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DJI denies rumors of Phantom 5 cancellation

28 Apr

DJI launched its brand with the Phantom 1, known at the time as Phantom, in January 2013. The iconic design has spawned numerous imitators but DJI has been able to iterate and outdo its competitors time and again, with more than just the Phantom line. Currently, it has a market share of roughly 74%, according to a 2018 Drone Market Sector Report by Skylogic Research.

With the exception of the Phantom 4 RTK, aimed strictly at professionals, all DJI Phantom 4 models have been out of stock for months. While the release of the Phantom 5 is the next logical step, rumors are swirling that the Chinese drone manufacturer is headed in another direction and discontinuing its Phantom line for good.

DroneDJ first reported these rumors by catching a statement made on a recent podcast by DJI’s own Director of Public Safety Integration, Romeo Durscher. ‘Yes, the Phantom line with the exception of the Phantom 4 Pro RTK has come to an end,’ Durscher told the Drone Owners Network. DroneDJ also cited rumors from sources close to DJI claiming that the Product Manager for the Phantom 5 was reassigned to another project.

DJI denies the rumors. ‘Romeo misspoke,’ DJI communications director Adam Lisberg tells The Verge.

To explain the lack of availability for recent Phantom 4 Pro versions, DJI released the following official statement: ‘Due to a shortage of parts from a supplier, DJI is unable to manufacture more Phantom 4 Pro V2.0 drones until further notice. We apologize for any inconvenience this might cause and recommend our customers explore DJI’s Mavic series drones as an alternative solution to serve their needs.’

This has been their explanation for the past five months and is a bit suspicious, as The Verge points out. While Lisberg told DroneDJ last fall ‘as for the Phantom 5 rumors, we’ve never said we considered making a Phantom 5 in the first place, so there’s nothing to cancel,’ these photos tell a different story. Lisberg also went on record with DroneDJ stating that the photos represented a one-off design for a customer. The Verge points out that a prototype of that magnitude would only be plausible for someone extremely wealthy.

Rumors surrounding the Phantom 5 series include the possibility of one model containing a zoom lens, and starting around $ 1,700, while the other model would come equipped with a series of interchangeable lenses containing fixed widths of 15mm, 24mm, 35mm, and 50mm.

To date, the Mavic 2 Pro is the only model that takes advantage of DJI’s majority stake in Hasselblad camera company. The Mavic series, though not the first to be released, is the overall best-selling line for the drone manufacturer. This fact leads many insiders and enthusiasts to believe that the foldable, more compact model will be the future of drone operations for consumers and professionals.

The Mavic was developed and introduced shortly after GoPro announced its doomed Karma drone. Without a competitor in the arena, it’s possible that DJI won’t be compelled to offer up a Phantom 5. Especially when its much bulkier, and pricier series of Inspire drones, used primarily by filmmakers, top-tier professionals, and wealthy hobbyists, offers up the option of interchangeable lenses.

Articles: Digital Photography Review (dpreview.com)

 
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Sony a6400 vs Fujifilm X-T30: Which is best for you?

28 Apr

Introduction

The Sony a6400 and Fujifilm X-T30 are the two company’s mid-priced mirrorless cameras. They’re 4K-capable cameras with similar resolution APS-C sensors: 24MP on the Sony, 26MP on the Fujifilm.

Both build on the legacies of Gold Award-winning predecessors, which helps establish them as presumed big hitters. And, having tested both cameras extensively, this is a fair assumption: they’re both class-leading cameras. Chris and Jordan from DPReview TV have already looked at their various strengths and weaknesses, so we’re going to look at how they compare for different types of photography.

Spec comparison

From a specs point of view the a6400 and X-T30 look pretty similar: they’re both 4K-capable APS-C mirrorless cameras with very similar price tags. Both cameras offer similar resolution (24MP on the Sony, 26MP on the Fujifilm), both have 2.36M-dot viewfinders and both can shoot at an impressive frame rate 11 fps with autofocus on the Sony, 20 or 8 fps on the Fujifilm (depending on whether you’re in a situation that allows the use of electronic shutter).

The moment you pick them up, it becomes apparent that they’re very different creatures

And yet, the moment you pick them up, it becomes apparent that they’re very different creatures. Differences in performance and radically distinct design philosophies mean picking between the two becomes much more complex than simply ‘which feels more comfortable’ or ‘which has the lenses that I need?’

Handling comparison

The difference in design philosophy is immediately apparent just by looking at them: the Fujifilm is studded (perhaps overwhelmed) with direct control points, including a mixture of dedicated dials and customizable function wheels. By contrast, the Sony has fewer buttons and only the two control dials, which point to a camera that doesn’t invite (or, perhaps, require) such a degree of engagement with its settings.

The Fujifilm is studded (perhaps overwhelmed) with direct control points, the Sony has the more complex menu system

Conversely, the Sony has the more complex menu system, with vast numbers of options lodged in a structure that relies on user memory more than most (though, once configured, your need to delve into the menus can be minimized). The Fujifilm’s menus are crowded but they’re better laid-out and have more indication of where each setting is likely to be found. Both have customizable ‘My Menu’ tabs if you find yourself needing regular access to menu-only options.

The other major difference is in autofocus. Not so much in terms of performance (though the Sony is, as good or better across the board), but in terms of complexity and usability. The Fujifilm has a series of different AF modes that you’re likely to swap between, depending on what you’re trying to shoot, and the choice of using the AF joystick or touchscreen to choose a subject. The Sony also has a wide range of AF area modes but, for most shooting situations, can be left in one mode, pointed at your subject and trusted to follow it, requiring little user input or mode-changing.

Other contenders

The most direct video/stills competitor to the Sony/Fujifilm duo is probably the Panasonic Lumix DC-G95 (G90 or G91 outside North America). It’s also a 4K-capable stills/video camera, but one that brings an image-stabilized 20MP Four Thirds sensor to the table, rather than the unstabilized APS-C chips of the other two. We wouldn’t rule it out just yet, but our initial impressions are that its video and autofocus aren’t up to the same high standards as the pair we’re discussing here.

Canon appears to have retreated from this section of the market for now: it’s more enthusiast-friendly M5 and M6 models now looking rather long in the tooth and lacking 4K video. Olympus’s OM-D E-M10 III is a less-expensive alternative and lacks the AF performance of the more recent APS-C models.

Sports and wildlife
Processed and cropped in Adobe Camera Raw 11
Sony a6400 | ISO 640 | 1/640 sec | F4

Sports and wildlife is a relatively comfortable win for the Sony. The Fujifilm’s AF system is more than up to the job of shooting sports (especially if you tune the AF behavior, manually follow the action and keep your subject under a Zone AF region), but the Sony system does well without the need for so much intervention, and is especially good at subject tracking.

Lens choice may be the deciding factor here. Both systems offer fairly expensive 100-400mm F4.5-5.6 lenses if you need a lot of reach, but Fujifilm’s APS-C-only version is both smaller and less expensive. Fujifilm offers a 50-140mm F2.8 zoom whose 70-200mm F4-like equivalent behavior is arguably more useful than Sony’s similarly-sized 70-200mm F4 (which ends up behaving more like a full-frame 105-400mm F6 if you mount it on the a6400).

Family and moments
Out-of-camera JPEG
Sony a6400 | ISO 1000 | 1/125 sec | F1.4

The Sony is the clear winner here, primarily for how easy its autofocus is to use and how well it understands human subjects (focusing on an eye if it can see one, but reliably keeping focus on the same person if they look or turn away). The tenacity with which the a6400 will maintains focus on the person you’ve chosen is simply unequaled.

Both systems include the option of 18-135mm lenses, which provide huge amounts of flexibility

The Fujifilm still makes a handy family camera, though. It requires a little more patience and more user input, but can be paired with lenses such as the 18-55mm F2.8-4.0 OIS, which is a much better and more flexible zoom than the Sony 16-50mm F3.5-5.6 power zoom.

Both systems include the option of 18-135mm lenses, which provide huge amounts of flexibility, though their F3.5-5.6 maximum apertures may not give the shallow depth-of-field or low light advantages over using a good smartphone. Of course, if you don’t regularly zoom-in on your smartphone, it’s worth looking at the available prime lenses for both systems.

Landscape
Processed and cropped to taste in Adobe Camera Raw 11
Fujifilm X-T30 | ISO 160 | 1/100 sec | F4

There’s not a huge amount to choose between the two cameras in terms of landscape shooting. The Fujifilm lens lineup includes a series of nice zooms and a good choice of high-quality F1.4 prime lenses, which might just tip the balance in its favor.

They’re fairly evenly balanced in terms of battery life and portability, and both have rear screens that tilt up for tripod use. There’s not much to choose between the cameras in terms of Raw performance: not all Raw converters do a great job with Fujifilm’s X-Trans sensor pattern, but conversely Sony insists on applying damaging compression to its files, which slightly reduces their flexibility.

Neither camera is especially easy to operate with gloves, though if you deactivated the command dials, the Fujifilm’s dedicated shutter speed, aperture and exposure comp dials are easier to use than the Sony’s rear dial, which is fiddly at the best of times.

Lifestyle and social
Out-of-camera JPEG
Sony a6400 | ISO 100 | 1/320 sec | F1.8

The Fujifilm’s attractive JPEG output and selection of lenses makes it a very credible choice for lifestyle and social photography. It has face and eye detection and can offer shallow depth-of-field images if you pair it with the right lens. A wide selection of prime lenses (with a choice of F2 or F1.4 in several focal lengths), makes this pairing easier.

The Sony comes out in front, for us, though, especially on the ‘social’ side of things. Its AF system is more responsive and easier to use when trying to shoot spontaneous photos, particularly of photos with people in them. Added to this, Sigma’s trio of F1.4 lenses may well include a focal length that works for your style of photography.

With its screen that flips all the way up, the Sony is also the clear winner if you want to take selfies.

Formal portraits
Processed in Adobe Camera Raw 11
Pre-production Fujifilm X-T30 | ISO 320 | 1/200 sec | F2

When it comes to posed portraiture, again it’s probably a slight win to the Sony. Its uncannily sticky eye-detection system can be entirely relied upon, freeing up the photographer to concentrate on their lighting, their composition and engaging with their subject. Stick the comparatively affordable Sigma 56mm F1.4 on the front and the camera will do much of the rest.

It’s only a slight win, though. Fujifilm’s 56mm F1.2 APD is a lovely portrait lens, as is its 135mm-equiv. 90mm F2 (though neither comes cheap). Eye detection works well, especially with a single subject and the X-T30’s choice of film-mimicking color modes makes it easy to deliver attractive results.

Sony has stronger native flash options, with a radio-frequency remote flash system, but both are well supported by third-party makers, making it easy to find flash heads that can be remotely triggered.

Candid and street
Processed in Adobe Camera Raw 11
Pre-production Fujifilm X-T30 | ISO 640 | 1/125 sec | F4

Both the Sony and Fujifilm are pretty small cameras, and can be paired with fairly small lenses (though it’s worth checking whether there’s a small prime lens available in your favored focal length). Both have rear touchscreens that tilt upwards for from-the-hip shooting and both have relatively quiet shutter mechanisms. They both offer completely silent electronic shutter modes, with the Fujifilm exhibiting less rolling shutter distortion in that mode.

Both cameras make it pretty simple to transfer your images to a smartphone, with the Sony offering NFC in addition to Bluetooth, which makes it a little quicker to use with Android devices.

Again the Sony’s simpler, more precise AF system may give it a bit of an edge, particularly for candid people pics. It’s also a little smaller and more discreet.

Video

The Sony a6300 was one of the first sub-$ 1000 cameras to offer really detailed 4K capture, but video performance (and our expectations of it) have been one of the areas of greatest improvement since then. It’s much easier to spot the rather poor rolling shutter performance now that a range of cameras can offer the level of detail capture that once rather dazzled us.

Fujifilm matches the Sony for detail capture but with much less rolling shutter and no crop (as the a6400 does when shooting 30p). And that’s before you consider the Fujifilm’s array of attractive and useful Film Simulation modes (including the flexible Eterna mode and the option of Log capture with a downloadable LUT to make processing easier). Unlike the Sony, the Fujifilm can offer headphone monitoring via a USB-C adapter.

The a6400’s video is easier to point-and-shoot: again thanks to its impressive tap-to-track autofocus, though the X-T30 can track human subjects fairly well. The Fujifilm is the better video tool overall, if you’re serious about videography and are willing to manual focus. There’s even the option to output 10-bit footage if you get serious enough to buy an external recorder.

Conclusion

Looking at these two cameras through the lens of specific photographic applications is an interesting exercise, with the importance of the simplicity and reliability of the a6400’s AF system shining through (when assessing them in general terms we concluded there wasn’t a lot to choose between them).

The a6400’s updated AF system is genuinely phenomenal

We’re still not big fans of the experience of shooting with the Sony: its two command dials are undermined by the need to stop and adjust your grip every time you want to use the lower one. Its menus are still difficult to navigate and its touchscreen is poorly utilized. That said, its updated AF system is genuinely phenomenal, removing, at a stroke, one of the things you previously would have had to mess around with. If your photography benefits from fast, precise focus (particularly for human subjects), the Sony is the stronger choice.

Both these cameras are significantly better than the already good cameras they replace, so there’s no wrong choice here

We still really like the X-T30, though. It looks pretty, is engaging to use and produces attractive JPEGs and consistently better video than the Sony. It’s not without its own usability flaws: the joystick and Q buttons are awkwardly placed and the pressable command dials are fiddly and easily knocked. Overall there are arguably too many control points for such a small camera, but it’s a camera that can be set up to be really enjoyable to use.

Both these cameras are significantly better than the already good cameras they replace, so there’s no wrong choice here. So which is more important to you: the experience of photography or the certainty of getting the shot?

Articles: Digital Photography Review (dpreview.com)

 
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Which Landscape Photography Camera Should You Buy? [video]

28 Apr

The post Which Landscape Photography Camera Should You Buy? appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video by Mark Denney, he looks at 8 questions you should ask yourself before choosing your new camera for Landscape Photography.

8 questions to ask yourself:

1. What are you solving? What’s broken that you are trying to fix?

The main problem he was having was that he was trying to use his main photography camera, the Sony A7RII for video too, which was fine but it was an inconvenience for him.

So he wanted two separate cameras – one for stills, and one for video.

2. What’s Your Budget?

Set your budget in the beginning (before you start shopping), so you know what to look for.

3. Do you want to go mirrorless or DSLR?

There are pros and cons to both. While DSLRs have great image quality, and good battery life, they are heavier.

Many mirrorless cameras also have excellent image quality but not always great battery life (editor-though this is always being improved upon). They are lighter in weight, but you may have to carry extra batteries.

4. What sensor size do you want?

Think about the sensor size you want. Do you want to go for full-frame, crop sensor or Micro four thirds? Full frame is the most expensive sensor size to go for. Think about the type of photography you will be doing. If you are going to be doing a lot of Astro photography, for example, you may want to go for full-frame as it will allow you to capture the most light.

5. Image Quality

What camera has the best image quality in the brand that you are interested in?

Pixel size – Think about megapixels. Many cameras now have large megapixels. Are you printing your images in large format or just sharing them on the web and social media?

Dynamic Range – the tonality of an image. The difference between the brightest brights and the darkest darks.
The human eye can detect 20-stops of dynamic range. Dynamic range is measured in stops. Mark says the best cameras on the market at the moment in terms of dynamic range are the Nikon D850 and the Sony A7RIII with around 15-stops of dynamic range. Average DSLRs are around 12-stops of dynamic range. The more dynamic range, the better results you get when bringing out shadows in editing.

ISO – Again, it depends on what you are shooting. If you are shooting night skies, you may want to choose a camera that works better at high ISOs with less noise. If you are shooting landscapes during daylight hours or blue hour, most cameras will work fine in these conditions.

6. Overall Lens Ecosystem

You aren’t just investing in the camera, but also the brands’ lens ecosystem. While there are adapters, you may want to still look at the lenses.

7. Video specs

If you are planning to shoot video too, then look at the video specs. For example, do you want 4K, or are you happy with just HD?

8. User interface/User experience

Do some research about the user interface. Is the camera intuitive and easy to use and navigate? Are the ergonomics good? Does it feel good in your hand?
If you are unsure about any of these things, renting a camera is a good way to try it out before buying.

Mark decided that the Fuji X-T3 was the perfect camera for his needs. What will yours be?

 

You may also find the following helpful

  • Which Crop Sensor Sony a6000 Series Camera Should You Buy?
  • Fujifilm X-T3 versus Fujifilm X-H1: The Best Mirrorless Camera for You?
  • Camera Comparison – The Fujifilm X-H1 Versus the Sony a7R III
  • The New Panasonic Lumix S1 and S1R – Could these Full-frame Mirrorless Cameras be Cameras of the Year?

The post Which Landscape Photography Camera Should You Buy? appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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How to Develop a Photography Workflow that Preserves Your Images

28 Apr

The post How to Develop a Photography Workflow that Preserves Your Images appeared first on Digital Photography School. It was authored by Karthika Gupta.

“I love spending time in front of a computer working on my images – sorting them, cataloging them and editing them,” said no photographer ever!

Well, maybe a few of us like to be sitting in front of our desk pouring over image after image, shoot after shoot. But let’s face it, as photographers, we would much rather get out there and photograph in the field than be chained to our desk and computers indoors.

How to setup a workflow to protect your images Karthika Gupta

This is where having a good solid workflow that can help you ease the post-shoot process is very important. Workflows are not just for the editing portion of your life as a photographer. In fact, a workflow is something that can help you before, during and even after your photo shoot.

Whether you are a busy professional photographer or an active hobbyist, having a good solid workflow and method of organizing images is crucial.

Having a workflow is even beneficial if you just photograph on your smartphone.

We have all been in situations where your phone runs out of space because you have images from three years ago that you have done nothing with. Sorting through three years worth of data to find images to delete under pressure of missing a key moment is no joke!

I wear many different photography hats as a wedding, lifestyle and travel photographer. So my workflow is slightly different based on the type of session I am photographing. But for the most part, I follow the same series of steps.

Here is my process. Hopefully, you may be able to replicate some or all of these steps to create a process that works for you in your photography.

1. Choice of Gear

Camera

My camera of choice is a Canon 5D MKIII. At this point, I only have one digital camera. I used to have a Canon 5D MKII as my backup, but ever since I starting working with a second shooter for my weddings, I didn’t find the need for my Canon 5D MK II. So I sold it.

For commercial shoots or bigger gigs that require multiple cameras and lenses, I just rent what I need. I am lucky in that I have a big camera store close to home that has all the gear I could need. They even have a studio that I can rent out should I need more space.

Batteries and Cards

I purchased two extra batteries when I was a full-time wedding photographer, and because I sold my backup gear, I am now left with extra camera batteries for my primary camera.

This works really well because I carry all my batteries with me when I am traveling or going to a multi-day event. That way I don’t have to worry about finding a plug point or charging my camera battery in the field.

This was a lifesaver earlier in the year when I traveled to Portugal and lost my power converter/adaptor. Try figuring out how to say power adaptor in a part of the world where you don’t speak the language! I drained out my batteries to the very last percent of battery juice during that trip!

Side tip: try shaking the battery to squeeze out every last bit of battery juice if you are running out of battery life. I’m not joking. I have tried this successfully many times in Portugal to get that last shot before the battery died!

I have 5 x 32GB CF cards, 3 x 16GB CF cards and a handful of 8 GB CF cards. For the most part, all these cards travel with me for a multi-day shoot or a personal travel trip that is several days long.

Part of my pre-shoot workflow includes downloading all my cards, charging my batteries and packing my bag with everything I need the night before.

Camera bag

My camera bag is a backpack that I used not just my photography but also for excursions and trips around town. I ditched the proverbial camera bag many years ago when I started traveling with my family of young kids. Carrying a camera bag, diaper bag, and a purse was just not practical. Also, once I got used to carrying a day pack that held all my treasures, it just seems second nature to me to pick that bag up no matter what the occasion.

Since I have just one camera/day pack, part of my workflow is to make sure the bag is empty and ready for the next adventure as soon as I come back home from a shoot/trip or even just going around town.

Luckily, it has enough pockets to store batteries, CF cards and other things like filters, and flashes.

How to setup a workflow to protect your images Karthika Gupta

At a recent class I taught, I loved seeing the diversity in terms of camera bags that everyone was using!

2. During the shoot

There is nothing quite like learning the importance of having a workflow than losing data or content in the absence of one. I learned the hard way when I lost all my images from a shoot on a card that failed. Luckily it was for a family shoot that I could reschedule.

So from that point onwards, I change my camera data card with each logical break in the event I am photographing.

For example, if I am photographing a wedding, I have the getting ready activities on one card, the ceremony on another card and the reception on a third card.

Even though the cards are not full, this gives me the security of losing only a part of the day should anything go wrong.

Of course, my backup for weddings is my second photographer who does the same thing.

For non-wedding related client work, I use a backup SD card in my camera. The Canon 5D MkIII has a dual card slot, so I take full advantage of the technology at my fingertips. If I am on a personal assignment, I change out my cards every night and download the photos onto an external drive.

Another thing that is important to note is how you store used and unused data cards. Figure out a system that works for you in how you separate the two. For me, used CF cards from a photoshoot are placed in a separate pouch from unused CF cards. I place those in another pouch in my camera bag.

In terms of the actual shoot, try and come up with a game plan for what you are photographing. As a wedding photographer, one of the key things I make sure to discuss with my wedding couples is a shot list. A shot list is a list of all the key moments and images that the couple absolutely wants to have taken. Typically these are around photos with family members.

With client and commercial shoots, the clients typically have a list of images they want to get from you. Use this concept of a shot list to list down all the ‘must have’ images you want to get out of a photographic excursion.

Shot lists save you effort, and they help you become more efficient with your time in the field.

How to setup a workflow to protect your images Karthika Gupta 2

Wedding photography can be quite stressful. There isn’t really a do-over option if you mess up. Having a workflow is critical and life-saving for a wedding photographer.

3. After the shoot

When I am back home from a wedding or a lifestyle shoot, the first thing I do is pack away my gear. I separate my camera body from my lenses and pack them away separately. All batteries are removed, including those from my flash. I have heard horror stories where batteries, especially AAAs, have leaked into the flash socket, so I don’t want to have to deal with that mess! Plus I use rechargeable batteries for all my flashes and external lights. Once they are out, I put them back in the case ready to be recharged for the next photography gig.

If I am at a multi-day shoot, all batteries are plugged into the charger slots right away.

These are the steps I take with my images:

  1. I download all the images from my CF cards onto TWO external hard drives, that act as a storage for my RAW images. 
  2. Once the RAW images are successfully transferred to my external hard drive, I go through and spot check the images and the total image count to make sure all the images are moved over.
  3. Images are moved over based on the shoot, location or event. For example a wedding will be downloaded as follows on the primary storage drive:

20190101_ClientNameWedding_GettingReady

20100101_FamilyName_LifestyleShoot

20100101_Personal_VacationLocation_Day01

  1. The secondary drive is less formal and has images just based on the event. For example:

2019

WeddingClientCard01

WeddingClientCard02

FamilyLifestyelShoot

Personal_TripCard01

Personal_TripCard02

  1. I then format the cards in camera. This is done on the camera rather than the computer. The reason for this is because I have found that sometimes all the images are not cleaned out and the card still retains some data that occupies unnecessary space.
How to setup a workflow to protect your images Karthika Gupta

Treating every client shoot like it was a wedding really helped me nail down a process and workflow that works for me. Now it is second nature and something I don’t even have to think about.

4. After the shoot (remote)

When I am traveling for work or pleasure, I carry one WD My Passport Ultra external hard drive and all my camera data cards. Earlier in my career, I would carry two external hard drives and create primary and secondary backups in the field. Now I have found that I don’t photograph as much because I am more thoughtful about what I photograph.

So now I just carry all my cards, and one external hard drive to back them up in the field. I avoid taking an external hard drive when I am just traveling for pleasure or personal work to reduce my load.

When I get home, the RAW files from the CF cards used during the trip are copied over to both external hard drives (primary and secondary) that house all my raw images. They are deleted from the WD Ultra so that it is ready for my next trip.

Early in my photography career, there were times where I would travel with almost every lens I owned, a laptop, two external hard drives, and many camera cards to be safe. Perhaps it is age, or perhaps it is maturity (I like to think it is a little bit of both), but now I try to travel light and take only what is absolutely needed to get the job done.

If I need something along the way, I either borrow, rent or figure out creative solutions to make things work.

How to setup a workflow to protect your images Karthika Gupta

I would argue that personal photos are more important than professional ones – especially as the dedicated photographer of the family. I love documenting our journey for no-one but me!

5. Editing workflow

Eighty percent of my editing happens in Lightroom (LR). Photoshop is used sparingly if I have to make any advanced editing. I have invested in the Adobe Creative Cloud for LR and Photoshop. I’ve installed them on my iMac (my primary editing device), as well as my MacBook Pro (my travel companion).

My Lightroom catalog lives on an external HD. I understand some people have concerns over running a LR Catalog on an external HD, because of potential LR speed issues. So far, I have not experienced any issues with LR in terms of speed by having the catalog on an external HD. However, if you are concerned about speed, then your LR catalog can be put on your computer’s hard drive, and keep a backup on the external HD. A backup of my LR catalog lives on a cloud service that is updated every six weeks.

I used to use iPhoto on my iMac to store all my images and only upload selected images to Lightroom. I tried to use Bridge for a few years to select images that I want to import into Lightroom. Now I use Photos on my Mac to select images that I want to edit and upload them into Lightroom.

I know it is probably easier to just upload all images to Lightroom and sort them via the software to save an extra step. I have one Lightroom catalog that houses all my work since 2012, and so there are quite a few images in the catalog. I had found that when I used Lightroom to sort and select images, it takes forever to load.

My Lightroom catalog is sorted by year, and I use the following naming convention for my Lightroom. I am less worried about the naming convention in Lightroom than I am with my primary and second storage units. This is just my personal preference.

YYYYMMDD_ClientName_TypeoftheShoot.

After editing is complete, I export my client images onto the same WD Ultra external hard drive as my Lightroom catalog.

The client folders get arranged by the date of the session.

This time the naming standard is as follows:

CompanyName_ClientNameEvent_Date

All images have the same naming convention as the folder, along with an image sequence number.

Every few years I go through and delete edited galleries from the external hard drive. I don’t delete client RAW files – just the edited files. I have found myself going back to many client galleries and re-editing images as my style evolves and changes. There is no point in keep multiple copies of the same image.

I use a mix of presets and hand edits for my images. It took me many years to finally come up with a style and method of how I want my images to look. Ninety percent of my edits follow that same process. Every once in a while I drastically change my “look” to keep things fresh.

As a rule, I spend no more than a minute on each image. I would much rather be outside photographing than indoors editing.

How to setup a workflow to protect your images Karthika Gupta

How to setup a workflow to protect your images Karthika Gupta

Exact same image – two different looks. And I love them both.

6. Editing Remotely

I really avoid extensive editing of images in the field. I prefer to focus on documenting and photographing rather than same day edits. I would much rather take a quick snapshot on my iPhone and edit using phone apps for a quick social media preview than spend time and effort in editing in the field.

A couple of years ago, I traveled out of the country for three months over the summer. This was before Lightroom came up with their cloud version. Because I was gone for so long, I took my Lightroom catalog with me on an external drive and used that for 3 months.

Recently, I started using Lightroom Classic and Lightroom CC for my workflow. I primarily used them for working when traveling. When I know I need access to my files for a particular project or a particular job, I upload those files to my Lightroom CC and work on them while on the road. Once back home, I ‘sync’ Lightroom CC as a collection in my Lightroom Classic and have all those edits readily available.

7. Client workflow

I use an external portfolio service to host my images for client work. These client galleries are only online for three weeks, and then they are deleted. My wedding photography packages all include edited images on a personalized flash drive whereas my family portraiture clients have the option of purchasing digital images if they want them for future use.

Every few years I go through and update client galleries and delete old ones. Keep in mind these are just the edited files. My client RAW files are stored indefinitely in case a client comes back after a few years for the images. If you don’t want to delete client images, you can invest in an external cloud storage system.

How to setup a workflow to protect your images Karthika Gupta

In Conclusion

While it might seem like a lot, my workflow has simplified over time. Just as I limit the gear I own and use, I also try and limit the images I capture – for both client and personal work. Having 100 photos of a spectacular sunset no longer make sense to me. I also stick to my workflow because it saves time in the long run.

One of my favorite things to stock up on are external hard drives. Every so often they fail, and I have to replace them. As cloud storage gets more accessible and less expensive, I can see myself moving things over to the cloud and simplifying my process and workflow even more.

I encourage you to use this, or some variation of this workflow and tweak it to make it your own. If you do it consistently and often enough, it becomes second nature and saves you time so you can do what you enjoy doing – photographing.

 

The post How to Develop a Photography Workflow that Preserves Your Images appeared first on Digital Photography School. It was authored by Karthika Gupta.


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Your Photographic Legacy: Realizing Your Power as a Photo Maker

28 Apr

The post Your Photographic Legacy: Realizing Your Power as a Photo Maker appeared first on Digital Photography School. It was authored by Adam Welch.

I’ve struggled with how to approach the topic at hand and I remain unsure even as I type. How can I begin to talk about such far echoing ideas? I already know that you and I share a common thread: photography.

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I’ll further assume that if you’re reading this, you are a person who makes photographs regularly. Perhaps that’s the perfect way to start; by knowing that you’re a camera person, just like me.

Being that we’re the same, I hope you understand the scope of what it means to “be a photographer” in an age when cameras are everywhere. Do you understand the power you hold in your hands? It’s the magnitude of this power that we will discuss.

With any luck, these simple truths about our craft will be nothing new. If anything, hopefully, these ideas will be a gentle reminder of the role you play in the photographic legacy.

On the other hand, if you have forgotten these facts or if you’ve never thought about them before, today is an especially important day for you.

Respect for the work…respect for yourself

It’s oddly paradoxical that photography can be so incredibly personal yet at the same time so impersonal. This is especially true of digital photography when often times the work we produce remains essentially intangible and often untouchable.

Where other creators physically intersect with their craft by either drawing, painting, sculpting or carving, we stand alone in a shared uniqueness. We use a machine to bring our expressions to life. We cannot touch what we capture with any sense of immediacy, and yet photography has become one of the most effective methods for bridging what we see with what we feel.

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As photographers, we must grasp the sheer weirdness and complexity of what we do at a basic level. Our work is part science, part soul, part philosophy and as such should be respected for the beautiful oddball of the visual arts that it truly is.

Furthermore, you should have immense respect for yourself and your fellow practitioners of photography. Not through any sense of superiority but rather a feeling of camaraderie.

We compete on occasion, sure. We envy or criticize each other at times. With the internet being the internet, it’s quite easy to pick apart the work of others instead of building it up. We’re only human. Still, the fact remains that we will advance more by positive attitudes and tasteful critique than through thoughtless criticism and negativity.

I can assure you that we’re all in this madness together.

Photography is the servant of history

Imagine for a minute a couple of historic images in your mind. Ali standing over Frazier. That child running from a napalm strike in Vietnam. The aftermath at Kent State. A lone man staring down a tank in Beijing. Einstein sticking his tongue out for the camera.

All these moments, for better or worse, are solidified in history through photographs. Photography carries monumental weight for bringing awareness to the beauty and horrors present in the human condition.

Arguably, photography is the greatest asset for documenting history that the world has ever known.

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Every photograph is made by a man or woman who was present at the exact moment these events took place. For better or worse, the presence of a camera has been the catalyst for social, political and environmental change for nearly two centuries.

Where would we be without the photographs which move us to action and change the way we think about the world?

Photographers can strike fire anywhere with a single photograph.

Possessing the ability to potentially impact the entire course of civilization by what we do should fill us with a measure of pride, wonderment and ultimately a sense of apprehension. Think about that the next time you go out with your camera.

You can make a difference through your photography at any time and in any place.

You represent every photographer

If you bear with me, I find it’s necessary to share a quick story about a woodworker friend of mine; a story, which as it turns out, became the reason for me penning this article.

A few weeks ago I witnessed a rather nasty situation play out on social media between my friend and another woodworker. Without injecting my own opinion, it was obvious that the attitude shown towards my friend was met with universal disapproval by most of the commenters.

I was fascinated (and comforted) by the fact that what seemed to trouble people the most was the blatant disrespect which was being exhibited by one craftsperson to another.

My mind immediately jumped to the manner we as photographers conduct ourselves, both on and offline, and how that conduct impacts the public perception of photographers.

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As cameras become more and more available to the masses, it’s important to comprehend that we are all practitioners of an art form that dates back to the early 19th century. That’s quite the legacy. What I mean by this is that the way we interact with our subjects and our environment while we practice our craft can be just as important as the photographs we produce.

I have witnessed photographers moving “flying stones” at Racetrack Playa in Death Valley just so their shots couldn’t be replicated. On countless occasions, I’ve watched as cars back up behind a person who parked in the highway to make photos bears.

Perhaps most alarming of all, I have observed shockingly pretentious attitudes exhibited by professional photographers upon those deemed “beneath” their perceived level of skill.

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Be courteous and respectful to others, especially fellow photographers. Always be willing to pass on what knowledge you have about the craft. Keep in mind that we are stewards of our art and tend its flame for many generations of photo makers to come.

Never fall victim to the kind of indifferent behavior that would belittle the legacy of photography.

Final thoughts….

So, what’s the endgame here?

The keyword is “realization.”

Realize that the role photography plays in the world cannot be overstated, and your part in that story is just as important.

The way we approach photography is very much a reflection of how we approach life and each share similar outcomes.

Be mindful that you always remember the impact of the photos you make and how far the manner by which you make those photos truly reaches. Photographs carry a unique duality which occupies a cloudy space among other art forms.

Our cameras have the power to make, record and even change history, but without you, a camera is just a camera.

Remember the power you have as a photographer and wield it accordingly.

The post Your Photographic Legacy: Realizing Your Power as a Photo Maker appeared first on Digital Photography School. It was authored by Adam Welch.


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HD Pentax-D FA* 50mm F1.4 SDM AW sample gallery updated

28 Apr

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We’re putting the finishing touches on our review of the HD Pentax-D FA* 50mm F1.4 SDM AW – a lens we already know to be very large and very sharp. Take a look at some of the additional sample images we’ve gathered throughout the process of testing the lens, and keep your eyes peeled for a full review in the very near future.

See our updated HD Pentax FA* 50mm F1.4 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Nikon US’s ‘Capture the Savings’ event offers instant savings on cameras, kits and lenses

28 Apr

Nikon US has announced its seasonal ‘Capture the Savings’ sales event and with it comes a number of impressive instant savings across its mirrorless, DSLR and Coolpix cameras, as well as Nikkor lenses.

The event, which starts Sunday, April 28, is limited to products sold in the United States by Nikon Authorized Dealers, including but not limited to Adorama and B&H. If multiple products are required for the instant savings, Nikon notes that the items must be bought at the same time and appear on the same receipt for the savings to apply.

The full list of deals can be found on Nikon USA’s website, but we’ve rounded up a few of our favorites below, with the links to the products on Adorama and B&H:

Coolpix

Coolpix P900 Camera (Adorama, B&H) — $ 100 Instant Savings (April 28, 2019 through June 1st, 2019)

Coolpix W300 Camera (Adorama, B&H) — $ 90 Instant Savings (May 12, 2019 through May 18, 2019)

DSLRs

Nikon D850 Body Only (Adorama, B&H) — $ 300 Instant Savings (April 28, 2019 through June 1, 2019)

Nikon D750 Body Only (Adorama, B&H) — $ 400 Instant Savings (April 28, 2019 through June 1, 2019)

Nikon D750 24-120 VR Kit (Adorama, B&H) — $ 1,000 Instant Savings (April 28, 2019 through June 1, 2019)

Nikon D7500 Body Only (Adorama, B&H) — $ 200 Instant Savings (April 28, 2019 through June 1, 2019)

Nikon D7500 16-80 VR Kit (Adorama, B&H) — $ 670 Instant Savings (April 28, 2019 through June 1, 2019)

Nikon Z-series

Nikon Z6 Body Only (Adorama, B&H) — $ 200 Instant Savings (April 28, 2019 through June 1, 2019)

Nikon Z6 24-70 Kit (Adorama, B&H) — $ 200 Instant Savings (April 28, 2019 through June 1, 2019)

Nikon Z6 Filmmaker’s Kit (Adorama, B&H) — $ 200 Instant Savings (April 28, 2019 through June 1, 2019)

Nikon Z7 Body Only (Adorama, B&H) — $ 600 Instant Savings (April 28, 2019 through June 1, 2019)

Nikon Z7 24-70 Kit (Adorama, B&H) — $ 600 Instant Savings (April 28, 2019 through June 1, 2019)

Nikkor Lenses

24-70mm f/2.8E ED VR (Adorama, B&H) — $ 500 Instant Savings (April 28, 2019 through June 1, 2019)

70-200mm f/2.8E FL ED VR (Adorama, B&H) — $ 650 Instant Savings (April 28, 2019 through June 1, 2019)

105mm f/1.4E ED (Adorama, B&H) — $ 300 Instant Savings (April 28, 2019 through June 1, 2019)

85mm f/1.4G (Adorama, B&H) — $ 150 Instant Savings (April 28, 2019 through June 1, 2019)

58mm f/1.4G (Adorama, B&H) — $ 150 Instant Savings (April 28, 2019 through June 1, 2019)

35mm f/1.4G (Adorama, B&H) — $ 150 Instant Savings (April 28, 2019 through June 1, 2019)

28mm f/1.4E ED (Adorama, B&H) — $ 200 Instant Savings (April 28, 2019 through June 1, 2019)

The various prices are determined by the Authorized Nikon Dealers at the time of sale. Nikon also notes that all prices and specifications of these deals are subject to change without notice, and Nikon is not responsible for printing or typographical errors with pricing information.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Panasonic S1 review

27 Apr

How does the new Panasonic S1 stand up to its full frame mirrorless competition, like the Sony a7III or Nikon Z6? Does ‘animal-AF’ work on dinosaurs? Will Jordan curl up on the ground in the name of art? We answer the tough questions and more. This episode was shot entirely on the Panasonic S1 in the Canadian Badlands.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • Body and ergonomics
  • LCD design
  • IBIS performance
  • Touch screen
  • Image quality
  • Autofocus
  • Burst and buffer
  • Video features and performance
  • Battery life
  • Compared to the Nikon Z6
  • Compared to the Sony a7 III
  • Wrap-up

Sample gallery from this week’s episode

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Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – Dogs

27 Apr

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

This week’s photography challenge topic is DOGS!

Andreas Wagner

Go out and capture your little doggy friends doing those awesome things they do – like running, jumping, barking, eating your sofa, etc. They can be color, black and white, moody or bright. You get the picture! Have fun, and I look forward to seeing what you come up with!

Joe Caione

 

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

Tips for Shooting DOGS

How to Take Better Action Photos of Dogs

Five Tips for Creative Pet Photography

Why Taking Pictures of Your Pets Will Help Make You a Better Photographer

6 Tips for Working with Unruly Animals in Pet Photography

5 Adorable Pet Photos [and How to Make your Shots even Cuter]

4 of the Best Lenses for Creative Dog Photography

 

Weekly Photography Challenge – DOGS

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

Share in the dPS Facebook Group

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

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

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


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Viltrox announces 85mm F1.8 autofocus lens for Sony E-mount cameras

27 Apr

Chinese camera accessory manufacturer Viltrox has announced a new 85mm F1.8 autofocus lens for Sony E-mount camera systems.

The lens, which has an aperture range of F1.8 to F16, is designed for full-frame Sony cameras, but also works as a 127.5mm equivalent on APS-C cameras. It’s constructed of ten elements in seven groups, including one extra-low dispersion element and four specialty elements made from ‘highly transparent glass,’ which Viltrox says reduces aberrations and improves color rendering. Viltrox also uses an ‘HD Nano’ multi-layer coating on individual elements to minimize ghosting and flares.

A stepping motor (STM) is used to drive the autofocus and the lens features a minimum focusing distance of 80cm (2.62ft). The front filter size is 72mm and integrated contacts power the aperture mechanism and deliver EXIF data to compatible Sony cameras.

Viltrox doesn’t provide the dimensions of the lens, but it weighs 636g (1.4lbs). One of the more interesting elements of the lens is an integrated microUSB port located on the rear metal mount of the lens. This connector is used to upgrade the lens’ firmware, which is currently listed as version 1.01 at launch.

B&H currently has the Viltrox 85mm F1.8 STM Lens for Sony E-mount available to pre-order for $ 379. The expected shipping date is May 6, 2019.

Articles: Digital Photography Review (dpreview.com)

 
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