Blog

  • Nikon Z6 Review

    Silver Award

    88%
    Overall score

    The Nikon Z6 is one of two full-frame mirrorless cameras introduced by Nikon in August of 2018. It’s very similar to its big brother, the Z7, with the main differences being the sensor (24MP vs 46MP) and the decrease in resolution that comes along with it. The Z6 also has fewer phase-detect autofocus points (273 vs 493) due to the lower-res sensor. Otherwise, you’re getting the same rugged body, the same (mostly) familiar controls and access to a small but soon-to-grow collection of Z-mount lenses.

    Specs aside, the Z6 is for a very different audience than the Z7. The latter is for those seeking ultra-high resolution and would also be considering cameras like the Sony a7R III and Nikon D850. The Z6, on the other hand, is intended to be be more appealing to those looking to upgrade from crop-sensor cameras or previous-generation full-frame DSLRs.

    The Z6 will ultimately be compared to its DSLR sibling, the D750 (which is getting on in years, but still very capable). While the two cameras have different designs, they operate similarly, with autofocus modes and video being the the most significant differences.

    Key specifications:

    • 24.5MP full-frame BSI-CMOS sensor
    • Hybrid autofocus system w/273 phase-detect points
    • Up to 12 fps burst shooting (Raw + JPEG)
    • 3.69M-dot OLED viewfinder
    • 2.1M-dot tilting touch LCD
    • OLED top plate display
    • Single XQD card slot
    • UHD 4K capture up to 30p
    • 10-bit 4:2:2 N-Log output over HDMI
    • Up to 100Mbps H.264 8-bit internal video capture
    • SnapBridge Wi-Fi system with Bluetooth
    Out of camera JPEG | ISO 7200 | 1/250 sec | F1.8 | Nikkor Z 50mm lens
    Photo by Dan Bracaglia

    If those specs look familiar, it’s because they’re almost identical to that of the Z7, with resolution and the number of AF points being the main differences. You do reap the benefits of the lower resolution sensor when shooting bursts, with a top frame rate of 12 fps (versus 9) and the ability to capture more photos per burst. Otherwise, you’re getting the same design and innovations found the Z6’s big brother, which is significantly more expensive.

    The Z6 is sold body-only for $ 1999 or with the Nikkor Z 24-70mm F4 S lens for $ 2599. If you buy the $ 249 FTZ (F-to-Z mount) adapter at the same time, Nikon will knock $ 100 off of the price.


    What’s new and how it compares

    The Z6 uses the all-new Z-mount along with a full-frame 24MP sensor with 5-axis image stabilization built in, along with a hybrid AF system and oversampled 4K video.

    Read more

    Body and handling

    The Z6 has excellent build quality, familiar controls and a lot of customizability, though some favorites from Nikon DSLRs didn’t make the cut.

    Read more

    Operation and controls

    The Z6 can be customized in numerous ways, and we appreciate its ability to have separate settings for stills and video.

    Read more

    What it’s like to use

    The Z6 is extremely versatile and can handle nearly any shooting situation that comes up.

    Read more

    Image quality

    The Z6’s 24MP sensor has excellent resolution and high ISO performance, though on rare occasions you may see banding if shadow areas are brightened.

    Read more

    Autofocus

    Nikon has put a lot of work into the hybrid AF system on the Z6, and the results are impressive for both still and video shooting.

    Read more

    Video

    The Z6 offers the best video quality and capability of any Nikon camera to date.

    Read more

    Conclusion

    While not a perfect camera, the Nikon Z6’s design and build along with superb image and video quality make it strongly worth your consideration.

    Read more

    Sample Gallery

    See how the Z6’s photos look in our extensive sample gallery.

    Read more

    Articles: Digital Photography Review (dpreview.com)

  • DPReview TV: The Yashica Y35 looks like a camera that would be fun to shoot.. until you try shooting with it

    What do you get when you combine an iconic camera brand from the past with a crowdfunding campaign for a ‘rangefinder’ camera? The Yashica Y35, that’s what. Watch Chris and Jordan try to make lemonade out of a lemon.

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

    Sample gallery from this episode

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_0178804861″,”galleryId”:”0178804861″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm X-T3 versus Fujifilm X-H1: The Best Mirrorless Camera for You?

    The post Fujifilm X-T3 versus Fujifilm X-H1: The Best Mirrorless Camera for You? appeared first on Digital Photography School. It was authored by Suzi Pratt.

    Fujifilm was on a roll this year releasing a slew of gear including two very popular mirrorless cameras: the Fujifilm X-H1 and Fujifilm X-T3. Released a mere 7 months apart, these two cameras have amateurs and professionals alike wondering which is better suited for their needs.

    Key Specs

    Fujifilm X-H1 vs X-T3

    Fujifilm X-T3

    One of Fujifilm’s most popular cameras to date has been the X-T2, so it’s no surprise that many loyalists to the X-T line were awaiting the third generation. The Fujifilm X-T3 is the newest Fuji camera to date, using a brand new sensor and processor. As a result, it has quite a few advantages over all other Fujifilm cameras, including boosted battery life. It continues to enhance photography features with its larger sensor resolution (8% more pixels), 100 more focus points, faster continuous shooting (6 fps faster), and the inclusion of a flash sync port. Fujifilm also added a slew of video features such as 4K60p, higher bit rate (400mbps), and a headphone port. All in all, the X-T3 is made to entice today’s hybrid photo and video shooters.

    • Announced: September 2018
    • Fujifilm X-Mount
    • Comes in black or silver
    • 26MP – APS-C BSI-CMOS Sensor
    • No Anti-aliasing (AA) filter
    • ISO 160 – 12800
    • 3.2 Tilting Screen
    • 3690k dot Electronic viewfinder
    • 20.0 fps continuous shooting
    • 4096 x 2160 video resolution
    • Built-in Wireless
    • 539g. 133 x 93 x 59 mm
    • Weather Sealed Body

    Fujifilm X-H1 vs X-T3

    Fujifilm X-H1

    Brand new to the Fujifilm X-Series lineup is the X-H1. It is the first X-Series camera to have in-body image stabilization (IBIS), which is essential for shooting more stable handheld video and lowlight photos. This is the main advantage that the X-H1 has over the X-T3.

    • Announced in February 2018
    • Fujifilm X-Mount
    • 24MP – APS-C CMOS Sensor
    • No Anti-aliasing (AA) filter
    • ISO 200 – 12800
    • Sensor-shift Image Stabilization
    • 3 Tilting Screen
    • 3690k dot Electronic viewfinder
    • 14.0 fps continuous shooting
    • 4096 x 2160 video resolution
    • Built-in Wireless
    • 673g. 140 x 97 x 86 mm
    • Weather Sealed Body

    3 reasons to pick the X-H1 over the X-T3

    1. Built-In Image Stabilization (IBIS)

    As mentioned above, the X-H1 is the only Fujifilm camera to offer in-body stabilization. This means that even your lenses without Optical Image Stabilization (OIS) will be stabilized by the camera. With that said, if you use an OIS lens on the X-T3, you can still get a degree of stabilization even without IBIS.

    2. Top LCD

    The X-H1 physically resembles DSLRs in several ways, namely via its top LCD. This can be helpful for viewing and changing settings in the dark, and also for seeing your battery levels without turning the camera on.

    Fujifilm X-H1 vs X-T3

    3. Larger overall footprint.

    Overall, the X-H1 is physically larger than the X-T3 and is closer in looks to the Fujifilm GFX camera line. The X-H1 is about 134 grams heavier and has a noticeably larger right-hand grip. While many people purchase mirrorless cameras with the idea of having a smaller, more compact camera, you may prefer the X-H1’s larger size if you have big hands or tend to use Fujifilm’s large red badge lenses.

    4 reasons to pick the X-T3 over the X-H1

    1. Enhanced Autofocus

    Fujifilm made significant autofocus improvements to the X-T3, now offering 425 hybrid autofocus points. That’s 100 more autofocus points than both the X-T2 and the X-H1. Additionally, both face and eye detect have been enhanced and they are much more responsive and accurate on the X-T3 than on previous Fujifilm cameras. I will say, however, that Sony still leads the pack in terms of face and eye detect in particular.

    Fujifilm X-H1 vs X-T3

    2. Faster continuous shooting

    The X-T3 also ups the ante in continuous shooting. Now able to shoot 11 frames-per-second (fps) with the mechanical shutter, 20 fps with the electronic shutter, and 30 fps in 1.25x crop mode with the electronic shutter. In comparison, the X-H1 also shoots 11 fps mechanical, but only 14 fps with electronic. If frames per second and continuous shooting are of importance to you, the X-T3 is your best bet.

    3. Higher quality video settings

    Despite the X-H1 being intended as Fujifilm’s video-oriented mirrorless camera, the X-T3 doesn’t skimp on video features. In fact, the X-T3 outperforms the X-H1 when it comes to bitrate (400mbps vs 200mbps), and its ability to shoot at 4K60p (compared to the X-H1’s 4K30p). Also, the X-T3 has a headphone jack to monitor audio–this is a feature you can only get on the X-H1 if you use the accompanying battery grip.

    4. Lower price point

    In addition to a new processor and sensor, the Fujifilm X-T3 also boasts a lower price point of $ 1499 versus $ 1899 for the camera body only. That’s a $ 400 difference that could be put towards a new lens or camera accessory.

    Fujifilm X-H1 vs X-T3

    Common ground – X-H1 and X-T3

    Both the Fujifilm X-H1 and X-T3 have many features to make them viable competitors in today’s hot mirrorless camera market. Here’s what they have in common:

    • Wireless and Bluetooth connection
    • Smartphone camera control via an app
    • Articulating rear touchscreen LCD screens (but no selfie flip out screen)
    • Timelapse recording
    • 2 SD card slots
    • Ability to shoot in RAW and JPG (for stills) and f-log (for video)
    • Fujifilm’s famous film simulations, including the newest Eterna
    • Firmware updates that are actually helpful — Fujifilm is known for listening to its customer base and releasing significant firmware updates for cameras and lenses.

    In Conclusion

    As a newer camera with more photography and video features AND a lower price point, the Fujifilm X-T3 will probably be the camera of choice for most people. Even Fujifilm seems to have realized this as the X-H1 has dropped in price to be very competitive with the X-T3. However, if you’re a serious videographer who isn’t in a hurry to get a new camera, it is probably worth waiting to see what Fujifilm does with the next generation of the X-H1: the X-H2. Although nothing official about the X-H2 has been announced yet, Fujifilm is famous for taking customer feedback seriously and many Fuji enthusiasts believe the X-H2 will be the ultimate video camera. We’ll wait and see!

    Video with sample images and footage

    Most comparisons were done in video form, so please check out the video below to see X-H1 and X-T3 sample video and photos.

    ?

    The post Fujifilm X-T3 versus Fujifilm X-H1: The Best Mirrorless Camera for You? appeared first on Digital Photography School. It was authored by Suzi Pratt.


    Digital Photography School

  • Tips on How to Take Better Instagram Photos

    The post Tips on How to Take Better Instagram Photos appeared first on Digital Photography School. It was authored by Lily Sawyer.

    Instagram is a visual platform with millions of images vying for your attention. Styling with Instagram in mind is key! But first, know what your purpose is.

    dps-tips-for-instagram-photos

    Know your purpose

    You may be reading this because you have an interest in photography. You probably know that there is an array of lenses you can use but each lens has a specialty or a purpose. For example, the 85mm is great for portraits, the 14mm or 24mm for landscapes, macro/micro lenses for extreme close-ups, fast lenses for sports etc. In the same way, think of a style as your specific lens for a particular purpose, the purpose being your chosen genre on Instagram.

    Genres

    Before I offer tips, let’s look at a few genres: Portraits, Wedding, Interiors, Products, Flat-lays, Landscapes. But, as in business, the more niche you are, the stronger your account will look. So don’t just stop at these genres, niche deeper. For example, Black and White Portraits, Beach Weddings, Handmade Ceramics, Moody Landscapes.

    If you like, you can go further: Black and White Wedding Photography, Fine Art Newborn Portraits, Beach Elopement Weddings, Handmade Ceramic Tableware, Moody Forest Landscapes, Dark Maximalist Eclectic Interiors…

    Instagram followers tend to like consistency in what they see on your squares so be sure to leverage that. The more consistent your work is, the more you appear as an expert in what you are showing. Instagram gurus say that you can post 10% of other things. Particularly, those things that pertain to your personal life, which your followers may find interesting. However, keep the 90% consistent with the purpose of your account.

    With that preamble out of the way, here are my tips on how to take better photos on Instagram for your chosen genre/niche. These are all my opinions so take what you find useful and leave the rest.

    dps-tips-for-instagram-photos

    1. Interiors

    I have found, from running an interiors page myself layered.home with a daily growing following, that photos which are taken further back at wide angles do well. The interiors audience is generally more interested in seeing a wider view of an entire room.

    Not only that, wider views shot from a slightly angular position do better than those taken from a straight-on frontal view. Be mindful of your lighting too. Light coming from a window or one side is more appealing to the eye compared to bright, flat lighting where everything is evenly illuminated. So whenever you take photos, just remember side lighting.

    If the side opposite the light source is too dark, you may want to add a reflector or a piece of white card to take the edge off the darkness. Of course, this will work easily with smaller spaces or objects but for entire rooms would it be more difficult. You would need to add an extra light if using artificial light or open more windows.

    So they can take pictures at any time of day, some interior accounts use daylight-balanced continuous lighting. You just need to position them so that they look natural like window light. Turn off all lights and use only one type of light source, preferably natural light (this is where a tripod comes in handy) in order to avoid mixed lighting.

    But this isn’t to say you can’t break the rules!

    dps-tips-for-instagram-photos

    2. Portraits

    It is better, as mentioned above, to stick to one type or style of portrait. For example, if you are after a brightly lit image with a very airy feel to it with a dreamy backdrop, try and keep that feel going in all your images. Don’t go bright one post and dark and moody the next.

    If you photograph headshots, make sure your squares show a lot of headshots rather than a mixture of full body, super-close-up, half-length etc. Again you can have this variation but keep it to a minimum.

    With one look at your nine squares, a follower should be able to already have an idea of your style and what type of photography your page is about. This goes with styling clothes too. You could go with a vintage touch for example, or a color palette kept to a minimum (usually up to four colors work). Unless your feed is all about rainbow colors or candy colors and in which case make that your purpose.

    It is also important that your editing is consistent like your color treatment and tones. Stick to color and the same type of editing. From time to time, you could sneak in a black and white or a series. But again, only at a minimum.

    dps-tips-for-instagram-photos

    3. Product

    When it comes to product photography, you want to show the products close-up so the viewer can see the features and benefits of the product. There are tools you can use such as a small white lightbox (also known as a light tent) to illuminate your product evenly.

    This is essential if you are after a white seamless background enveloping your product. Or you can go for naturally lit dramatic lighting by using side window light only from a 45-degree angle and creating more dramatic light and dark tone going on. You can also use a dark backdrop with window lighting from the front to direct total focus on your product.

    dps-tips-for-instagram-photos

    4. Flatlays

    This birds-eye-view style has become very popular especially when using intentionally-styled products within a context or a story. Technically, this is somewhat tricky because you lose the angles afforded by other points of view. To counteract this loss, add contrast to make your product stand out.

    You need the flat lay image to grab attention. A symmetrical composition usually works here, where the product is in the middle (as shown in the photo above – taken with an iPhone) rather than using the Rule of Thirds. You can always use other minor elements around your main product to strengthen your composition with some asymmetrical touches without stealing the limelight.

    A couple of very important general tips!

    dps-tips-for-instagram-photosThe photos above were taken with an iPhone

    On editing: Please, please do NOT over edit

    I often see this on some Instagram accounts and, to be honest, it makes me cringe. Over-edited images have a way of looking unnatural.

    Look closely at the four photos above. The first photo is straight out of the phone camera. The second has very gentle editing applied. The blacks have been slightly enhanced to look richer, and the highlights have been reduced to balance the image. It may not be dramatic, but it is a real depiction of the space and the items within it.

    The third photo has blown-out whites, so you can’t see any details. Half of the wallpaper is over-exposed and the sheepskin is bereft of details. You can’t even see the fairy lights on it. The third image is over-edited. Technically speaking, what was an okay image to start with has become a bad image.

    The blacks are the ‘clipped’ on the 4th photo, which is also too dark. Clipping is a photography term that means the intensity falls out of the minimum or maximum range. You do not see any details. In this instance, the blacks reach a point where the shadows of the plant blend into the wall. The cushion also blends into the skin it’s sitting on, and the whites of the framed prints have become blue.

    The key word in editing is “enhance,” not “kill.” Use just enough contrast or blacks otherwise your photos may look entirely out of this world, and that in the negative sense of the word. Be gentle when moving those contrast, structure, shadows and blacks sliders as they affect the dark areas. Avoid using the saturation slider. It is better to add warmth and vibrancy rather than touching that saturation slider which can make your colors join the neon spectrum.

    Be careful when using filters. Don’t apply the filters at 100% strength. Play around with the sliders to see how the photo looks. Start at 50% and go from there on both ends. Filters should generally be used at about 35% to make your photos pop. This approximation is assuming the picture is an okay photo from the start.

    dps-tips-for-instagram-photos

    White balance

    Be mindful of color cast in your image. A color cast is a strong shift in the overall color of the image that usually comes from artificial light such as tungsten, which leaves a very yellow or orange cast. Similarly, fluorescent lighting which gives off a green cast especially on the areas of the photo that are meant to be white.

    Looking at the photos above, which one do you think has good white balance? Where is the white still white and the fairy lights have a warm glow?

    You want a white balance that looks natural. That is, where the whites look white, not yellow, pink, magenta or green. Neutral white with added warmth is good. It doesn’t need to be perfectly white – especially for Instagram posts – but at least it still looks white without unnatural color tints.

    dps-tips-for-instagram-photos

    Carousel

    Take advantage of the carousel where you can post more images. Use it to hide what you want to post and show but do not want to be the front cover of your post. Doing so still makes your squares look consistently strong. However, you can deviate from your style and purpose behind the front image using this feature. For example, with interiors, you can add close-ups of the space or photos of products featured within the space.

    With portraits, you can add other angles and viewpoints. You can use the “before and after” concept where your front page is the after and the carousel holds all the before or work-in-progress pictures. This feature is great for adding more content and value to your page without weakening your Instagram brand.

    dps-tips-for-instagram-photos

    Instagram is a powerful visual social media platform. However, with millions of images competing against yours, it is vital that you use strong images to stop people on their scrolling tracks!

    I hope you found some of these tips helpful to grow your Instagram account!

    The post Tips on How to Take Better Instagram Photos appeared first on Digital Photography School. It was authored by Lily Sawyer.


    Digital Photography School

  • Video: Shooting landscapes on the Fujifilm GFX 50R with Nigel Danson

    Photographer Nigel Danson recently had a chance to use the new Fujifilm GFX 50R for one of his landscape shoots. In this video, he shares his thoughts on the benefits and challenges of using a medium format camera like the GFX 50R for his work. Additionally, he shows us a few prints made from the camera.

    For more great content from Nigel, please visit his YouTube channel.

    Visit Nigel Danson’s YouTube channel

    • Introduction
    • Ergonomics
    • Handling
    • Looking at the images
    • Would I get one?
    • Wrap-up

    Articles: Digital Photography Review (dpreview.com)

  • First samples: Nikon’s new Z 14-30mm F4 is shaping up nicely

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8470255105″,”galleryId”:”8470255105″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    Photographer Jimmy McIntyre has been working with Nikon, shooting a pre-production sample of the new Z 14-30mm F4 S lens. This compact wideangle zoom weighs just 485g (17oz) and supports screw-in (82mm) filters, making this dust and moisture-sealed lens it a potentially useful addition to Z shooters’ kitbags when it becomes available later this year.

    Jimmy took these photos using a Nikon Z7 and at Nikon’s request, we’re only showing out-of-the-camera JPEGs. Watch out for more samples from a production lens as soon as we can get our hands on one.

    If you liked his shots, be sure to check out Jimmy’s photo tutorial website.

    Articles: Digital Photography Review (dpreview.com)

  • How to Photograph Children Under Five with Little to No Meltdowns

    The post How to Photograph Children Under Five with Little to No Meltdowns appeared first on Digital Photography School. It was authored by Jackie Lamas.

    Photographing children under five can be really challenging. However, the most effective photographers are the ones who know how to avoid meltdowns that lead to children shutting down or simply, not wanting to participate at all. Read on to learn tips on how to photograph children without meltdowns!

    Pose children with parents closeby can give them comfort and confidence during the session.

    Choose the best time for the children

    The best way to avoid a meltdown with children from newborn to five years of age is to choose the best time during the day that works best for them. That’s right, we’re working on the child’s schedule rather than the parents or even your photography calendar. This is because some children may be more alert after a good nap and others may be in a better mood after breakfast.

    Catering to the child’s already existing schedule avoids any disruptions or over-tiredness. Having the session as part of the day’s activities also gets them excited to explore and play.

    Bring snacks and toys

    There is nothing more cranky than a hungry child. This goes for any child age 6-months and older. Kids need a snack or drink of some kind often. If your session is going to last from 45 minutes to more than an hour, it’s a good idea to have snacks and drinks on hand. Allowing children to have a snack during the session can also serve to give them a boost in energy and get them back into the session.

    Ask the parents to bring the kids favorite snack and drink to the session as well as a snack that could be considered a reward or treat. These rewards/treats can help use bribery in order to get some smiles or to avoid a meltdown in the middle of the session.

    Having parents interact and play with children can help relax them enough to get smiles.

    Take breaks often to give the children a chance to snack and drink some water or juice. Take advantage that they are occupied to focus on the older children or on the parents.

    Toys are a great way to keep children entertained and you can get a lot of real and authentic expressions out of the child when they are playing with their favorite toy. Sometimes, toys can bring comfort to children and help them to feel more relaxed around new strangers. Also, toys offer a distraction when you are photographing other members of the family all while keeping the smaller children from a tantrum or getting too bored.

    Advise parents to avoid saying “no”

    This is probably the one tip that will raise a few eyebrows among your clients, but it is really important to keep in mind. Children hear the word “no” over a hundred times a day, and sometimes this can bring about defiant behavior. Avoiding saying no can really help the child to feel more relaxed during the session.

    Letting children play and have fun can make the session run smoother.

    Not using the word “no” also gives them the freedom to explore, jump, play, run, and yes, even get dirty during the session. Giving children who are under 5 a great experience is really important. They will remember how much fun they had with you and your camera. The next time they see you for another portrait session, they won’t be so afraid or shy.

    Let them get it all out of their system and have fun. The more they see this as a fun activity, the more willing they’ll be to cooperate. Of course, all within reason! If something is dangerous then a proper no is okay. For everything else, it’s a banned word for the whole session time.

    This also gives you the opportunity to dictate how to say no without actually saying the word. For example, instead of having the parents say “no, don’t climb the tree” where the child will see this as their parents nagging again, you now have the lead to say instead, “hey bud, let’s go over here and see if we can find some sticks, that tree looks like it could have some ants on it.”

    This makes you seem like the friend and keeps the parents from using a negative tone during the session. All together giving the child the impression that they are there to have fun and play. Giving you better expressions and eventually, they will listen when you ask them to look at the camera and smile.

    Try posing other than smiling at the camera

    Most children under five don’t have the patience to stand still for very long and smile at the camera. The most you’ll get from children of this age group is 30 minutes, with bribes! The best way to get them to participate longer is to capture them doing what children do best: play.

    Children in this age group are learning so quickly and love to apply what they’ve learned or can identify all the time. This means that if they are at a park, they’ll want to pick up a stick and play. Show their parents and then jump around poking the dirt.

    Which means, posed photos may not be what you expect with children so young. In order to capture the whole family together, for instance, is to pose all other members of the family in a way that when you join the smaller children, they are in direct contact with mom or dad. Either in their arms, next to one or the other, or on their laps. Laughing and telling jokes can help them to stay in place long enough for some good photos.

    Having the family walk holding hands is also a great way to get the children more involved. You want them to play and explore but you also want them to participate in the more posed family photos as well.

    Don’t be afraid to reschedule if necessary

    Sometimes, you will get a child who isn’t willing and has multiple meltdowns that were simply unavoidable. If this does occur, offer the family to reschedule the session for another date and time that best suits the child’s schedule and mood.

    This is the great thing about portrait sessions as they can be re-done in order to best suit the child who perhaps wasn’t in the mood for photos that day. Reassure your client that rescheduling is the best option and that it is completely okay and happens with children.

    Sometimes you won’t get smiles out of children but it’s important to try and get a good solid portrait of them anyway.

    Make sure that you exhaust all of the options before deciding that a reschedule is necessary. Sometimes, a child might just need a quick snack break or a break in general. Focus on taking photos of the parents or the other siblings to give them a rest. If all else fails, rescheduling could be the best solution.

    Sometimes children open up toward the end of the session. Like this little girl. On the left was at the beginning and on the right, she was smiling toward the end of the session.

    If you can’t reschedule, try and get as much as you can from the child before they completely shut down. Work quickly and let the child know that you know they are tired, hungry, or don’t like photos but if they do well they can get a prize. Here, allow the parents to say whichever prize they want to offer. This can sometimes get a few last smiles and give you enough photos.

    In conclusion

    Children under five years of age aren’t always easy going and willing to take portraits, however, using these tips can help get the most out of them before they burn out. Try and follow their lead and make sure that they have a fun time at the session. This will help them to feel more comfortable the next time they are in front of your camera.

    The post How to Photograph Children Under Five with Little to No Meltdowns appeared first on Digital Photography School. It was authored by Jackie Lamas.


    Digital Photography School

  • Create Powerful Black and White Photos with the Photoshop Gradient Map

    The post Create Powerful Black and White Photos with the Photoshop Gradient Map appeared first on Digital Photography School. It was authored by Adam Welch.

    In this article, you will learn how to use the Photoshop Gradient Map tool to transform your “meh” color images into incredible black and whites that go “WOW.”

    When you think about it, a black and white photograph doesn’t make sense. No, really. At it’s most basic level, black and white photography presents us with a version of our world that we know is not accurate. The colors we normally see get shown to us in values of white, black and gray. We know a black and white photo isn’t true-to-life and yet a strong black and white photograph can transcend the sum of its parts. It can transport us to visual spaces which provoke emotions that even the brightest color photograph cannot achieve.

    Even though a black and white picture is called “black and white” seldom are they merely tones of gray. A strong black and white image often present subtle color tones in the shadows, highlights, mid-tones or sometimes all three. Moreover, when it comes to concocting a black and white photo from a digital color image file, the way in which you approach your conversions can make or break the entire photograph.

    However, not all methods are created equal. I’m about to show you one of the best ways I know to effectively convert and tone a photo to black and white. We’ll do this using a quiet little tool in Photoshop called the Gradient Map. When it comes to taking a digital black and white photograph from “meh” to “WOW” the Photoshop Gradient Map will be your best friend.

    What is the Gradient Map?

    The Photoshop Gradient Map is essentially just what it sounds like; a way for you to map out and control the color tones of different luminance values within your photo.

    Toning with the gradient map can be shockingly simple (as with this lesson) or as delightfully complex as you choose to make your adjustments. Ok, enough talk, let’s get started. Let’s take a RAW color photo and begin the process of converting it to black and white, followed by toning it with the gradient map in Photoshop.

    Begin with basics

    To begin, I highly recommend you use a RAW image file. Doing so offers you the greatest amount of wiggle room to adjust the values within the photo after you convert it to black and white.

    I’ve started with a photo opened in Lightroom to complete some basic edits. However, you can complete the entire process right inside of Photoshop. Preferably, converting the image to black and white and toning with the gradient map should be one of the last steps in the process. Of course, editing can take on a life of its own, so don’t hesitate to dynamically adjust your photo at any stage. Here we have the RAW file after some core edits in Lightroom.

    You may be asking “why not just convert to black and white right now?” I don’t recommend converting the photograph to black and white before opening it in Photoshop. The reason for this is because it completely robs you of the vital color information that allows adjustments of the individual color luminance values.

    Next, I’ll kick the image over to Photoshop….

    Now the real fun begins! Come on…it really is fun.

    Conversion and Toning with the Gradient Map

    After you open your image in Photoshop, convert it to black and white. To achieve this, add a black and white adjustment layer.

    Although it’s not necessary to do so, feel free to name this layer something specific. At this point, you can adjust the individual color luminance values to your liking. See, I told you there was a reason to hold off on converting until this step.

    Now that you have a nicely converted black and white photograph you can jump into the toning process by adding a Gradient Map adjustment layer. Click on the Gradient Map icon just as we did with the black and white adjustment layer.

    Doesn’t that look magical!

    Kidding.

    There are a couple of things we need to do after we select the Gradient Map. Depending on your default Photoshop settings, your view could appear slightly different than mine. Don’t worry, though, the steps are the same.

    To select your gradient, click on the gradient drop down:

    Then click the Settings Wheel to open up your toning options and make sure that Photographic Toning is selected.

    You’ll be prompted to confirm you want to change to a new gradient. Click OK because you absolutely do.

    Each of those little boxes represents a color gradient scheme you can select to tone your image. Think of these as gradient presets. For this photo, I’m going with an old favorite of mine, Platinum.

    Don’t be afraid to experiment and find the flavor that you like for your photo. Remember, everything here is non-destructive so simply click the “undo” button at the bottom of the gradient map window to start over.

    At this point, we are nearly finished with the bulk of our toning using the gradient map! Yes, it is that easy. However, before we go, I want to show you how to customize the gradient should you choose to do so. A gradient map adds color across the tonal values of your image. You can control just how it applies this by clicking the gradient (and even create new ones). Doing so opens up the gradient adjustment panel.

    From this panel, we can adjust the individual values of the gradient to change color density and contrast. There are limitless combinations and color schemes available. So again, allow yourself to tinker, tweak, test and otherwise go completely wild with your gradients to see how they affect your photo. I’m not joking; the possibilities are endless. Didn’t I tell you this was fun?

    Last but not least, you can also adjust the layer blend mode and opacity of the gradient layer in the Layers Panel. Play with the percentage levels until you get the effect right.

    Now you can further adjust your photo right here in Photoshop, or back in Lightroom. Or, if you are finished, you can save and export.

    Final thoughts on Gradient Maps and Black and White

    With just a few simple layers in Photoshop, we went from this…

    to this…

    to finally this…

    Black and white photos are more than…well, just black and white. Think of some of your favorite black and white images. Are they merely two colors or are they something more? Whether it be film or digital, most “black and white” images that move us possess color tones that create a sense of mode or aesthetic comfort that touches us on a creative and emotional level. Using the Photoshop Gradient Map to tone your black and white photos is one of the easiest and most effective ways to create advanced black and white’s that stand out. Once you begin making use of the Photoshop Gradient Map, you may wonder how you ever managed without it in the first place!

    Do you use the Photoshop Gradient Map? Share with us some of your images below.

     

    The post Create Powerful Black and White Photos with the Photoshop Gradient Map appeared first on Digital Photography School. It was authored by Adam Welch.


    Digital Photography School

  • DPReview TV: Looking back at the Nikon D1H and Canon 1D

    2019 is DPReview’s 20th anniversary year, so we decided to take a walk down memory lane and shoot with a couple cameras that helped usher in the digital era for pro photographers: The Canon EOS 1D and the Nikon D1H. Join Chris and Barney for some camera nostalgia as they take these former flagships for a spin around Seattle.

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

    • Introduction
    • Barney's lens issue
    • Design
    • Sensors
    • Chris's woes
    • Memory cards
    • Barney's lens issue – part II
    • Firewire
    • D1H hidden buttons
    • Shutter sounds
    • Photojournalism
    • D1H Raw
    • The wrap

    Images from this episode

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_1930894243″,”galleryId”:”1930894243″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    Our original Canon EOS 1D sample gallery

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3763279189″,”galleryId”:”3763279189″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    Our original Nikon D1H sample galleries

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_0311723637″,”galleryId”:”0311723637″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_1089281558″,”galleryId”:”1089281558″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    Articles: Digital Photography Review (dpreview.com)

  • Man v Dust: video highlights trials of Leica’s in-house sensor cleaning service

    The International Leica Society has posted a video of a camera sensor being cleaned at the Leica service centre in the Wetzlar factory in Germany.

    The video, taken by member Hari Subramanyam on his iPhone, shows the process of checking for dust on the sensor of his M (Typ 240) and then its removal. Well, that was what it was supposed to show, but after 20 minutes and 25 seconds the video finishes with the dust victorious and the Leica service engineer frustrated and wishing he wasn’t being recorded.

    The engineer starts by cleaning the mount of the camera before using a vacuum cleaner to suck dust and debris from the shutter blades. Once that is done the in-camera dust checking function is used to detect a number of dust spots. The rubber-on-a-stick Pentax Sensor Cleaning kit is used to remove the dust as the engineer explains the process needs patience and can take anything from ten minutes to an hour.

    We don’t get to see the sensor finally dust-free, as it takes a few goes and the cameraman has less patience than the engineer, but the video shows some useful steps in the process.

    Articles: Digital Photography Review (dpreview.com)