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Miami Beach police use camera blimp to get around drone surveillance ban

15 Jan

The Miami Beach Police Department found a loophole to circumvent Florida’s 2015 ban on police drone surveillance — a tethered, relatively immobile blimp with a camera attached to the underside. Officially called a ‘tethered aerostat,’ the helium-filled vehicle was used to monitor the approximately 15,000 people who attended the Capital One Beach Bash over the New Year’s holiday.

In 2015, Florida passed the Freedom From Unwanted Surveillance Act, which banned the use of drones for police surveillance. In a letter to the city commission on January 3, City Manager Jimmy Morales explained the police department’s use of the camera blimp, citing necessity due in part to ‘the legal restrictions on police departments under Florida law and because of limited battery life and flight time’ associated with drones.

Morales went on to call the blimp ‘a new technological solution for aerial monitoring,’ one the police department felt was necessary due to “the emergence of new threats of terrorism seen around the world in such large gatherings…”

A Miami Beach Police Department spokesperson told the Miami New Times the department doesn’t believe its tethered aerostat violates state law. Use of a lighter-than-air vehicle for aerial surveillance has proven controversial, however, with critics saying there is little difference between a stationary floating camera and a remote-controlled flying camera.

The region’s law enforcement has repeatedly demonstrated interest in camera-based surveillance, including the Miami-Dade Police Department’s attempt in 2017 to deploy a wide-area surveillance system involving Cessna planes equipped with cameras. That plan, which was abandoned following heavy criticism, would have monitored the entire county using technology developed by the U.S. Air Force for use in combat zones.

Articles: Digital Photography Review (dpreview.com)

 
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SmugMug Films: An inspiring BTS look at photographing the autumn beauty of Slovenia

15 Jan

SmugMug Films has released ‘Framing the Journey,’ a short film that follows photographer Karen Hutton around the landscapes and cityscapes of Slovenia.

The seven minute film, which was made in partnership with Fujifilm, ‘unveils both the epic beauty of a charming country tucked between Italy and Croatia and the wonder of the artist experiencing it all for the first time.’

Hutton, whose past careers have included acting, singing, voiceover work, figure skating and horseback riding, says her ‘photography is about a philosophy […] It’s about the world, about life, and all the possibilities that exist in between.’

The short film does a great job highlighting the fantastic work of Hutton and showcasing the seemingly endless beauty across Slovenia. Sure it’s effectively a glorified ad for both SmugMug and Fujifilm (as well as DJI whose Mavic Pro 2 drone was used to capture much of the 4K footage), but that doesn’t take away from the inspiring and informative narration provided by Hutton nor the stunning scenery.

To see more work from Karen Hutton, visit her website. To see other SmugMug Films, head to the SmugMug Films’ YouTube Channel.

Articles: Digital Photography Review (dpreview.com)

 
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Timelapse+ VIEW Intervalometer now supports select Fujifilm, Panasonic cameras

15 Jan

Timelapse+ has announced support for select Fuji X series cameras and Panasonic cameras with its Timelapse+ VIEW Intervalometer, which went on sale to the public in January 2017.

Until now, the Timelapse+ VIEW Intervalometer only supported select Nikon, Canon, Sony and Olympus cameras. Now it’s capable of triggering the following camera systems from Fujifilm and Panasonic:

Fujifilm:
• Fujifilm X-T1
• Fujifilm X-T2
• Fujifilm X-T3
• Fujifilm GFX 50S

Panasonic:
• Panasonic GH3
• Panasonic GH4
• Panasonic GH5

The Timelapse+ VIEW is a powerful intervalometer with features including an OLED color screen, automatic exposure ramping, gesture controls, live preview and an accompanying smartphone app for wireless control of the settings. It features a 15+ hour battery life according to Timelapse+ and also has the option to be powered externally using a Micro USB cable.

More information is available on the Timelapse+ website. The Timelapse+ VIEW Intervalometer retails for $ 399.

Articles: Digital Photography Review (dpreview.com)

 
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OPPO to announce 10x lossless smartphone zoom camera

15 Jan

At MWC 2017 Chinese smartphone maker OPPO showed a prototype device at its booth that featured a dual-camera setup with 5x optical zoom in a normally-sized smartphone body. The zoom lens design had been developed in cooperation with CorePhotonics and used a 90-degree angular prism to direct the light to a vertically positioned stabilized camera sensor.

The prototype never made it into a production series but now it seems OPPO is going to skip the 5x zoom entirely and make a direct jump to a device with a 10x zoom lens that is based on the same principles. The company is currently sending out media invites for the presentation of a 10x lossless zoom solution in Beijing, China, on January 16.

OPPO/CorePhotonics 5x optical zoom design

According to Chinese sources it is not clear if OPPO will present a production device or yet another prototype. In any case it looks like we’ll see zoom factors on smartphone cameras grow rapidly in the near future.

Articles: Digital Photography Review (dpreview.com)

 
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Finding Your Strength in Isolation – 3 Methods to Make Your Subject Pop!

15 Jan

The post Finding Your Strength in Isolation – 3 Methods to Make Your Subject Pop! appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Including extraneous details in your photographs dilutes attention. Or they distract the viewer’s attention away from your main subject.

Fill the frame! This was the only composition rule I had drummed into me when I started work in the newspaper photography department. Do not include anything that does not help tell the story better. If it’s irrelevant, remove it.

In this article, I share three of my favorite methods for isolating subjects.

Masu Finding Your Strength In Isolation - 3 Methods To Make Your Subject Pop!

© Kevin Landwer-Johan

The balance of light

Finding a dark background is always pleasing. When your subject has more light on them than the background, you can often expose carefully so the background is very dark or even black. This was a great technique for newspaper photos when we were publishing in black and white. It often works particularly well for portraits.

Train your eye to look for the right situations where you can use this technique. Once you are aware of what to look for you will do it instinctively.

Fish Lady Finding Your Strength In Isolation - 3 Methods To Make Your Subject Pop!

© Kevin Landwer-Johan

Look for large areas of shade where no light is turned on, and no sunlight affects the area directly. In this portrait of the fish vendor at the market, her open storefront is perfect. The room behind her has no windows and only one or two low-powered lights. The light on her is sunshine reflecting off the building opposite her shop. It is diffused and soft and does not affect the interior of her room.

Setting my camera to expose her face correctly means the interior of the room behind her is underexposed. Use a spot meter setting to only read the light from your main subject and not the darker background. If your camera’s meter is set to take a reading from the whole frame and average it, you won’t get a satisfactory result.

The key to this method is the balance of light and shade. If you take your exposure reading from the whole scene, the camera includes all the dark area and wants that to be exposed well too. The resulting image will have an overexposed subject and visible detail in the shadows.

Pretty Chinese Woman Finding Your Strength In Isolation - 3 Methods To Make Your Subject Pop!

© Kevin Landwer-Johan

You can also use this same method with a background brighter than your subject. Doing this is often more complicated if the light is too strong or coming directly into your lens. The same principle applies when you have more light in the background than you do on your main subject. Make your exposure reading from your subject only, excluding light from the background. Your subject will be well exposed, and your background will be overexposed.

Black Background Finding Your Strength In Isolation - 3 Methods To Make Your Subject Pop!

© Kevin Landwer-Johan

I have developed an outdoor daylight portrait studio which incorporates this technique. In this studio, I have good control of the light and the background. Here, I use black and white fabric backdrops which mean I have an even exposure on the background creating a great contrast to my subject.

White Background Finding Your Strength In Isolation - 3 Methods To Make Your Subject Pop!

© Kevin Landwer-Johan

The control of Focus and Depth-of-Field

The most popular methods used to isolate subjects is carefully controlled focus and a shallow depth-of-field. My very first lens was a 50mm f/1.4. So, naturally, I grew to love using the wide aperture capability to help me knock my backgrounds out of focus.

Using a wide aperture setting is central to this method. However, there is more to it than choosing your lowest f-stop number.

Relative distances have a significant impact on how much your background blurs. The closer you are to your subject, with any lens, the more the background will blur. Likewise, the further your subject is from the background, the softer the background appears.

Lens choice influences depth-of-field too. Using a telephoto lens, you can blur a background more with any aperture setting than if you use a wide-angle-lens.

Tricycle Taxi in Chiang Mai Finding Your Strength In Isolation - 3 Methods To Make Your Subject Pop!

© Kevin Landwer-Johan

Learn to control what you focus on, as well as the other settings that affect depth-of-field. Doing this well means you can include sufficient detail without compromising attention on your main subject. In this portrait of the tricycle taxi rider, I focused on him. I chose to have enough detail in the background, without it being sharp, because the background is relevant to this photo.

Compositional choices to isolate your subject

Point-of-view (the angle you choose to take your photo from), affects what you include and exclude from your frame. Often even just a small change in your camera position can have a significant impact on what’s in your frame and what’s left out.

Move around your subject and watch what happens with the background. Having a tree looking like it’s growing out of someone’s head is going to be distracting. Changing your angle of view a little your left or right eliminates this distraction. Selecting a higher or lower position helps if there’s a strong horizontal line in the background which dissects your subject.

Buddhist Nun Finding Your Strength In Isolation - 3 Methods To Make Your Subject Pop!

© Kevin Landwer-Johan

Take your time. Pay attention to the background, not just your subject, when you are making your composition. After taking your initial photo, review it on your monitor. Study what’s in the background. Often this reveals distractions. Move around a little. One side or the other, up and down. Concentrate on the relationship between your subject and elements in the background.

Conclusion

Other methods of isolating your subject are many and varied. You can use contrasting colors, interrupted patterns, selective cropping and other techniques to help your chosen subject stand out.

Pink and Blue Finding Your Strength In Isolation - 3 Methods To Make Your Subject Pop!

© Kevin Landwer-Johan

Photographs are often stronger when your subject is clearly defined over everything else in the frame.

Experimenting with the methods I have outlined helps you build stronger compositions. Try them out. Try others. Find a few you like and this will help build up your individual photographic style as you begin to use them consistently.

The post Finding Your Strength in Isolation – 3 Methods to Make Your Subject Pop! appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Why You Should Always Have a Client Pre-Consultation

14 Jan

The post Why You Should Always Have a Client Pre-Consultation appeared first on Digital Photography School. It was authored by Jackie Lamas.

Mimi Thian

Any time you have a client paying you for a certain type of photography, it is essential to get all of the details laid out before any real planning or photography happens. Getting all of this squared away beforehand can make the whole process go quicker. Everyone stays satisfied, and all involved know what to expect for the final result.

What is a client pre-consultation?

A client pre-consultation is where you and your client meet to talk about the details of the session or project. You can meet at your studio, a coffee shop, or the client’s home or place of business.

Whether it’s a portrait client, a model, a commercial project, or a personal project that involves more people, a pre-consultation is important because you’re able to settle lots of questions and details that will make the session go smoothly.

A client pre-consultation can also take place via a video conference service like Skype or Facetime. The point is to get in front of your client and talk about your project or session.

Choose a location or method where you can give your undivided attention to your client. Having distractions or being in a place that isn’t suitable for a meeting can often keep you from staying focused on the details.

For example, a coffee shop may seem like the best choice, however, choose a spot within the place that is secluded and quiet. Choosing a very popular or loud location can make it difficult to talk or hear each other.

Be prepared for each type of pre-consultation

Even though you need a pre-consultation for all photography sessions or projects, preparing yourself for each with the right questions and information can help you to have a more focused pre-consultation.

Wedding pre-consultation

Even though the process of weddings tends to be the same, each wedding is unique. That is why pre-consultations are really important, especially if the pre-consultation happens before the couple books you for the event.

Meeting with the couple before the wedding can help them to determine the days’ timeline in terms of photography.

Prepare your contract with a cover sheet that you can fill in with all the important details. For example, names of the couple, date of the event, details of the ceremony and reception location, number of bridesmaids, start times for important events, and any other notes that relate to the event.

Have another sheet or notebook prepared for essential notes during the meeting. As much as we’d love to have photographic memories, the truth is, when we meet people for the first time, we can get lost in conversations and forget small but imperative details. So a meetings sheet can help you write down anything you think is important without having to write it on the contract.

Write down anything. From the color scheme, types of flowers they are having, first dance song, how they met, through to the more important details like the photography style they like and if they want a second photographer.

All of these details are equally important to the bride and groom, and so they should be important to you as well. For example, it can help you on the day of the event to remember that the flowers they chose are in remembrance of a passed grandmother.

Leave time for the couple to ask you any questions that they may have. It doesn’t matter if their questions or concerns are a bit unrealistic. Settling any doubt in a friendly way can mean the difference between them choosing you or another potential photographer they may be meeting.

Also be prepared to showcase your work with your clients at the time of the meeting. Take a portfolio, albums, prints, a laptop with your website and galleries open. Sometimes, clients contact photographers by referral without really checking out their work. So, this meeting is a great way to have them fall in love with your work. Taking albums can also open the door to upsell and add products to the wedding coverage.

These are items you should bring with you to every pre-wedding consultation:

  • Portfolio, laptop, slideshow to show your clients
  • Albums and products you wish to upsell your clients
  • Contract and info sheet
  • Meetings sheet or notebook to write down extra information about the wedding
  • Copy of your collections pricing as well as a product price sheet
  • The contract for clients to view terms and conditions

Remember that you are the professional and the couple is coming to you not only to meet you but to get as much information about photography, the wedding process, and any additional advice that could benefit them. Your expertise will always be appreciated, and your friendly attitude can get the wedding on your calendar.

Portrait sessions of any kind

For portrait sessions, you may think that a pre-consultation is a bit much. However, once you do have a pre-consultation you will be happy you did. Each portrait session, be it a family session, senior session, or individual are all unique and important.

Here a face-to-face meeting may not be as necessary and can sometimes be done through email or messages. However, it might become a long drawn out process if you do it that way. If possible, have a face-to-face meeting with your client – whether physically face-to-face or via a video conference service.

Things to go over during the meeting:

  • Location and ideal time for the session
  • Wardrobe ideas and what would fit the concept of the session
  • How many people are attending the session
  • If children are present, their ages so you can prepare ahead of time
  • The style of photography they like, candid, posed, a mixture

During the client pre-consultation, it’s also important to have a portrait contract and a list of prices for your packages. That way, you can go over the pricing and what each package includes from the start.

Doing this gives your client the opportunity to ask any questions regarding the session beforehand avoiding any miscommunication or misunderstandings after the session has been completed.

Commercial or editorial projects

Commercial/editorial projects usually require quick execution and only allow a limited amount of time for you to photograph the concept. Depending on what your client is hoping to have as a result, you may have to have more than one pre-consultation especially if it is a new client.

Meeting with the whole team can also help the project go off with fewer setbacks. Everyone will be on the same page as far as concept, lighting, location, and all of the essential details of the project.

A pre-consultation is also a great time to go over the payment details of the project. The pricing and payment schedule is vastly different from portraits or weddings. Here, the circulation count should get discussed. Circulation covers how often the client runs your photographs in their marketing, advertising, or promotional material.

Also, discuss copyright and licensing during the meeting. You may want to be able to showcase the photographs in your portfolio, or sometimes, the client wants exclusive rights. Go over model releases and contracts during this time as well.

For these types of projects, the more questions you ask to get a clearly defined idea of the project can help you to get a better estimate for your work. The more information you get, the better.

In Conclusion

Pre-consultations are very important in all types of photography projects where you are dealing with a client who is paying you for your services. These meetings help you get a clear idea of what your client is looking for and what they are expecting to receive as their final product.

It can eliminate any doubts, answer questions, and help your client with your advice and expertise so that the project happens without any setbacks.

The post Why You Should Always Have a Client Pre-Consultation appeared first on Digital Photography School. It was authored by Jackie Lamas.


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Nikon Z6 Review

14 Jan
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.

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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.

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Operation and controls

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

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What it’s like to use

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

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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.

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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.

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Video

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

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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)

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

14 Jan

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)

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

14 Jan

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.

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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.


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Tips on How to Take Better Instagram Photos

14 Jan

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.

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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!

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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.

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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.

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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.

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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.

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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.

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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.


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