hand holding the lens and even in the safari jeep.

    LOCK 200

    The Lock 200 button locks the lens to 200mm. You cannot zoom the lens if it is locked. The lock switch is perfect for when you are traveling, and your lens is packed. It avoids unintended zooming during travel.

    Ergonomics

    The lens is a bit heavy, but as you continue to use it, you will be able to easily handhold it. I found when hand holding the lens, removing the lens collar or rotating it upwards made it easier to hand hold. However, hiking with this lens can be hard due to its weight, especially carrying it up the mountains.

    The zoom ring is smooth with an excellent rubber grip. The zooming feels smooth and is precise. However, the manual focus ring feels slightly loose. But, I do find the quality of manual focus to be excellent.

    The Nikon 200-500 f/5.6 fits in a mid-sized camera bag. However, to accommodate the lens and camera, a larger bag is required. The only awkward part is the lens hood. Either you can invert the lens hood and keep in the bag or use a slightly bigger bag. I use this lens with Lowepro Flipside 300 (only lens), and the Lowepro Flipside 400 when the camera is attached.

    Weather sealing

    The weather sealing of this lens is quite decent, and I have used this lens in a moderately dusty forest and some drizzle. The lens offered good weather sealing. Make sure you clean the lens after using in dust and drizzle. I clean the front element, outer lens barrel, and mount. I use a Nikon Lenspen Pro kit for cleaning which is easy to use and travel-friendly.

    The overall construction of the lens is good. It can handle minor bumps. However, some parts are made up of plastic, making the lens construction not as rock-solid as pro-grade lenses.

     

    Qualities of the lens from the perspective of nature and wildlife photographer

    Focusing speed

    Wildlife actions happen in a few seconds. Focusing speed is most critical for wildlife photography. The speed of focus with Nikon 200-500 f/5.6 is good. When the light conditions are good – such as morning and early evening – this lens focuses fast and accurately. I use back button autofocus. I have used this lens in forest, safari, grasslands, and drizzle. Here is how this lens exactly performs in the field –

    The lens focuses superbly in the following light conditions and scenarios:

    • Bright light such as morning and evening light
    • Drizzle and normal dusty environment
    • Birds in flight (moving at a pace of slow to medium and not fast)
    • Animals and birds behind a tree or grass (behind clutter)
    • Animals in action (moving at a pace of slow, medium and fast)
    • Smaller birds and wildlife such as sunbirds, frogs, and grasshoppers (when they are slow moving or stationary)

    Hawk cuckoo bird in the rain. Low light image and photographed from a safari vehicle.

    Flight of fast-diving paradise flycatcher. Lens focussed on this fast-moving bird in good light conditions.

    This bird was behind the grass. There was significant clutter in front of it and the lens focussed accurately on the bird.

    Focus performance of the lens is average in following light conditions and scenarios:

    • Early morning or late evening light – this is the time when action happens for leopards, tigers, owls and nocturnal creatures. You may need an external light such as flashlights or headlights (not camera flash)
    • When the weather is rainy or dusty the lens focus performance is satisfactory
    • If the wildlife action is very fast, such as a Kingfisher bird diving for fish or a swallow bird flying over water
    • If wildlife is very small in sizes such as sunbird, crab or bees and moving

    Average focus performance when photographing small objects such as a flying kingfisher at a distance.

    A Peacock photographed when it was raining. The lens managed to autofocus decently during low light and rainy conditions.

    Focus performance of the lens is poor in following light conditions and scenarios:

    • When the light conditions are poor such as night and heavy rain.
    • When birds in flight are at a very long distance against the plain and cluttered background – Lens struggles to focus in this case. This type of focus hunt I have experienced while photographing birds in flight against blue sky at longer distances.

    Crested Hawk Eagle chasing Heron. The birds were at a longer distance and photographed during very low light conditions. Lens focus performance is a bit on the poor side.

    The River Tern was flying at a long distance against a plain blue background. In this type of scenario, the lens struggles to focus on the main object.

    Low light performance

    This is a tricky one! As it depends also on how your camera performs in low light and how you photograph. Many of the latest cameras by Nikon are good enough to shoot in low light. Hence there are only two things which have an impact on the final image: lens low light performance and your shooting style.

    All-in-all, lens performance is somewhere between good to average in low light. But if you follow the below techniques, you will be stunned with your images. It is so good! I have followed these techniques and achieved awesome images in low light :

    • Use a bean bag or tripod
    • Use aperture f/5.6
    • Since there is no external light source (such as flash) use shutter speeds from 1/30th to 1/60th of a second
    • If the lens is struggling to autofocus quickly, focus manually
    • Shoot in raw so that you can recover and process images effectively
    • Shoot at a reasonably high ISO (depends on your camera) but generally ISO 2000 to 4000 can provide a great balance between image quality and noise.

    Here is an image I shot in almost darkness during a late winter evening. I used a bean bag, the aperture was set to f/5.6 and shutter speed 1/30s. The ISO was around 2500.

    A Leopard during a late winter evening. Focus performance was decent during low light. Exif: 480mm f/5.6 1/30th ISO 2500

    This type of performance I was able to repeat multiple times.

    In short, in very low light scenarios the lens performance is average. But if you master it using the above-mentioned techniques, you can achieve stunning images.

    A range of focal lengths

    The Nikon 200-500mm captured the market aggressively in a short time. Its focal length is one of the prime reasons. This range is optimum for wildlife photography and is also a great focal length range on both full-frame and crop-sensor cameras. 500mm is a great range for birds, while the 200 to 400 focal length is great for large and smaller size wildlife.

    If you are using a full-frame camera, you will get a focal length of 200mm to 500mm. If you are DX shooter, the effective focal length you will be getting is around 300mm to 750mm. 750mm is superb for bird photography. 300mm is great for animals and other wildlife. I use Nikon 200-500 f/5.6 on crop-sensor ( DX format ) body. When I am on a safari with the effective focal length of 300mm to 750mm, I can easily photograph eagles, woodpeckers, small forest birds, tigers, elephants, and snakes.

    A Rat snake appeared in the bushes which were very close to me. I zoomed out the lens to capture this beautiful snake. Focal length: 200mm.

    Flamingos are very sensitive to a boat. Hence, I have to keep a good amount of distance from them. I captured this image from a long distance while I was in a boat. The long zoom range helped to photograph this distant yet beautiful scene. Focal length: 480mm

     

    The one caveat is you can’t capture wildlife when they approach close to your safari gypsy or boat. I needed to switch to the smaller telephoto lens such as Nikon 80-200 f/2.8 in this scenario.

    Tigress in the dusty grassland. Lens managed to focus in a dusty environment. This image is captured with Nikon 200-500 f/5.6

    As the Tigress approached very close, I switched to the 80-200 f/2.8 lens, as it was a close encounter.

    Best aperture, image sharpness, and colors

    When the lens is wide open, the aperture is f/5.6 from 200mm to 500mm. At 200mm, the f/5.6 aperture is a bit slow, but at 500mm f/5.6 is excellent. This is where you are going to use it the most.

    I use the lens wide open 70% of the time. I use the lens wide open for slow-moving birds and wildlife. If the objects are relatively close, I get sharp images using f/5.6.

    In some of the instances, such as birds in flight, fast-moving wildlife, and wildlife at distance, I stop down the lens to f/7.1 or f/8. This is mainly to extend the depth of field.

    Shoveler in flight photographed at f/8 – sharp flight.

    Shoveler bird captured at f/5.6, sharpness at this aperture is great

    If the objects are at a shorter distance and not moving very fast, aperture f/5.6 produces nice colors and sharpness. If the objects are moving fast, use f/8 to achieve sharp images. While you adjust your aperture for image sharpness also ensure you have enough shutter speed to freeze the action.

    Here are the techniques to get sharp images with this lens every time. I have used these techniques in the wild and repeatedly produced a sharp image:

    • Set lens aperture to f/5.6 or f/8 depending on the subject
    • Set the shutter speed to at least 2x times the focal length (for example, if you are at 500mm, use a shutter speed at least as a 1/1000s )
    • In case you are not able to use a high shutter speed because of low light, either use Vibration Reduction along with stable support such as a tripod or bean bag (shutter speeds can be as low as 1/30th)
    • Use continuous autofocus with focus areas as a d9 (AF-C + d9) or Single autofocus with focus area as S (center point) ( AF-S )
    • In case required to increase the ISO values. ISO values ranging from ISO 2000 to ISO 4000 (This depends on how well your camera can handle the noise). But for most of the latest Nikon cameras, this is a sweet spot

    These are the main aperture values useful in wildlife and nature photography. I have found f/5.6 to f/11 the most versatile. But don’t limit yourself to these numbers. Try different aperture values based on the creative signature you want to make with your image.

    Manual focus override

    Manual focus override (M/A button) is useful when the lens struggles to autofocus. Usually, this happens if there is clutter in front of the main object. Examples are grass or leaves in front of birds and animals. In this case, use the manual focus ring to focus. The manual focus ring feels a bit loose, but the quality and precision of manual focus are good.

    Manual focus override is also useful in low light conditions. In fact, I highly recommend when there is low light or if wildlife is in clutter, use manual focus override. You will end up getting perfectly focussed images every time.

    Place Image 26: Image of a jackal. Initially, I tried using autofocus. Since there was much clutter in front of Jackal, I used the manual focus override. The transition was smooth, and the precision of the manual focus worked well.

    Vibration reduction

    The Vibration Reduction on the Nikon 200-500 f/5.6 is great. I achieved great results when handholding this lens at a shutter speed of 1/30th in low light. When you are in a safari or hiking, this type of great VR is good to have so you can make sharp images while hand holding the lens.

    Place Image 27: Barking deer photographed at 1/30 s shutter speed from the safari vehicle. (Exif: at 360 mm, f/5.6, 1/30s, ISO 1600 )

    Recommendations

    Pros:

    • Maximum aperture of f/5.6 for entire zoom range
    • Excellent Vibration reduction performance
    • Focal length is perfect for wildlife and nature photography
    • Good focusing speed and image quality
    • Most affordable price for a super telephoto lens

    Cons:

    • Hood size is big to fit in the small bag
    • Some people may find this lens a bit heavy
    • Bigger filter (95mm) – it adds some price. If you don’t want to use a filter, then you can skip it.

    Conclusion

    The Nikon 200-500 f/5.6E VR is a beautiful all-around lens. It is perfect for animals and birds. If you are looking for the most versatile lens for wildlife and nature, the Nikon 200-500 f/5.6 E VR is for you! Especially with the price of $ 1400, no other lens comes close.

    It is compatible with all current Nikon DSLR and mirrorless cameras. Nikon 200-500 f/5.6E VR is your best friend in the wilderness. You will purely enjoy photographing the wildlife with Nikon 200-500 f/5.6E VR. Good luck!

    Which telephoto lens do you use? What do you think about Nikon 200-500 f/5.6 lens? Please do let us know in the comments below.

     

    The post Field Test: Could the Nikon 200-500mm f/5.6 be the Most Versatile Wildlife Lens? appeared first on Digital Photography School. It was authored by Shreyas Yadav.


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