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What to Write on Your Photography Website (So That People Will Hire You)

20 Mar

The post What to Write on Your Photography Website (So That People Will Hire You) appeared first on Digital Photography School. It was authored by Mat Coker.

If you want to sell your prints or get hired as a photographer, you can’t just put your photos on display. You’re going to have to use words too.

Many photographers struggle to come up with words about their photography. At one point, that was my biggest challenge to grow as a photographer.

I’ll show you how to come up with words for your photography website. We’ll start with a blank screen and finish with a finished web page.

If I post a photo of a baby or toddler on social media, I will get a lot of “likes.” All this means is that people like cuteness. But if I tell a story about a photo, it gets people thinking and talking. Nobody will know why we’re showing our photos if we don’t say something about them.

Why words?

If you’re showing your portfolio on your website or social media, you need to understand a hard truth: Your photos probably don’t stand out to people.

Your photos may be beautiful, but there are many photographers with beautiful photos. People are overwhelmed with thousands of images all day long and you’re just throwing more images into the mix.

Don’t assume that people will see and understand what is unique about you as a photographer, or appreciate the beauty in your photos unless you tell them. Your words help people understand what to think when they see your photos. Your words can draw them in to hire you or buy your prints.

I heard a rumor that my old public school was going to be torn down. That meant that my son would never have a chance to attend the school I did as a kid. So I took him for a photo shoot. We ran through the fall leaves, climbed on the monkey bars and retraced the steps of my childhood. Maybe the reason it was so meaningful is that the chance would soon be gone forever.

How to write about your photos so that people will hire you as a photographer

Let’s start from scratch and write words for a photography business website. You don’t have to follow my entire approach. Just take the parts that will help you where you’re struggling.

Let’s pretend we’re going to launch a toddler photography business. However, keep in mind that you can use this approach for any sort of photography business including fine art prints. Keep these ideas in mind as you write for your blog too.

1. Create a list of words and ideas

At this point, there is no pressure. The first step is to simply come up with a list of keywords and ideas. Then we’ll turn those ideas into the actual words on our website.

Give yourself at least 30 minutes for this. My suggestion is to turn off your phone, go somewhere you enjoy, and take a pen and some paper with you.

Consider who or what your subject is and then come up with a list of words and ideas that can inspire your writing. Your subject is whatever the main focus of your photography work is. Your subject could be CEO’s, landscape prints, weddings or seafood.

Our portrait business is about toddlers, so here is a list of words and ideas that I’ve come up with:

  • Strong willed
  • Explorer (little explorers)
  • Chaotic (agents of chaos)
  • Emotional (emotional roller coasters)
  • Unique
  • Growing
  • Impressive
  • Achievement
  • Funny
  • Silly
  • Showmanship
  • Performance
  • Giggles
  • Messy
  • Curls
  • Grins
  • Stinky feet
  • Tickling
  • Mud puddles
  • No shoes
  • Snacks
  • Lovable
  • Adorable

We could keep going, but that is a good list to start with. From this point on, whenever we have to write something, we have a list of words and ideas to pull from.

We’ll never have to sit down to a blank screen demanding us to fill it with the perfect words.

So far, we’ve only considered what our subject matter is, but we’ll also have to consider who we’re showing our picture to and who we are writing for. That means you need to consider who will be hiring you and write especially for them.

2. Who are you writing for?

Though our subject matter is toddlers, we’re writing for moms. They’re the most likely ones to be booking a photographer. Yes, dads and grandparents will look at your website too. However, don’t try to write for everyone. Choose one main person to write for.

3. What do they need?

Every good business solves a problem. What problem does your photography business solve?

Let’s consider two levels of the problem.

First, there is the immediate problem. Mom is on our website or social media page because she needs to find a photographer. Here are some things she has in mind:

  • Mom needs pictures
  • Has to find a photographer that specializes in toddlers
  • Wants the right style
  • Can handle her toddler
  • Can capture their unique personality

There is a deeper element to her problem too. Her little one is about to grow up. As much as she wants to, mom won’t be able to remember everything about this stage of life. These photos will preserve the toddler moments that are about to disappear forever.

Here are some ways the photos will help her:

  • Freeze time
  • Stop her toddler from growing up
  • Keep them small
  • Have something she can hold when they’re too big to hold
  • Have something to help with that desperate feeling that she is going to lose them when they grow up
  • Create photographs that provoke all the overwhelming feelings of motherhood, that will come rushing back to her even when she’s 80

How do you know that these are her problems? You listen. You listen to everything that moms say about their toddlers. Then you tell those moms (through the words on your website) that you understand, that you care, and that this is what you’re all about.

4. Explain how you will help them

You need to show the person looking at your website that you can help them solve their problem.

Let them know that you understand their problem and are the perfect person to help. This is where words may be more important than the photos you show.

Let’s get writing!

We have a lot of ideas about our photos and the people we’re writing for, so let’s start writing our web page.

Keep these 4 things in mind as you write:

  1. Draw from your list of words and ideas
  2. Remember who you are writing for
  3. Show that you understand what they need
  4. Explain how you can help them

People need to know very quickly that your website is just what they’re looking for. If somebody is searching for a toddler photography session, they need to know they’ve found the right place.

The first thing you should do is make some sort of statement regarding what your website is about. It should come right before or after your first image.

I photograph the toddler years because they’re some of the most wonderful times of development in your little one’s life. They’re also the years that go by the quickest.

This makes it clear what I offer and why I’m offering it.

That opening image and statement is followed by a more extensive gallery. After the gallery, I like to add some sort of story that digs into the deeper reasons that a mom would want a toddler photo session.

“We tend to love the things that are most scarce. The less there is of something, the more we value it. But far too often, we didn’t realize it’s value until it was gone. One day our babies outgrew the constraints of infancy. They learned to crawl and then pulled themselves up by whatever they could. They mastered our language – or their version of it! And now they think they’re going to keep growing right up! But not before we document them as toddlers. So that you’ll have photographs that make all those overwhelming feelings of motherhood and fatherhood come rushing back.”

While people are looking at your website, there are going to be many distractions. They get constant social media notifications, their minds wander, and their toddlers interrupt them! So write words that will keep them engaged. Being brief but powerful is good.

The “About Me” section reinforces why I offer this sort of photography session and why I’m the right photographer for the job.

“My favorite thing to photograph? Toddlers, without a doubt. Because they hold nothing back. Just watch how they explore the world. Their imaginations soar. And they don’t fake their emotions. My littlest guy is a toddler. I’m always racing to grab my camera because he’s almost not a toddler anymore. I can’t wait to see him grow up, but I’m going to miss the toddler him.”

My concern in the about section is to connect with my reader. I want them to know how much I love the toddler years too.

Toddler photography writing

The final words are about packages, pricing, and contact information. It’s important to reinforce exactly what you’re offering. Remember, you’re not just offering photos.

You might be selling fine art prints, but they’re not just prints. They’re a source of beauty and inspiration in an otherwise dull living room.

You might be selling a photo session, but it’s not merely a session. It’s a way of remembering those precious moments that are about to slip away forever. It’s easy to forget this in the midst of a chaotic life. Let your words remind them.

When their toddler years have long passed, you’ll have frozen time. And when you replay their video or hold their photos in your hands, all those feelings of motherhood and fatherhood will come rushing back.

 

Writing about photography

Some people write quite quickly, others take a long time to get the words out. I worked on the toddler page for about six hours spread out over three days. That’s a lot of time invested in a small amount of writing, however, I’m happy with what I’ve come up with. Along the way, I sifted through photos, reminisced about my own childhood and thought about many of the conversations I’ve had with other parents.

In the end, this was all for practice since I don’t actually run a toddler photography business. Practice is the key to getting comfortable with writing about your photos.

To fill out the rest of the website I would add a blog with several articles. Topics would include:

  • Photos and stories from sessions
  • Articles that explore the nature of toddlers
  • Reminiscing about my toddler memories
  • Funny quotes by or about toddlers
  • How I work well with difficult toddlers

These articles are there to engage interested parents, show them that I truly do understand toddlers, and settle their curiosity about whether a session like this is worth it.

When I sit down to write these articles, I’ll follow a similar approach:

  • Build a list of words and ideas based on the topic and point of the article
  • Keep in mind who I’m writing for
  • Show them that I understand and care
  • Solve the problem they have

Be yourself

What I’ve given you is a simple formula for getting to the heart of what you want to say about your photos, especially if you would like people to hire you.

These basic principals hold true in all sorts of photography writing contexts. What sort of problem are you solving with your photography blog?

Perhaps your readers are new to photography and your writing offers a window into the photographer’s life.

Maybe your readers are bewildered by all the technology choices and your writing simplifies things for them.

Over time you’ll discover many interesting ways to write about your photos.

It won’t be long until people respond more to what you said about your photos than the photos themselves.

This doesn’t make your photos any less important. If anything, it will make them all the more memorable in a sea of endless images.

The post What to Write on Your Photography Website (So That People Will Hire You) appeared first on Digital Photography School. It was authored by Mat Coker.


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Nikon updates Capture NX-D, ViewNX-i and Picture Control Utility to address various bugs

20 Mar

Nikon has updated its Capture NX-D, ViewNX-i and Picture Control Utility 2 programs to address multiple bugs and add new features.

Nikon Capture NX-D

Nikon Capture NX-D version 1.5.2 is mainly about fixing various crashes and glitches that would occur when using the app. Below is a thorough rundown of the ten issues that have been fixed, according to the changelog:

  1. The application would crash under some conditions.
  2. If the Specify size option was selected in the batch processing dialog, some time would elapse before the Start button would be available.
  3. Changes to image length in the Convert Files dialog would sometimes not be matched by changes to width.
  4. All changes to NEF/NRW (RAW) pictures made with NEF/NRW + JPEG enabled would be lost when the files were saved in JPEG format.
  5. Batch processing and file conversion could not be resumed once paused.
  6. The application would sometimes fail to launch.
  7. Image artifacts (“noise”) would increase in pictures saved in other formats.
  8. Straighten now functions as intended.
  9. Files saved at an image quality of “99” would be larger than those saved at an image quality of “100”.
  10. Portions of NEF (RAW) images shot with the Z 6 would sometimes not display correctly after the pictures were saved using NEF processing.

Nikon Capture NX-D version 1.5.2 can be downloaded for macOS and Windows computers on Nikon’s website.

Nikon ViewNX-i

Nikon ViewNX-i version 1.3.2 fixes two main issues found in version 1.3.1. The first is an issue that caused files saved at an image quality of 99 to be larger in size than images captured at an image quality of 100. The update also fixes a problem that caused files being saved using ‘Ctrl+S’ to lose or alter the XMP/IPTC information.

Nikon ViewNX-i version 1.3.2 can be downloaded for macOS and Windows computers on Nikon’s website.

Nikon Picture Control Utility

Last up is Picture Control Utility version 2.4.2. This update fixes an issue that caused some NEF images shot with Nikon Z6 cameras to not be displayed properly after the images were saved.

Picture Control Utility version 2.4.2 can be downloaded for macOS and Windows computers on Nikon’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Judge rules RNC didn’t violate photographer’s copyright with unauthorized image use

20 Mar
This is Erika Peterman’s photograph the RNC took from Rob Quist’s Facebook page and altered to use on a derogatory mailer. Used with permission.

In May 2017, photographer Erika Peterman filed a copyright infringement lawsuit against the Republican National Committee (RNC), alleging the organization had used one of her images for a political mailer without permission. The image features Rob Quist, a Democratic congressional candidate who had run against GOP candidate Greg Gianforte in Montana.

Peterman’s image, which was licensed to the Quist campaign, was used by the RNC without permission as part of a mailer that mocked the politician. In response to the lawsuit, the RNC claimed its mailer represented fair use of the copyrighted image, and Montana judge Dana L. Christensen has sided with that argument.

A photo of the mailer that was sent out to Montana residents by the RNC that used Erika Peterman’s photograph without permission. Used (here) with permission.

According to Lexology, the court dismissed Peterman’s case, finding that the RNC had ‘transformed’ the photo adequately enough to claim fair use. Only small visual alterations were made to the image, such as cropping it to fit the mailer, and those edits alone weren’t sufficient for it to be considered transformative.

However, the court found that the image’s use on a mailer that criticized Quist had transformed the work, stating that the image’s inclusion as an element in this critical media qualified as fair use. The court said:

The mailer uses Quist’s musicianship to criticize his candidacy, subverting the purpose and function of the Work. With the addition of the treble clefs and text throughout, the mailer attempts to create an association between Quist’s musical background and liberal political views… In this context, the image takes on a new meaning.

In addition, the court claimed that the RNC’s use hadn’t impacted Peterman’s ability to profit from the image and that Peterman’s had published the image to Twitter and Facebook. By publishing the image on social media, the court stated, ‘it must be assumed that the MDP, Quist Campaign, and Peterman herself would have welcomed reposts, [etc.] by other pro-Quist social media users.’

Ultimately, the federal judge found the RNC’s unauthorized use of the copyrighted image to be ‘moderately transformative and wholly noncommercial [sic],’ stating that ‘the court determines that the undisputed facts establish that the RNC is entitled to judgement as a matter of law.”

DPReview spoke with Peterman via email and she shared the following response regarding the ruling:

I think equating political criticism to transformative use is pretty far-reaching. This decision gives any political party (or PAC) the freedom to use artistic or creative photos of political candidates for political criticism under the auspices of fair use. This impacts me greatly because I do a lot of political photography and work hard to create compelling, creative photos for the candidates I work with. And, like any photographer or artist, I also want to share my work. However, if I know that my photos can be used for “political criticism” without my permission, it creates a major dilemma for me.
And no, I’m not appealing. Not because I don’t think the decision is wrong, because I do. However, even if my decision were reversed and remanded back to the district court for a trial on whether the RNC’s use of my photo was “transformative”, I would again be in front of the same judge and the outcome would probably be the same. Additionally, I would most likely have to pay the RNC’s costs and possibly their attorney fees. That’s thousands and potentially hundreds of thousands of dollars I don’t have.
Last, the judge’s comments about my sharing the photo on Twitter are incorrect. I posted a different photo of Rob Quist on Twitter, but not the one that was the subject of the lawsuit.

DPReview has contact both the RNC and Peterman for comment. this article will be updated accordingly when and if a response is given.

Update (March 19, 2019): This article has been updated with a quote from Erika Peterman

Articles: Digital Photography Review (dpreview.com)

 
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The Best Fujifilm X-Series Kits for Travel Photography

20 Mar

The post The Best Fujifilm X-Series Kits for Travel Photography appeared first on Digital Photography School. It was authored by Matt Murray.

Travel has always been my first love. In 1994 I bought my first camera – a Pentax Zoom 90 WR point and shoot – because I was going to Europe for a two-year working holiday. The only way to share photos with family back then was to have the film developed and post the prints home!

While photography (and technology) has changed remarkably in the last 25 years, what you should look for in a camera for travel photography is much the same: small, light, capable of great results and preferably weather resistant.

I’ve used all sorts of camera brands over the years. However, for me, Fujifilm X-Series cameras and lenses are the perfect travel companions. Whether it’s a trip to the Australian outback, visiting remote Buddhist temples in the Javanese jungle, photographing puffins in the Faroe Islands or capturing traffic trails in Taiwan, my X-Series cameras have always produced stunning results. Here are my recommended Fujifilm X-Series kits for your next big adventure.

Best minimalist kit

Camera: Fujifilm X100F
Lens: Fixed F2 Fujinon lens
Weight: 469 grams

The best minimalist kit choice was easily the stunning Fujifilm X100F. This is the best compact digital camera ever made. Yes, it really is that good!

Many photographers – including diehard users of other brands – use this as their “take everywhere” shooter. The X100F is small and quiet, and the fast f/2 Fujinon lens creates beautiful images. It may be small, but it boasts an impressive array of features including a leaf shutter and built-in neutral density filter.

Like all the cameras I feature in this article, the X100F can shoot RAW alongside Fujifilm’s array of stunning JPG film simulations, that replicate the look of classic films such as Provia and Velvia. Fujifilm cameras produce the best JPGs I’ve seen straight out of the camera.

This choice is a little unusual as it has a fixed lens. That’s right. You can’t take it off and swap it for another lens. If the 23mm focal length (35mm in full-frame terms) isn’t your preferred choice, the system also has wide-angle conversion and telephoto converter lenses. However, these do add extra weight to your kit. One of the few downsides to the X100F is that it’s not weather resistant. But, at least it’s small enough to fit in your pocket during a downpour.

One body plus one lens kit

Camera body: X-T30
Lens: XF 18-55mm F2.8-4 R LM OIS lens
Approximate weight: 693 grams

If you only have space to take one body and one lens on a trip, I would recommend the brand new Fujifilm X-T30 with the XF 18-55mm F/2.8-4 R LM OIS lens. I’ve been using this line of cameras since buying the X-T10 as a second body back up to my X-T1, and I’ve also used the X-T20. The X-T cameras with a “0” after them are lighter, cheaper, non-weather resistant versions of the flagship models, but usually feature much of the same technology. For example, the X-T30 has the same 26.1MP X-Trans 4 CMOS sensor as the X-T3.

Alternatives for the camera body would be the X-T20 and the X-E3. The X-T20 gives you a screen that tilts up and down for overhead and low to the ground shots. Whereas, the X-E3 is the more minimalist choice, and features a joystick that controls where the focus point is in the frame. The X-T30 and the X-T3 have both of these features.

My choice of lens for this kit is the XF 18-55mm F/2.8-4 R LM OIS. Not only is it one of my favorite Fujifilm lenses, but it’s also the lens that I’ve used the most over the last three years.

Often sold with camera bodies, many newcomers to the X-Series remark that the XF 18-55mm F2.8-4 R LM OIS lens is “surprisingly good for a kit lens.” In no way is this lens like the subpar beginner kit lenses produced by other manufacturers. The XF 18-55mm F/2.8-4 R LM OIS is a stunningly sharp lens in its own right and has produced some of my favorite images ever.

It may not be weather resistant, but it does feature OIS (optical image stabilization) to ensure your shots are as sharp as possible at lower shutter speeds. It’s a variable aperture zoom lens, meaning that the maximum aperture changes as you zoom through the range. However, you can still shoot at f/2.8 at the 18mm focal length, and f/4 at the 55mm end. It’s a top lens for landscape, cityscape, and portraits.

Best kit under 1kg

Camera body: X-T30
Lenses: XF 18-55mm F/2.8-4 R LM OIS + XF 35mm f/1.4 R
Approximate weight: 880 grams

My picks for the best kit weighing under 1kg include the same choices as the ‘One body plus one lens’ kit above, with the addition of the XF 35mm f/1.4 R. The first time I used this lens, I was blown away by its sharpness and stunning bokeh. It’s a top lens for portraits, still life subjects and even street shooting.

It did have a reputation of being slow to focus, but with Fujifilm’s ongoing firmware updates to both lenses and camera bodies, this has greatly improved. I wouldn’t hesitate to use it in any situation. This lens has a fast maximum aperture of f/1.4 that enables you to shoot images handheld at night without raising the ISO too high or lowering the shutter speed too low.

One zoom, two fast primes kit

Camera bodies: X-T30
Lenses: XF 18-55mm F2.8-4 R LM OIS + XF 35 1.4 R + XF 60mm f2.4 R Macro
Approximate weight: 1.095kg

For a lightweight travel kit weighing just over 1kg and featuring two fast prime lenses, add the XF 60mm f/2.4 R Macro to the kit above. This is another option often overlooked by newer lenses on the block, but it offers superb image quality for portraits and macro shots.

Although it’s not a true macro lens (it offers 1:2 magnification rather than the standard 1:1 magnification for a true macro lens), it is an incredibly light option for close up shots. It weighs less than a third of the weight of Fujifilm’s XF 80mm F/2.8 R LM OIS WR Macro lens.

Best weather resistant kit

Camera bodies: X-T3
Lenses: XF 16mm F1.4 R WR, 23f2, XF 50-140mmF2.8 R LM OIS WR.
Approximate weight: 2.6 kg check

The best weather resistant kit features Fujifilm’s newest X-Series flagship camera. The X-T3 has won high praise from users and critics alike since its release in mid-2018. It is an impressive performer, having the fastest autofocus in the X-Series lineup and a continuous shooting rate of up to 20 frames per second. I’ve really enjoyed using this camera alongside my X-T2, which is still an excellent camera.

The newcomer to this kit is the XF 16 f/1.4 WR lens – often praised as the best lens in the X-Series lineup. Weather resistant, the lens is optically stunning, and a solid performer for landscape, cityscape, and low light shots. With a close focusing distance of 15cm, the XF 16 f1.4 WR lens is highly versatile. I’ve loved using it for food photography.

Best travel kit with zoom lenses

Camera bodies: X-T3 and X-T30
Lenses: XF 18-55mm F/2.8-4 R LM OIS and XF 50-140mm F/2.8 R LM OIS WR.
Weight: 1.8kg

This kit gives you the best of both worlds: the light X-T30 with the XF 18-55mm F/2.8-4 R LM OIS lens, and a weather resistant combo of the X-T3 with the stunning XF 50-140mm F/2.8 R LM OIS WR lens.

Weighing in at 995 grams, you might actually question why I would choose this lens as part of a travel kit? I’ve even been laughed at when I’ve suggested this lens for travel. Although it’s heavy, this lens is a must-have in my travel photography kit.

Like an equivalent focal range 70-200mm, the lens has a constant maximum aperture of f/2.8, meaning that you can shoot with a shallow depth of field throughout the zoom range. This is particularly helpful during low light situations, or to achieve shallow depth of field at any time.

This XF 50-140mm F/2.8 R LM OIS WR lens also features OIS (optical image stabilization) and has a pleasing bokeh. I’ve used this lens for landscape, cityscape, and portraits. If I could only pick one lens for travel, I’d have to flip a coin to choose between the two amazing zooms in this kit.

If you have different weight or budget considerations, you could substitute the excellent XF 55-200mm F/3.5-4.8 R LM OIS lens in this kit. I’ve never regretted taking this lens along with me on trips, but if you plan on shooting in low light at the far range of the zoom, you will be shooting at a maximum aperture of f/4.8, which may slow down shutter speeds. Thankfully, this is another lens with OIS (optical image stabilization).

My favorite kit

Camera bodies: X-T3 and X-T2
Lenses: XF 16mm F/1.4 R WR + XF 18-55mm F/2.8-4 R LM OIS + XF 35mm f/1.4 R + XF 50-140mm F/2.8 R LM OIS WR
Approximate weight: 2.9 kg

This is my favorite kit. It may be the heaviest listed in this list, but this is what I would typically take on my travel adventures. It pairs two weather resistant camera bodies with my two favorite zooms and two favorite primes. This kit has a reach from 16-140mm (24-210 in full-frame terms) and covers many shooting situations. The XF 50-140mm F/2.8 R LM OIS WR lens may not be the longest in the X-Series lineup, but it’s still capable of capturing stunning wildlife images.

X-Series options I don’t recommend for travel kits

X-T100

In 2018, Fujifilm released the entry-level X-T100. Although this attractive looking camera looks very much like the rest of the X-Series line-up, its autofocus can’t match the cameras I’ve featured above.

18-135mm lens

The XF18-135mm lens is often on the list of recommended lenses for Fujifilm travel photography. Having owned and used one, it doesn’t make my list. For a slower, all-in-one travel zoom, I don’t think it has enough reach.

27mm lens

The 27mm F/2.8 pancake lens is sharp, and you can often buy them at a bargain price. It’s a firm favorite amongst many Fujifilm photographers, but it doesn’t make my list as it’s the only lens in the lineup not to have a ring on the lens to change aperture.

 

Conclusion

The Fujifilm X-Series range is perfect for travel photographers for so many reasons.

With an impressive lineup of prime and zoom lenses for all budgets, the X-Series has you covered for a wide range of situations including low light photography and adverse weather conditions. The camera bodies feature retro charm and excellent ergonomics, and no other system can match the beauty of Fujifilm’s straight out of camera JPGs.

Whether it’s a day trip near home or the trip of a lifetime, Fujifilm X-Series is my number one recommendation for travel photography.

Do you use Fujifilm Cameras for your travel photography? Let us know what you use in the comments below.

The post The Best Fujifilm X-Series Kits for Travel Photography appeared first on Digital Photography School. It was authored by Matt Murray.


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LEE100 is a next-generation filter holder with a modular design for easier operation

19 Mar

LEE Filters has announced the LEE100 filter holder, a next-generation filter holder that improves upon the design and interface of its predecessors to help improve the experience of working with photography filters.

Made from injection-moulded composite materials, the holder is both rigid and lightweight. Like its predecessor, the LEE100 filter holder relies on a spring release for easy one-hand operation when an adapter ring is mounted to a specific lens. This release can be used in three different settings to accompany different shooting needs: neutral, half lock and full lock.

The neutral setting keeps the filter holder attached to lenses, but allows it to both rotate freely and detach itself in the event the filter holder gets hit, so the camera and lens doesn’t fall to the ground as well. Half lock keeps the filter holder secured onto the adapter ring, but allows for easy rotation of the ring to better account for the horizon and other elements. The full lock setting keeps everything locked in place so the filter holder will neither rotate nor detach from the adapter ring until it is unscrewed and released.

New on the LEE100 filter holder are modular filter guide blocks that come in one, two and three-slot configurations. Unlike previous versions of LEE’s filter holders that required screws to hold the guides in place, the LEE100 features snap-in guides that can be quickly changed without the need to carry around a screwdriver. The guides themselves are also tapered now, which not only lends to a more streamlined aesthetic, but also improves the resistance, which helps to better keep the filters in place when making adjustments.

LEE says up to three filters can be used before any vignetting is visible. All of LEE’s 100mm filters can be used in the new holder as well as the new LEE100 Polarizer.

The LEE100 filter holder is available at as a single unit and in various kit arrangements. Alone, the LEE100 filter holder is available at B&H for $ 96. The Deluxe kit, which includes the LEE100 filter holder, LEE100 Polariser, Big Stopper, LEE 0.6 ND medium grad, LEE 0.9 ND hard grad, LEE 1.2 ND medium grad, 50ml ClearLEE filter wash and ClearLEE filter cloth, is available at B&H for $ 739.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix S1 sample gallery

19 Mar

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We’ve been getting a feel for Panasonic’s full-frame mirrorless cameras for a little while now, but only recently received final production firmware for the S1 and its high-resolution sibling, the S1R. Take a look through our first images shot with final firmware and see how it handles a variety of scenarios.

See our Panasonic S1 sample gallery

See our Panasonic S1 pre-production sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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How to Use Textures to Create Compelling Photographs

19 Mar

The post How to Use Textures to Create Compelling Photographs appeared first on Digital Photography School. It was authored by Glenn Harper.

Adding textures to photos is a fun way of creating new pictures. In some respects, it’s not very different to printing your photos onto textured paper or choosing frames for them (or both), except the images needn’t leave your computer. You can do this with photos you’ve already taken, though often it’s best to create them with this treatment in mind.

Adding textured backgrounds to photos

Cracked earth photo in the background.

Choosing your photos

You can add textures to almost any type of picture, but this method works well with simple photos where there isn’t a lot of fussy detail. Ideally, you need a sizeable single-tone area that allows the background to come through. Otherwise, you can use a simple texture with a complex photo – the important thing is that the two photos do not fight.

Adding textured backgrounds to photos

A harmless subject, despite appearances.

You can apply this treatment to portraits, landscapes, still lifes, or just about any genre. With still life, you’re at a particular advantage because you can take very simple pictures of subjects against plain backgrounds and then attempt to create something interesting later with a textured background.

Adding textured backgrounds to photos

Melding photos together is not a purist’s approach to photography, but you need only ask yourself one question: do you like the result? Adding a texture to a background is like putting two pieces of a jigsaw puzzle together. Do the two parts suit each other? A beneficial side effect of creating these pictures is that you’ll start noticing and shooting all kinds of textures to use with your photos.

Adding textured backgrounds to photos

Splodges of paint in the background.

Finding and photographing textures

You can create your own backgrounds quite easily by photographing textures around the home. For instance, try capturing textured paper, sandpaper, fences, walls, wood grain, baking trays, tiles, canvas, painted surfaces, rusting surfaces or concrete. Mid-tone textures with contrasting colors or details tend to work better than monotonous dark or bright surfaces.

Adding textured backgrounds to photos

Silhouetted trees against a blue painted background.

Try screwing up pieces of paper and then flattening them out for backgrounds. You can even use a scanner for paper backgrounds, which has the advantage of holding them flat while still recording the folds and creases.

Adding textured backgrounds to photos

The same silhouetted trees against brown paper. I wanted to avoid distracting contrast in the paper, so the processing holds off on highlights.

If you want to try this technique and don’t have any texture photographs in your library, you can always grab some to practice with from free photo websites (e.g. https://www.freeimages.com).

Adding textured backgrounds to photos

A French WW1 Croix de Guerre medal, originally shot against a white card background.

Another possibility is to use the in-built textures offered within image editing programs. Photoshop CC has this to a limited extent. There’s also a good textures section in ON1 Effects (standalone or filter plugin) that offers a lot of choice.

Adding textured backgrounds to photos

In Photoshop CC you can reveal the “Texture” filter under preferences. It only works on 8-bit images. This is the Canvas texture.

Photoshop Technique (or similar)

To blend textures into backgrounds, you need an editing program that has layers and blending modes. The second usually comes with the first. In brief, you just need to drag one photo on top of the other and adjust the blending mode between the layers to suit. Sometimes you might need to tweak opacity.

Here’s a more precise workflow:

  1. Open the two images you intend to merge (i.e. subject and textured background).
  2. Ensure that the texture image is the same size as the main photo or slightly larger. If it is much larger (e.g. a full-sized file layered onto a web image), it will appear less sharp.
  3. Using the move tool in Photoshop, drag the texture image onto the main photo. This automatically creates a second layer (“Layer 1”).
  4. Try the various layer blending modes in your layers palette until you find one that suits the image. “Overlay” is one that often works well.
  5. Adjust opacity to taste. If you want to strengthen the effect rather than fade it, you can duplicate Layer 1.
  6. Merge the layers (Ctrl + E) or Flatten Image.

You can do this the other way round and drag the main image onto the texture, but then the opacity slider becomes less useful. You ideally want to be able to fade the texture effect rather than the main photo. Also, if the texture file is larger, having that one on top avoids the need to crop the image afterwards.

Adding textured backgrounds to photos

Using the Brush Tool

Another thing you can do with your textures is to selectively paint parts of the effect out of or into the picture. You might do this if, for instance, you want to create the illusion that an object within the photo is resting on a textured background without being part of it.

Adding textured backgrounds to photos

Using a ON1 Effects texture I’ve created henna-type markings on the hand and used the brush tool to remove the same pattern from the watch.

To do this, you need to create a layer mask on “Layer 1” (your texture photo). Then, making sure the brush foreground color is black – visible in the tools palette – you use the brush tool at 100% opacity to selectively paint the texture out. Hitting “X” lets you paint detail back in again if you get clumsy.

Alternatively, you can do the opposite and create a black layer mask, painting texture into the picture with a white brush.

Harmony

I mentioned earlier choosing textures and photos that suit each other. So, what might that mean? Ultimately, you get to decide what goes well with what, but some textures intrinsically suit some subjects. For instance, old books generally go better with leather, paper or card textures than they do with a brick wall. Metallic objects might go well with rust or oxidation.

Adding textured backgrounds to photos

Another ON1 Effects texture (rice paper).

With human subjects, you might want to infer something else altogether, like cracks for old age or the passing of time. Be careful who you use that on! The bolder the texture is, generally the more limited it is in its potential. You can use paper and canvas textures on almost anything because of their photographic and artistic connection and their unobtrusiveness.

Express yourself

Any picture you produce on a computer rather than in camera will likely attract a degree of cynicism. That’s just the way photography is. But it’s not always healthy to be confined by your chosen craft and feel like you’re not doing anything new. Blending photos in Photoshop is creative, fun and even a little beneficial, since an eye for juxtaposition is a valid photographic skill.

Adding textured backgrounds to photos

Antique Vaseline pots against an old baking tray surface.

Get ready for the strange looks you’ll receive when you begin photographing plain walls and fences. Use a tripod for extra eccentricity ….

Feel free to share your creations in the comments section below.

The post How to Use Textures to Create Compelling Photographs appeared first on Digital Photography School. It was authored by Glenn Harper.


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Is the Leica Q2 right for you?

19 Mar

Is the Leica Q2 right for you?

Leica recently announced the Q2, a 47MP rangefinder-style digital camera with a super-sharp, fixed 28mm F1.7 lens. It’s a heck of a lot of fun to shoot with – if you can afford the $ 4995 price tag – but is it right for you? Based on our time with the camera, and its specifications, we’ve examined how well-suited it is for common photography use-cases, including:

  • Candid and Street photography
  • Travel photography
  • Family and Moments photography
  • Landscape photography
  • Portrait photography
  • Video

Leica Q2 for Street photography

Leica cameras have been associated with street photography as well as photojournalism for generations, so it shouldn’t come as much of a surprise that the Q2 is well-suited for capturing candids. Its 28mm F1.7 Summilux lens is not only impressively sharp, it’s also stabilized for hand-held shooting, in low light.

The camera offers two ways to set an autofocus area, either via the touchscreen or the rear four-way directional pad: whichever you choose, point movement and overall AF responsiveness is excellent. There is no touchpad AF option when using the Q2 with your eye to the finder, though, only the directional pad.

If you’re more of a purist, go ahead and manual focus: the focus ring is well damped and really quite pleasing to turn. The camera offers two focus assist tools: Auto Magnification and Focus Peaking (available in a variety of colors) – one, both or neither can be turned on. There’s also a hyperfocal scale on the lens barrel.

The 28mm F1.7 Summilux lens is not only impressively sharp, it’s also stabilized for
hand-held shooting

Being neither seen nor heard is important for street photographers. The Leica Q2’s leaf shutter is nearly silent and its electronic shutter is completely silent, though you may encounter some rolling shutter. The former can sync with a flash up to 1/2000 sec. There’s no in-camera flash, but a strobe can be attached to the Q2’s hotshoe.

The Q2 has a new 3.68MP OLED electronic viewfinder that’s a major improvement in terms of detail and color over its predecessor, which used a field sequential-type display. Its 3″ 1.04-million dot rear touch display is also lovely to compose with, but the lack of screen articulation limits your ability to compose from the hip.

28mm can sometimes be too wide, especially in instances when ‘zooming with your feet’ isn’t possible. For these moments the Q2’s ‘Digital Frame Selectors’ or ‘crop modes’ are quite handy. The camera offers 35mm (30MP file), 50mm (15MP file) and 75mm (6.6MP file) crop options. When selecting one you’ll still see the full 28mm field of view, just with corresponding frame line for the crop you’ve chosen. If shooting Raw+JPEG, the former saves a full-resolution file with the crop applied, the later will be a cropped-in file.

Back to IntroPhoto by Carey Rose

Leica Q2 for Travel photography

When it comes to travel photography, you want a camera that’s not going to let you down. Battery life, weather-sealing, versatility of focal length and low light capability are all factors worth considering: after all, this might be your one chance to get that shot.

Overall, the Q2 has solid battery life. It’s rated 370 shots per charge (CIPA), but as usual our experience suggests you’ll likely be able to get closer to double that number, depending on how you shoot. Unfortunately, the Q2 has no ports, so there’s no in-camera charging: you’ll have to pack the charger in your bag.

One of the most significant upgrades the Q2 received was the addition of weather and dust-sealing. It’s officially IP52 rated which means it should be able to tolerate some drizzle and/or encounters with particulate matter.

The Q2’s biggest detractor from being the ultimate travel camera is its lack of zoom

The Q2’s biggest detractor from being the ultimate travel camera is its lack of zooming capability. Sure the 35mm, 50mm and 75mm in-camera crop options are handy, but the latter is fairly low resolution: 6.6MP. So if you have any desire to shoot at a truly telephoto focal length, the Q2’s not for you.

On the other hand, the Q2’s lens should have you covered in low light. The 28mm F1.7 Summilux is fast and darn sharp, even wide open. And the camera’s new 47MP sensor should offer a good deal of dynamic range for shadow lifting – but further testing is needed to confirm this.

But at the end of the day, what’s the point of traveling if you can’t upload and share your photos? The Q2 offers low power Bluetooth to keep your device paired so you can easily transfer photos via WiFi as needed. The only down side here is the Q2’s default JPEG profile is somewhat lackluster, so you may want to run your image through a favorite mobile editing app before posting. No word yet on whether you can transfer DNGs.

Back to Intro

Photo by Scott Everett

Leica Q2 for Family and Moments photography

One of the most important questions to ask yourself when shopping for a camera to capture special moments is, ‘Will this camera make me want to reach for it when heading out the door? Will I want to bring it along?’

We think the Leica Q2 fits the bill well – it looks gorgeous and is not too big nor is it too heavy. Plus it should be able to stand up to some abuse thanks to its magnesium alloy body and moisture/dust-resistant construction.

The combination of excellent manual focus and fast/accurate autofocus gives you versatility to take your time or speed things up

We also feel the combination of an excellent manual focus experience and fast/accurate autofocus gives you versatility to take your time and compose, or speed things up. That being said, other cameras on the market offer highly-reliable tracking/Face Detect modes that will essentially remove focus from the equation, if you so desire. These cameras are generally easier to use and are a better option if you’re a novice looking for a family/moments camera.

We’re also not terribly impressed by the Q2’s rendition of skin tones in out-of-camera JPEGs, they tend to look neutral and unsaturated to the point of being unflattering – for best results we suggest processing Raw files. If you’re not comfortable working with Raws, there are other cameras with lovely JPEG engines that will suit you better.

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Photo by Scott Everett

Leica Q2 for Landscape photography

A rangefinder-style digital camera may not be your first thought when considering a camera for landscape work, but the Q2’s impressively sharp lens (corner-to-corner), compact size and high resolution sensor make it a fine option. Furthermore, we hope its base ISO of 50 gives an advantage over the competition when it comes to dynamic range (but again, more testing is needed to confirm).

The Q2’s impressively sharp lens, compact size and high resolution sensor make it solid choice for landscape

And as previously mentioned, the camera has some degree of dust and moisture resistance – it also offers good battery life. There are however some ergonomic considerations for landscape shooters, namely, the lack of a flip-out screen. It’s also nearly impossible to open the card or battery door with the camera mounted on a tripod. Additionally, the lack of light-up buttons may make adjusting settings a challenge in the dark.

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Leica Q2 for Portrait photography

28mm is obviously not a traditional portrait focal length, and if you’re a stickler for shooting portraits with such, well, the Q2 really doesn’t make much sense. But for those willing to bend the rules, 28mm and 35mm (via the ‘Digital Frame Selector’) can easily be used for photojournalism-style environmental portraits, like the one above. The Q2 also offers 50mm and 75mm crop modes, but at resolutions of 15MP and 6.6MP, respectively.

If you’re a stickler for shooting portraits with a traditional portrait focal length, the Q2 really doesn’t make much sense

A top flash sync speed of 1/2000 sec also makes this camera a good choice for daylight portrait work using strobes. However the lack of an Eye AF mode means you’ll need to move a focus point over your subject to maintain a sharp image – or use manual focus.

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Leica Q2 for Video

You might think it’s a little silly to include video as a use case for a rangefinder-style camera, but don’t be too quick to chuckle – the Q2 shoots stabilized DCI or UHD 4K/30p footage though a ridiculously sharp lens capable of delightful manual focus pulls. Plus, you can easily tap to focus. It’s also capable of Full HD shooting at 120p for slow-motion clips and its new base ISO of 50 could translate to less need for an ND filter when shooting in bright light.

The Q2 shoots stabilized 4K/30p footage though a ridiculously sharp lens capable of delightful manual focus pulls

While you’re probably not going to win the Fort Lauderdale International Film Festival with a movie filmed on the Q2, it should be more than usable for run-and-gun style shooting. Just don’t get too fancy because there are no ports of any kind – that’s right, no headphone, microphone, HDMI or even USB connection.

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The Wrap

Ultimately, if you don’t mind the Leica Q2’s fixed lens and touchscreen, it is a great choice for a wide variety of photographic disciplines including street, travel and family photography. It also makes a handy all-in-one landscape camera. And while its 28mm lens can be used for wide angle ‘environmental portraits,’ it’s probably not the right choice for most portrait photographers. Same goes for videographers: its footage is usable, but other cameras will suit you better.

Of course, more testing is needed to know exactly how the Q2 lines up to its competition. For now, read our Leica Q2 First Impressions, and we look forward to publishing a full review soon.

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Articles: Digital Photography Review (dpreview.com)

 
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Profoto prepares to sue Godox over alleged A1 light patent infringement

19 Mar

Swedish lighting company Profoto is preparing to file a patent infringement lawsuit against Godox, according to Fotosidan. The complaint targets the newly listed Godox V1, which Profoto alleges is in violation of multiple patents it filed for its own A1 light. The Profoto A1 round head flash was launched in September 2017, a year before Godox introduced its cheaper V1 alternative at Photokina 2018.

The Profoto A1 costs $ 995 USD; though pricing information for the Godox V1 hasn’t been revealed, the product is expected to be cheaper than Profoto’s model. The Godox V1 sports a number of similarities with the A1, including a round head design, Fresnel lens, magnetic modifier mount, and LED modelling lights.

Speaking to Fotosidan, Profoto CEO Anders Hedebark said the company spoke with Godox about its V1 light during Photokina 2018, and that it has continued to reach out to Godox in the months since. Profoto has filed seven patents related to its A1, which spent four years in development.

‘We spend a lot of time and money on development and will protect our investments,’ Hedebark said, also warning that manufacturers and other companies may face lawsuits if they market the Godox V1. ‘It feels like we have an obligation to act.’

Articles: Digital Photography Review (dpreview.com)

 
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Nikon is now bundling its FTZ mount adapter with Z6, Z7 cameras sold in the US

19 Mar

As first reported earlier this week, The Nikon FTZ mount adapter will now be included for free with the purchase of all Z6 and Z7 cameras in the United States.

Nikon’s FTZ mount adapter usually retails for around $ 250 on its own and cost just $ 150 when bundled with the Z6 or Z7 camera, but now it’s being offered free of charge at multiple retailers, including Adorama (Z6, Z7), B&H (Z6, Z7) and Amazon (Z6, Z7).

A screenshot of the deal as seen on Adorama.

Again, this deal is limited to the United States for the time being. DPReview has contacted Nikon to see where else, if anywhere, this deal is being offered. The article will be updated accordingly if DPReview gets a response.

Articles: Digital Photography Review (dpreview.com)

 
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