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

13 Jan

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)

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

13 Jan

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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)

 
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How to Photograph Children Under Five with Little to No Meltdowns

13 Jan

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.


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Create Powerful Black and White Photos with the Photoshop Gradient Map

12 Jan

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.


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

12 Jan

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

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Our original Canon EOS 1D sample gallery

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Our original Nikon D1H sample galleries

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Articles: Digital Photography Review (dpreview.com)

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

12 Jan

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)

 
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2018 Wildlife Photographer of the Year People’s Choice Award Shortlist

12 Jan

2018 Wildlife Photographer of the Year LUMIX People’s Choice Award Shortlist

The Wildlife Photographer of the Year has been running for fifty four years now. Created and operated by the Natural History Museum, the competition is meant to ‘showcase the world’s best nature photography.’

As part of its LUMIX People’s Choice Award, the Natural History Museum has released a shortlist of 25 images that showcase some of the best images to be submitted thus far — more than 45,000 in total from professionals and amateurs across the globe.

Voting for the LUMIX People’s Choice Award is open through Monday, February 5th, 2019 on the Natural History Museum website. An accompanying exhibition of entries is open at the Natural History Museum in South Kensington through June 30th, 2019. Tickets cost at £8 for children, £13.50 for adults and between £28-£38 for families.

DPReview has compiled the shortlist photos in addition to the captions from the artists behind the photographs.

Above: Isolated by Anna Henly, UK

Snapped from a helicopter, this isolated tree stands in a cultivated field on the edge of a tropical forest on Kauai, Hawaii. The manmade straight lines of the ploughed furrows are interrupted beautifully by nature’s more unruly wild pattern of tree branches.

Canon EOS 5D Mark II + EF70-200mm f/2.8 L IS USM lens used at 130mm; 1/2500 sec at f2.8; ISO 400.

Ice and Water by Audun Lie Dahl, Norway

The Bråsvellbreen glacier moves southwards from one of the ice caps covering the Svalbard Archipelago, Norway. Where it meets the sea, the glacier wall is so high that only the waterfalls are visible, so Audun used a drone to capture this unique perspective.

DJI Phantom 4 pro + 24mm lens; 1/120 sec at f 6.3; ISO 100. Panorama of 3 images.

Family Portrait by Conner Stefanison, Canada

A great grey owl and her chicks sit in their nest in the broken top of a Douglas fir tree in Kamloops, Canada. They looked towards Connor only twice as he watched them during the nesting season from a tree hide 50 feet (15 metres) up.

Canon 1D Mark IV + Canon 500mm f4 IS lens; 1/200 sec at f7.1; ISO 1250; Manfrotto monopod.

Curious Encounter by Cristonbal Serrano, Spain

Any close encounter with an animal in the vast wilderness of Antarctica happens by chance, so Cristobal was thrilled by this spontaneous meeting with a crabeater seal off of Cuverville Island, Antarctic Peninsula. These curious creatures are protected and, with few predators, thrive.

Canon EOS 5D Mark IV + Canon EF 8-15mm f4L Fisheye USM lens; 1/250 sec at f8; ISO 160; Seacam housing and flash.

Bond of Brothers by David Lloyd, New Zealand/UK

These two adult males, probably brothers, greeted and rubbed faces for 30 seconds before settling down. Most people never have the opportunity to witness such animal sentience, and David was honoured to have experienced and captured such a moment.

Nikon D800E + 400mm f/2.8 lens; 1/500th sec at f4.8, ISO 500.

Clam Close-up by David Barrio, Spain

This macro-shot of an iridescent clam was taken in the Southern Red Sea, Marsa Alam, Egypt. These clams spend their lives embedded amongst stony corals, where they nest and grow. It took David some time to approach the clam, fearing it would sense his movements and snap shut!

Nikon D7100-105mm lens + Saga 10 diopters wet lens; 1/180 sec at f27; ISO 200; Isotta housing; 2xStrobes.

Painted Waterfall by Eduardo Blanco Mendizabal, Spain

When the sun beams through a hole in the rock at the foot of the La Foradada waterfall, Catalonia, Spain, it creates a beautiful pool of light. The rays appear to paint the spray of the waterfall and create a truly magical picture.

Canon 5D Mark III + 24-105mm f.4 lens; 30 sec at f9; grey neutral filter, tripod.

Ambush by Federico Veronesi, Kenya

On a hot morning at the Chitake Springs, in Mana Pools National Park, Zimbabwe, Federico watched as an old lioness descended from the top of the riverbank. She’d been lying in wait to ambush any passing animals visiting a nearby waterhole further along the riverbed.

Nikon D810 + 400mm f2.8 lens; 1/1000 sec at f5 (-1e/v); ISO 140.

Teenager by Franco Banfi, Switzerland

Franco was free diving off Dominica in the Caribbean Sea when he witnessed this young male sperm whale trying to copulate with a female. Unfortunately for him her calf was always in the way and the frisky male had to continually chase off the troublesome calf.

Canon 1DX Mark II + 8-15mm f/4 lens; 1/100 sec at f16; ISO 640; Seacam housing.

Resting Mountain Gorilla by David Lloyd

The baby gorilla clung to its mother whilst keeping a curious eye on David. He had been trekking in South Bwindi, Uganda, when he came across the whole family. Following them, they then stopped in a small clearing to relax and groom each other.

Fox Meets Fox by Matthew Maran, UK

Matthew has been photographing foxes close to his home in north London for over a year and ever since spotting this street art had dreamt of capturing this image. After countless hours and many failed attempts his persistence paid off.

Canon EOS 5D Mark III + 70-200mm f2.8 IS II USM lens; 1/500 sec at f4.0; ISO 800.

Shy by Pedro Carrillo, Spain

The mesmerizing pattern of a beaded sand anemone beautifully frames a juvenile Clarkii clownfish in Lembeh strait, Sulawesi, Indonesia. Known as a ‘nursery’ anemone, it is often a temporary home for young clownfish until they find a more suitable host anemone for adulthood.

Nikon D4 +Nikkor 70-180mm f4.5-5.6 D ED AF Micro lens at 78mm; 1/250 sec at f16; ISO 100; Seacam housing; two Seacam Seaflash 150TTL.

The Extraction by Konstantin Shatenev, Russia

Every winter, hundreds of Steller’s sea eagles migrate from Russia, to the relatively ice-free northeastern coast of Hokkaido, Japan. They hunt for fish among the ices floes and also scavenge, following the fishing boats to feed on any discards. Konstantin took his image from a boat as the eagles retrieved a dead fish thrown onto the ice.

Canon1DX + EF300 f4IS USM lens; 1/1250 sec at f13; ISO800.

Otherworldly by Franco Banfi, Switzerland

A school of Munk’s devil ray were feeding on plankton at night off the coast of Isla Espíritu Santo in Baja California, Mexico. Franco used the underwater lights from his boat and a long exposure to create this otherworldly image.

Canon 5DS + 8-15mm f/4 lens; 1/4 sec at f11; ISO 160; Isotta housing; Seacam Seaflash 150; two strobes.

The Orphaned Beaver by Suzi Eszterhas, United States

A one-month-old orphaned North American beaver kit is held by a caretaker at the Sarvey Wildlife Care Center in Arlington, Washington. Luckily it was paired with a female beaver who took on the role of mother and they were later released into the wild.

Canon 1DX + 24-70mm f2.8 lens; 1/200 sec at f3.5; ISO 1600.

Red, Silver and Black by Tin Man Lee, USA

Tin was fortunate enough to be told about a fox den in Washington State, North America, which was home to a family of red, black and silver foxes. After days of waiting for good weather he was finally rewarded with this touching moment.

Canon 1DX Mark II +600mm f4 lens; 1.4x teleconverter; 1/1600 sec at f11; ISO 2000.

Sound Asleep by Tony Wu, USA

This adult humpback whale balanced in mid-water, headon and sound asleep was photographed in Vava’u, Kingdom of Tonga. The faint stream of bubbles, visible at the top, is coming from the whale’s two blowholes and was, in this instance, indicative of an extremely relaxed state.

Canon 5D Mark III + Canon 15mm f2.8 fisheye lens; 1/200 sec at f10; ISO640; Zillion housing; Pro-One dome port.

Three Kings by Wim Can Den Heever, South Africa

Wim came across these king penguins on a beach in the Falkland Islands just as the sun was rising. They were caught up in a fascinating mating behaviour – the two males were constantly moving around the female using their flippers to fend the other off.

Nikon D810 + Nikon 24-70mm f2.8 lens at 40mm; 1/250sec at f11; Nikon SB910 flash.

All That Remains by Phil Jones, UK

A male orca had beached itself about a week before Phil’s visit to Sea Lion Island, Falkland Islands. Despite its huge size the shifting sands had almost covered the whole carcass and scavengers, such as this striated caracara, had started to move in.

Canon 1Dx Mark I + Canon 15mm f2.8 fisheye lens; 1/1250 sec at f16; ISO 1600; Joby gorillapod; Hahnel wireless remote shutter release.

Gliding by Christian Vizl, Mexico

With conditions of perfect visibility and beautiful sunlight, Christian took this portrait of a nurse shark gliding through the ocean off the coast of Bimini in the Bahamas. Typically these sharks are found near sandy bottoms where they rest, so it’s rare to see them swimming.

Canon 5D Mark II + 16-35mm f2.8 lens; 1/200 sec at f9; ISO 200; Aquatica housing.

A Polar Bear’s Struggle by Justin Hofman, USA

Justin’s whole body pained as he watched this starving polar bear at an abandoned hunter’s camp, in the Canadian Arctic, slowly heave itself up to standing. With little, and thinning, ice to move around on, the bear is unable to search for food.

Sony a7R II + Sony FE 100-400mm f4.5-5.6 GM OSS lens; 1/200 sec at f10; ISO 800.

Unique Bill by Rob Blanken, The Netherlands

The pied avocet has a unique and delicate bill, which it sweeps like a scythe, as it sifts for food in shallow brackish water. This stunning portrait was taken from a hide in the northern province of Friesland in The Netherlands.

Nikon D500 + AF-S Nikkor 200-500mm f1:5.6 E ED lens at 250mm; 1/200 sec at f6 (+ 2 2/3); ISO 800.

One Toy, Three Dogs by Bence Mate, Hungary

While adult African wild dogs are merciless killers, their pups are extremely cute and play all day long. Bence photographed these brothers in Mkuze, South Africa – they all wanted to play with the leg of an impala and were trying to drag it in three different directions!

Canon EOS-1DX Mark II; 200-400mm lens (35mm equivalent: 197.2-394.3 mm); 1/1800 sec at f4.0; 4000 ISO.

Under the Snow by Audren Morel, France

Unafraid of the snowy blizzard, this squirrel came to visit Audren as he was taking photographs of birds in the small Jura village of Les Fourgs, France. Impressed by the squirrel’s endurance, he made it the subject of the shoot.

Nikon D7200 + Nikon 300mm f4 lens; 1/1600 sec at f4 (-0.7e/v); ISO 500.

A Bat’s Wake by Antonio Leiva Sanchez, Spain

After several months of field research into a little colony of greater mouse-eared bats in Sucs, Lleida, Spain, Antonio managed to capture this bat mid-flight. He used a technique of high speed photography with flashes combined with continuous light to create the ‘wake’.

Canon7D Mark II + Tamron 18-270mm f3.5-6.3 lens; 1/13 sec at f10; ISO 200; Infrared barrier; Metz 58 AF-1 flash; E-TTL flash cable.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma 28mm F1.4 Art lens now available for pre-order on Canon, Nikon, Sigma and Sony mounts

12 Jan

Sigma has officially opened up pre-orders for the 28mm F1.4 DG HSM Art lens it first showed off at Photokina in September 2018.

The lens, which Sigma said would be available in Canon EF, Nikon F, Sigma SA and Sony E mounts, is listed as pre-order for $ 1,399 USD at both Adorama and B&H.

As a refresher, the 28mm F1.4 DG HSM Art lens has a 17-element optical design including two F Low Dispersion (FLD), three Special Low Dispersion (SLD) elements and three aspherical elements. It has a minimum focusing distance of 28cm / 11.02in, a nine-blade aperture diaphragm, maximum magnification of 0.19x and a 77mm filter thread — the same as Sigma’s 24mm F1.4 DG HSM Art lens.

Update (January 11th, 2019): It appears the Sony E-mount version of the Sigma 28mm F1.4 DG HSM Art lens is now available for pre-order as well at both Adorama and B&H. The article has been updated accordingly to reflect this change.

Articles: Digital Photography Review (dpreview.com)

 
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How to Use 5 Different Lighting Scenarios to Create Expert Studio Portraits [video]

12 Jan

The post How to Use 5 Different Lighting Scenarios to Create Expert Studio Portraits appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this week’s video from COOPH Master Chrissie White, you’ll learn how to use five lighting scenarios to create expert studio portraits.

Here are the 5 tips:

1. Natural Light and Reflector

Place your model next to window and place reflector on the opposite side of the face to create balanced light. For even light, shoot when the light isn’t coming directly through the window.

2. Side lighting

Side lighting creates a moody atmosphere for your image.

Place one light on to one side of the model and black card on the opposite side. This casts a shadow on one side of your models face so the light is split down the middle. if you don’t want it too moody, place a white card on the opposite side instead. That way the models face won’t be in complete shadow.

3. Butterfly lighting

Butterfly Lighting is commonly used for beauty lighting. It is an even light on the model. Place the light in front of the model and above them. You can also use a reflector underneath their face to even out the light.

4. Split lighting

This lighting is dramatic and flashy. Great for shooting athletes and fashion models. Place 2 lights approx 45 degrees behind the model. To soften and make less dramatic, add a butterfly light to the front of the model.

5. Backlighting

Place your light source behind the model to create a hair or rim light. Place another light in front of model or a white card to add some fill to remove the shadow from the face.

Add colored gels to the light to add color and drama. Use cellophane or gels. Be careful of hot lights though.

TIP: Look in the eyes of models for ‘catch-lights’ to see what type of lighting a photographer used.

 

You may also find these articles helpful:

One Speedlight Portrait Lighting Tutorial

6 Portrait Lighting Patterns Evey Photographer Should Know

10 Ways to take Stunning Portraits

How to Pose and Angle the Body for Better Portraits

Create Beautiful Indoor Portraits Without Flash

How to Create Awesome Portrait Lighting with a Paper Bag an Elastic Band and a Chocolate Donut

 

 

The post How to Use 5 Different Lighting Scenarios to Create Expert Studio Portraits appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Weekly Photography Challenge – Light Trails

12 Jan

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

This week’s photography challenge topic is light trails!

Tree Top Circus © Caz Nowaczyk

Your photos can include light trails from vehicles, light painting, or any other moving light source. Have fun, and I look forward to seeing what you come up with!

Some Inst-piration from some Instagrammers:

 

View this post on Instagram

 

A post shared by Johan Weesie (@jowie_pictures) on

 

View this post on Instagram

 

A post shared by Carlos Bolivar (@photo_charles) on

 

View this post on Instagram

 

A post shared by Om Prakash Sethia (@om_prakash_sethia) on

 

View this post on Instagram

 

A post shared by RECYCLED PHOTOS (@recycleartz) on

 

View this post on Instagram

 

A post shared by Phutter Blog (@phutterblog) on

 

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

Tips for Shooting Light Trails

How to do Long Exposure Photography and Light Trails at Night

Stacking Light Trails for Night Photography Special Effects

How to Create Dynamic Photos of Car Light Trails

How to Photograph Light Trails from the Back Seat of a Car

7 Tips for Shooting and Processing Star Trails

How to do Light Painting and Illuminate Your Photography

Long Exposure Photography 101 – How to Create the Shot

 

Weekly Photography Challenge – Light Trails

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

 

Share in the dPS Facebook Group

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

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

 

Feature Photo by Alen Rojnic on Unsplash

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


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Comments Off on Weekly Photography Challenge – Light Trails

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