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7 Things I’ve Learnt About Photography From Pablo Picasso

One of my favorite photographers, Ernst Haas, said we should seek inspiration from anywhere and everywhere. Listening to music, looking at paintings and sculptures, and reading books feeds your imagination more profoundly than just looking at the work of other photographers.

I think this is true. Exploring the work of a painter I love is as enriching to me as exploring a new city at sunrise. Similarly, wandering through a forest and photographing the sunlight filtering through the trees.

Our minds are hungry beasts. We think around 60-70,000 thoughts every day, with the majority of them being the same thoughts we had yesterday (and the day before). That’s scary. You can see how easy it would be to live life on autopilot.

We can choose to think the same thoughts as yesterday, or we can feed our minds with new ideas – be they visual, sensory, words or music.

One artist who has inspired me with his work and ideas is Pablo Picasso. When he spoke about the artistic process, he articulated many of my core beliefs about taking photos.

He reminded me of the most exciting and essential elements of living a creative life. In the busy-ness of life, I so often forget.

Today I’d like to share some of Picasso’s ideas that are incredibly inspiring and impactful on any photographic journey.

1. “Art washes away from the soul the dust of everyday life.” – Pablo Picasso

This quote of Picasso’s sums up why I dedicated my life to photography. Why I let it be almost everything that I am.

There is something about photography that deeply stirs my soul. I feel more alive while taking photos than I do with most other things.

Playing with my kids or talking to my teenage son deep into the night about challenges he faces, brings a similar feeling of purpose. However, very little else matches the feeling I get in the act of creation.

Photography is a life-affirming pursuit. It makes me feel I am not just skating on the surface of life – rushing to and fro, writing emails and filling in forms.

Of course, there is nothing wrong with either of those activities, but do they really make you feel alive?

We all have to live and do necessary mundane tasks. But, we can also commit to making a vast amount of space in our lives for things that create deeper satisfaction in ourselves.

2. “Inspiration does exist, but it must find you working.” – Pablo Picasso

This quote of Picasso’s is a testament to say: take photos even when you’re not in the mood, even when you’re only getting rubbish images. The only way to get that fantastic image is to keep going.

You never know when the light may dramatically change, making the scene before you look eerily beautiful. Alternatively, an intriguing stranger might walk past doing something peculiar!

Even though I am a professional photographer, I sometimes suffer from procrastination as much as the next person. I intend to go out shooting but get distracted by my kids or get too tired after a heavy meal.

I realize if I’m not out there, I’ll never know what experiences, and then what photos, I’m missing. That seems like an insane waste of life.

Keep going. Continue searching for that great scene, interesting person, or a beautiful landscape. Whatever it is that floats your boat, go and find it.

3. “Art is the elimination of the unnecessary.” Pablo Picasso

I look at thousands of photos on my workshops. One thing I see regularly is people making images too complicated. When your images are too complex, you are not defining your subject correctly.

There’s a myriad of compositional ideas you can use to help define your subject. For example, Rule of Thirds, creating clean backgrounds for your portraits and breaking the world down into elements.

The overarching concept in all of these ideas about composition is to eliminate all that is unnecessary.

Photography is a process of choosing what to put in the frame, and what to take away. It is wise to make your composition, then look and think. What isn’t working here? What do I need to remove?

For example – one common mistake many photographers make is not checking their corners. It’s amazing how often people spend so much time composing their subject, but not checking all around the frame, especially the corners, to see that everything within it should be there.

Therefore, creating images is not just – ‘what do I put in the frame?’ But also – ‘what do I take away?’

4. Creating Feeling Within Your Images

“There are painters who transform the sun to a yellow spot, but there are others who, with the help of their art and their intelligence, transform a yellow spot into the sun.” – Pablo Picasso

The same is true for photographers. You can photograph any number of things, and it looks entirely real. However, what does it feel like when you look at your photograph?

It is all too easy to just document, without creating any sense of what it feels like to be in that hot and humid city, to look at that face, to feel the textures of the buildings you are capturing.

Photographing a cold winter’s morning is simple. Nevertheless, to translate the feeling of what it would feel like to stand in a misty field, with cold biting your face and a deep feeling of eeriness as fog rolls in across the land – that is another skill entirely.

Ultimately, the success of any photo is whether it creates an impact for your viewer. The only question you need to ask is, ‘does this image invoke a feeling?’

It’s not just what we see that creates an impact, but the feeling that is created within our bodies when we see something that we love, dislike, or invokes joy, or sadness.

Feelings are what we remember. Images have no sense of feeling are instantly forgettable.

5. “I am always doing that which I can not do, in order that I may learn how to do it.” – Pablo Picasso

One of the things that surprised me about being a parent is how quickly young children latch on to the idea, ‘I can’t do this now, so I’ll never be able to do it.’

Once you have allowed that thought into your mind, it can quickly mushroom until you are utterly convinced that you can’t do something. Never, ever.

I see it in my children, and I see it in 70-year-old clients who come to my workshops. I have to say that, ‘I can’t do this, so I’ll never be able to it,’ is one of the most destructive ideas for your photography.

Of course, the technophobe might never become the most skilled camera person alive. In contrast, they can overcome their self-perception and become competent and confident with their cameras. I see proof of this regularly.

One of the most exciting ideas I have noticed coming out of the science community in recent years is the idea of Neuroplasticity.

Instead of the old belief that our brains become ‘fixed’ and unchangeable as we enter into adulthood, we now understand that brains are completely changeable.

In fact, at any point in life, one is able to totally rewire thoughts and beliefs we hold about ourselves.

“The man who thinks he can and the man who thinks he can’t are both right.” – Confucius

Think of all the things you believe you can’t do with your photography, and go out and challenge those beliefs.

If you believe you can’t do street photography, but would secretly love to try it, do it!

If you think you’ll never master manual mode, read up on it. Go out as often as you can. Make a ton of mistakes. You’ll get it eventually.

If like me, you think, ‘I’m not a nature photographer, but I’d love to try it,’ go and spend time in nature. Experiment, play and try new things.

As long as you approach the world with the attitude of ‘I can,’ you probably will.

6. The World is Rich With Ideas

“A piece of space-dust falls on your head once every day… With every breath, we inhale a bit of the story of our universe, our planet’s past and future, the smells and stories of the world around us, even the seeds of life.” – Pablo Picasso

Of course, photography starts as a technical exercise. You need to use a machine, often with a little computer in it. Fully get to know the machine you are using. At least to the place where you are comfortable.

Photography is a union of the technical and the creative. The creative part of photography comes from an ethereal place within you that is unique.

Your creative vision flows from everything that has made you who you are – your experiences, your life, what you love and what you detest.

It also comes from the world around us; from the feeling of history we experience when we walk through old city streets; from the awe of looking at a majestic five hundred-year-old tree.

The world isn’t a flat surface. Everywhere we look we see the ‘moment;’ the weather; the time of day. We also know that in a few hours everything we are currently seeing can change.

Most people are so locked in their minds and focused on themselves that they don’t open themselves up to the mysteries of the world.

There are stories and ideas all around us that can inspire us in our photography, can provoke new ideas and adventures for us.

All we have to do is pay attention and commit to the awesome power of photography.

7. “Only put off until tomorrow what you are willing to die having left undone.” – Pablo Picasso

The older I get, the more I feel like I need to demand of myself. That by the end of each day I want to be profoundly and truly satisfied. Not just to be content, or to have my to-do list full of check marks.

I want to have created something. Something that is entirely my own. A creation that no one else could have, because they are not me.

Photography gives us that, and I love that it does. It can give us opportunities to see, feel and experience more of the world.

Without photography, life would not be anywhere near as rich and meaningful as it is.

When faced with either sleep or the chance to catch an amazing sunrise – I get up to photograph the sunrise.

Our lives are speeding along and, although we are aware of this, we become complacent. In a subconscious part of ourselves, we truly believe we live forever. The possibility of not existing doesn’t seem right.

Our time on this planet is finite. If we acknowledge that we are organic beings, it can motivate us to demand more of what we truly want from our lives.

For me, it’s exploring and taking photos. It’s creating art and sharing it with others or showing people what beautiful things I see all around me.

Of course, your photography journey is different from mine.

You may record the breathtaking journey of your children from babies into adulthood or documenting the joyous color of flowers.

Alternatively, you may be climbing snowy mountains and showing the world the awe-inspiring landscapes you witness. You may be documenting the strange and humorous things we humans do when out in the world, inhabiting our little bubbles as we move around the streets, unaware of the world watching us.

There are so many ways to be a photographer. So many things to document, explore and see. Follow your own path.

Just be open, and inquisitive. Look around you and open your mind to everything you don’t usually notice.

By showing yourself and others what you see in this world, you open up other people’s perspective of the world around them. You take them out of their hectic bubble – full of the 24/7 news, the list of things to do, the emails and daily demands of daily life.

You give them a gift of seeing — a gift of taking a moment to stop and stare in awe at what the world has laid out before us.

It’s a pretty exciting, amazing and incredibly life-enhancing pursuit taking photos.

Have these ideas fed your creative soul? If they have helped you demand more from your photography, and to take more time out of your life to commit to this fantastic pursuit, let me know below. It’s always great to hear from you.

The post 7 Things I’ve Learnt About Photography From Pablo Picasso appeared first on Digital Photography School.

Digital Photography School

November 29, 2018

Review: DJI Ronin-S gimbal stabilization system

The Ronin-S is DJI’s newest camera stabilization system, distilling the technology of the more expensive $ 900 Ronin-M, a two-handed stabilization system, into a more efficient single-handed model that retails for $ 750.

There are other, less expensive single-handed gimbals on the market, but the Ronin-S stands apart thanks to a number of features, such as its easy-to-use setup app and its offset roll axis motor, which is lowered down behind the camera so you can more clearly see the back of the camera as you shoot. DJI also says it uses the most powerful motors it’s ever used in a handheld gimbal.

In addition to stabilization, the Ronin-S will connect to a range of popular cameras and allow varying degrees of control, from video start/stop all the way up to remote focus and zoom control.

Key specifications

3-axis motorized gimbal head
Auto-tune feature for quick gimbal calibration
3.6kg (7.9 lbs) load capacity
Integrated follow focus knob
Remote camera control (depends on model)
Button to switch between three sets of custom settings
Fully configurable using smartphone app
12-hour battery life

Like other gimbals, the Ronin-S provides three-axis stabilization using motors that can counteract the movements of your camera, as well as create automated (or guided) tracking and panning camera movements. DJI recently released nine additional accessories for the Ronin-S, including useful items such as focus motor to facilitate remote follow focus on additional lenses.

Controls on the Ronin-S include a dedicated focus wheel, a joystick, a trigger, and three buttons on the grip: power, start/stop, and the ‘M’ button. The focus wheel system can be attached to either side of the grip using an Allen wrench using either of the two 8-pin ports on the side of the gimbal’s base, and cables are included for follow focus and remote camera control.

Fully assembled Ronin-S including gimbal, handle (which houses the battery) and mini-tripod. The detachable tripod collapses to create an extended handle for two-handed support.

The gimbal is rated to support up to 3.6kg (7.9 lbs), nearly the same as the Ronin-M, and is capable of balancing fairly large zooms as well, including the Canon EF 24-105mm f/4L IS II USM, the Nikon AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR and the Sony E 18–200 mm F3.5–6.3 OSS LE.

In fact, the gimbal’s weight limit is much higher than the one kilo (2.2 lbs) weight of the Panasonic GH5S camera and 12-60mm f/2.8-4 ASPH lens that I used for testing. Balancing the diminutive GH5S and 12-60mm kept each axis so close to center that I wonder if there’s potentially a minimum weight restriction.

In terms of remote camera control, the Ronin-S supports a number of cameras from Canon, Panasonic, Nikon and Sony. Only certain camera and lens combinations will support full camera communications with focus pulling, but DJI continues to add additional support through firmware updates. An evolving list of compatible cameras and lenses can be found on the Ronin-S support page. (Look in the ‘documents and manuals’ section.)

…the Ronin-S stands apart thanks to a number of features, such as its easy-to-use setup app and its offset roll axis motor, which is lowered down behind the camera so you can more clearly see the back of the camera as you shoot.

DJI also provides a sliding attachment plate to mount the camera to the gimbal, which is compatible with the Manfrotto 501PL type quick-release plate, letting you transfer from the gimbal to some tripods without dismounting the camera. However, you can’t use a Manfrotto plate on the gimbal. DJI’s plate is proprietary, no doubt on purpose.

Balancing and setup

Broadly speaking, balancing a camera on the Ronin-S is similar to most other gimbals, though it handles some situations particularly well.

DJI has mitigated some of the pain in the balancing process by including bright white position scales on each of the adjustable bars for recording the perfect balancing positions of favored setups. With proper annotation, this process only needs to be performed once for each camera and lens combination.

Most of the setup and configuration process for the Ronin-S is conducted from a smartphone app. The gimbal connects easily and quickly (faster than most cameras) via Bluetooth. There’s a balance test available through the Ronin App (iOS or Android) to check and score each axis by its center of gravity. This helps you optimize balance, which helps minimize the amount of effort the gimbal has to make to keep the camera steady.

Balance is achieved by balancing each axis of the gimbal, working from the camera outward. Once balanced, the Ronin app can be used to run the Auto Tune function that configures the motor behavior. Each adjustable part includes helpful index lines, making it easy to record precise positions for a particular camera and lens combination.

By my second day of use I had developed a good feel for how the cameras and lenses would balance, and I could switch back and forth between the Panasonic GH5S and a much larger Canon 1D X Mark II within just a few minutes. DJI’s recommended process for balancing is based on a sequential approach by axis working from the camera outward, though I ended up going off-book, slowly centering gravity by weight, locking off each axis from the outside-in.

Once balanced, the Ronin app has an Auto Tune function that configures the motor behavior. It gives you a choice of three levels of ‘aggressiveness,’ depending on how extreme the motion you’re correcting is. This avoids the need to learn how to configure the motor behavior (though you can do so manually if you wish).

As well as making the whole setup process easier, Auto Tune also makes it easy to quickly re-calibrate the gimbal. Instead of using the app, you can also hold the trigger and M button down simultaneously for four seconds. The Ronin then vibrates (rather alarmingly, sometimes) each of its movement axes, to test its setup.

As well as making the whole setup process easier, Auto Tune also makes it easy to quickly re-calibrate the gimbal. Instead of using the app, you can also hold the trigger and M button down simultaneously for four seconds.

DJI says the use of strong motors mean that Ronin-S can cope with slightly mis-balanced setups, which is especially useful when working with zoom lenses. Small changes in weight distribution as you zoom in and out can be corrected-for, without having to re-position and re-calibrate the gimbal.

SmoothTrack

With the camera balanced, it’s worth investigating the ‘SmoothTrack’ settings in the Ronin App. These let you dictate how you want the gimbal to respond to your movements. There are three customizable parameters: ‘Deadband’ sets the threshold for how much user movement it should ignore before interpreting the motion as an intentional input. ‘Speed’ defines how quickly the motors move in response to that input and ‘Sensitivity’ lets you control how much additional acceleration should be applied if you make an extreme movement.

You can set up three SmoothTrack presets, each of which holds separate settings for each axis, so you could set up a slow preset that only responds to big, intentional movements, another that is faster and more responsive and a third that only responds to input in one axis (just panning, for instance).

The Ronin app allows you to adjust the gimbal’s SmoothTrack settings, which let you dictate how you want the gimbal to respond to your movements.

Three sets of these parameters can be defined and then selected from the gimbal. Each parameter sets allows you to configure different responses for each axis, letting you create presets to suit a range of shooting styles.

The presets also let you choose whether an axis will respond to you pushing the camera around, so that you can physically over-ride the motors.

Operating the Ronin-S

Once your camera is balanced, and any cables connected, you’re ready to start shooting. The controls on the Ronin-S provide a simple user interface that makes it possible to perform multiple functions quickly and easily at the tap of a button or nudge of the joystick.

Pressing the M button while you’re using the Ronin will cycle through your three SmoothTrack presets, with numbered LEDs indicating which you’re currently using. Having three presets makes it much easier to react to situations on-the-fly as you’re working, something that would be especially useful to documentary filmmakers.

A fourth setting, the Sport Mode, can also be found by holding down the M button until the indicator LED turns yellow. Sport Mode provides the maximum responsiveness possible from the gimbal in order to accommodate and counteract extremely rapid movements, ideal for tracking subjects that move around quickly or unpredictably.

The ‘M’ button on the grip of the Ronin-S allows you to quickly cycle between three groups of settings; holding the ‘M’ button switches to Sport Mode, which is useful for tracking fast moving subjects. The joystick can be used to independently control camera movement.

The joystick on the handle gives another way to re-direct the camera when you turn it, and again you’ll probably want to play with the settings until it responds to your liking. I found the default parameters to be too sensitive; a little flick of the joystick would move the camera too quickly for a refined camera move.

Finally, the trigger on the front of the handle serves multiple functions. Holding it down will lock the camera in the direction it’s pointing, cancelling all user movement, while a double-press of the trigger will recenter the camera if it drifts. I found this to be a very quick way to reset the camera to its default, centered position when switching from one shot to the next. A triple tap will reverse the camera 180º for a selfie POV shot, useful for the vlogger generation, I’m sure. Finally, four taps and a trigger hold will unlock joystick-drift corrections.

It’s also worth noting that the rubberized grip on the handle is comfortable and easy to hold, and the shape insures that you can tell which way it’s oriented at any time even without glancing at it.

Remote camera control

One of the most useful features on the Ronin-S is remote camera control, using either the MCC (multi camera control) or RSS (remote start/stop) cable, both of which are included with the gimbal. With the Panasonic GH5S that meant I was able to pull focus electronically using the focus wheel, as well as start and stop recording, capture photos, or trigger autofocus with the button on the handle. Support for remote control varies depending on your camera/lens combination, so I recommend reviewing the current list of compatible cameras and lenses found on the Ronin-S support page.

MCC (multi camera control) and RSS (remote start/stop) cables facilitate remote operation of the camera using the Ronin’s controls, though support varies depending on camera model and lens. With the GH5S I was able to use the Ronin’s follow focus knob, which worked smoothly and allowed for very precise adjustments.

Beyond this, the Ronin app contains a series of extra functions, beyond basic stabilization and camera control. Even a cursory dig into the controls unlocks an absolute litany of versatile camera movements, including options like barrel rolls, 360º of spin, head-over-heels, tailspins, and seemingly endless combinations thereof.

In use

At the base of the handle there are two female 1/4″-20 and 3/8″-16 threads for additional supports and tripods. An included mini tripod screws into this base, and it’s very helpful when rigging your camera. The mini tripod can also act as a second handhold when folded.

The folded mini-tripod provides a boom-like extension for overhead shots, low-to-the-ground shots, and generally provides a better handhold than the handle alone.

The folded mini-tripod provides a boom-like extension for overhead shots, low-to-the-ground shots, and generally provides a better handhold than the handle alone. I also found the mini tripod could be used to prevent fatigue by using it as a belt rest. That’s good, because at 1.9kg (4.1lbs), the Ronin-S looks lightweight on paper, but adding any weight at all to a camera setup increases physical stress for even the most experienced gimbal operators. It’s much less of a workout than trying to manhandle the larger Ronin-M for any length of time, though.

The Focus Wheel worked very well when adjusting focus on my GH5S, and when racking focus I found it easy to make very subtle changes with focus peaking enabled. It’s possible to move this wheel to the other side of the handle if that works better for you ergonomically.

The front of the gimbal includes the trigger and USB charging port; the follow focus knob can be mounted on either side or removed completely. The base of the gimbal connects to the battery with a very solid lever.

The 2400 mAh battery promises roughly 12 hours of use on a two hour charge, and I found these estimates to be more or less in line with my experience. One gripe is that you have to charge the battery through the gimbal’s USB-C connection, meaning the battery and gimbal have to remain fully assembled in order to charge. If you want to charge the battery independent of the gimbal you’ll need to purchase DJI’s $ 39 Ronin-S Battery Adapter to do so.

In addition to providing exceptionally smooth camera movements, the Ronin-S has a few other tricks up its sleeve. Features like Panorama, Hyperlapse, Track, and CamAnchor allow time-lapses, panoramas, and programmed tracking shots from the Ronin App. Using the internal intervalometer, moves can be programmed in precise, repeatable patterns, with up to five keyframes that can create a segmented motion path for time-lapses and multi-shot panoramas for later stitching.

My overwhelming sense with the Ronin-S was just how easy it was for a novice to get going with it. With just a little thought given to the kinds of motion you want to make (and which you want the device to correct), it was pretty easy to get to the point where I could just start shooting and learn how to move with it.

The offset roll axis motor on the Ronin-S sits below the camera at an angle rather than being directly behind the camera. This design makes it much easier to monitor the rear screen on a camera when shooting.

Using a gimbal for the first time is something of a challenge to your inherent sense of spatial reasoning: the device over-rides some, but not all of your attempts to move the camera. But after a little time spent looking like you’re inventing your own Tai chi moves, you get a feel for how you need to move your hands and body to communicate your intentions to the gimbal. Using the app to create different SmoothTrack presets makes it easy to experiment and fine-tune the Ronin to perform different types of motion for different circumstances.

The verdict

Due to its small size and impressive performance, the Ronin-S should appeal to a variety of users ranging from filmmakers to wedding videographers.

For those not accustomed to working with a stabilization system, the Ronin-S may initially appear daunting, but it can deliver professional looking camera moves with surprisingly little experience. I think most shooters who need this kind of solution for their work are going to look at it as a no-brainer compared to many other options, and with a bit of practice even beginners will be able to get great results.

I think most shooters who need this kind of solution for their work are going to look at it as a no-brainer compared to many other options, and with a bit of practice even beginners will be able to get great results.

With the plethora of available stabilization kits in the market, DJI has done an exceptional job of setting the Ronin-S apart through clever engineering and, most importantly, heightened toolsets at a similar price point to many other, far simpler stabilization kits. More advanced movements will require a bit of time to master the programming, but can result in great looking shots. For those who are novices to gimbals and stabilization systems, DJI has done a really great job in balancing the complexity of the device with simplified, ready to go, out of the box operations.

What we like:

Easy setup and calibration
Remote camera operation, including follow focus (depending on camera model)
Very effective at creating smooth, steady video

What we would like to see improved:

Battery charging adapter included with purchase
Support for additional camera models and lenses
App-based instructions as to how each axis interacts

Articles: Digital Photography Review (dpreview.com)

November 28, 2018

Voigtlander introduces a pair of retro wide lenses for Leica M mount

Lens manufacturer Voigtlander has announced a pair of new lenses in what it calls its Vintage Line. The Color-Skopar 21mm F3.5 and Ultron 35mm F2 Aspherical are both designed for M mount cameras, including Voigtlander’s Bessa models as well as Leica’s M rangefinders.

The lenses are styled to conjure up the feel of the 1950s, according to the manufacturer. While the exteriors are retro, the optical construction aims to be a match match modern digital sensors as well as for film. Voigtlander says it has used ‘practical’ maximum apertures rather than going too wide so that it could keep the lenses small and the quality high. The aperture range is ‘practical’ because, according to Voigtlander, it is more difficult to focus with a shallow depth of field with a rangefinder when faced with moving subjects, and these lenses are intended to be used stopped down for zone focusing when responding to fluid situations.

The barrels and moving parts are made of metal and the focusing mechanism is claimed to be well greased for smooth movements. The Color-Skopar 21mm uses nine elements in eight groups, while the Ultron 35mm has eight elements in five groups – and both have a ten-bladed iris.

Below is a gallery of sample images from the Color-Skopar 21mm F3.5:

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8783508831″,”galleryId”:”8783508831″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Below is a gallery of sample images from the Ultron 35mm F2:

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6803120888″,”galleryId”:”6803120888″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The lenses will be available in January priced ¥95,000 and ¥90,000 (approx. $ 840 and $ 800). For more information see the Voitlander pages of the Cosina website.

Articles: Digital Photography Review (dpreview.com)

November 28, 2018
NASA’s InSight lander shares its first photos from the surface of Mars

Photo via NASA/JPL-Caltech/Lockheed Martin, used under Public Domain

It took six months and more than 300 million miles, but NASA’s InSight lander is now safe and sound on the surface of Mars and transmitting back the first bits of data to scientists here on Earth.

Among the first observations sent back to Earth from Mars is a collection of 1-megapixel photos captured with its onboard Instrument Deployment Camera (IDC). The images, which were transmitted by relaying the data to NASA’s Odyssey orbiter that’s currently orbiting Mars before being sent back down to NASA’s Jet Propulsion Laboratory in Pasadena, California, are the first of many that will be transmitted back to Earth during InSight’s two-year mission to study the interior of Mars.

The first publicly-shared photo sent back was one captured before the lens cap was removed from the camera, as evident from the dust covering the image.

My first picture on #Mars! My lens cover isn’t off yet, but I just had to show you a first look at my new home. More status updates:https://t.co/tYcLE3tkkS #MarsLanding pic.twitter.com/G15bJjMYxa

— NASAInSight (@NASAInSight) November 26, 2018

The second image shared by NASA shows off a bit of the spacecraft itself with Elysium Planitia, a large plain on the equator of Mars that’s located in the Elysium and Aeolis quadrangles, in the background.

There’s a quiet beauty here. Looking forward to exploring my new home. #MarsLanding pic.twitter.com/mfClzsfJJr

— NASAInSight (@NASAInSight) November 27, 2018

The landing site, which is approximately 370 miles north of where NASA’s Curiosity rover is rolling around the Martian surface, will now be scanned and covered with various scientific instruments as part of InSight’s mission to ‘probe the mysteries of Mars’s deep interior and help answer geophysical questions about the planet’s structure, composition and how it formed,’ as noted by The New York Times.

To keep up with the InSight mission, visit NASA’s InSight mission page and follow the verified InSight Twitter account.

Articles: Digital Photography Review (dpreview.com)

November 28, 2018

Rumored 8K multi-aspect sensor could point to 4K super camera (Sony a7S III?)

There’s been a lot of speculation about what an a7S III would look like, perhaps this rumored sensor from Sony Semiconductor provides some clues.

We’ve been speculating for a while about what a Sony a7S III would need to offer to filmmakers to offer a compelling advantage over the a7R III and a7 III. Rumors of a new sensor from Sony Semiconductor could make even our wildest speculation look rather unambitious.

With the $ 2000 a7 III able to shoot 4K footage from a 6K region of its sensor (capturing more detail than the a7S II can), Sony would have to do something clever to make an a7S III look attractive. The office was split down the middle between ‘more resolution,’ perhaps using an a9-style stacked chip to give a7 III-esque resolution but perhaps at 60p and with minimal rolling shutter, or possibly a move to 10-bit recording, to give more flexible files, particularly for anyone shooting Log or HDR video.

In a recent interview, Sony’s Kenji Tanaka told us the a7S II successor would be “more than [a7S II users] expect.”

Rumored specification of sensor capable of 36MP stills and 8K Ultra HD capture
Pixel Size (µm)	4.88
Aspect ratios	3:2 16:9
Pixel Resolutions	7380 x 4932 (3:2) 7730 x 4352 (16:9)
Active sensor area	36 x 24mm 37.1 x 20.9mm*
Rumored readout rates	10FPS @ 16-bit 60FPS @ 10-bit**

*Although the 16:9 region is wider than the 3:2 area, its diagonal length is smaller, so would be guaranteed to fit within the standard image circle of full frame lenses.
**10-bit capture would limit the camera to around 10EV of dynamic range. Video is more likely to be made from 12 or 14-bit capture, the rates for which are unspecified.

However, Sony Alpha Rumors is reporting a fairly plausible chip spec that would blow such cameras out of the water: an oversized Full Frame sensor that could shoot 36MP stills or 8K video while maintaining the same diagonal field of view (so the scope of wide-angle lenses isn’t reduced by cropping a 16:9 image out of the middle of a 3:2 sensor).

This could give a camera that makes no apparent compromise between stills shooting and video capture.

It’s possible to use a 16:9 crop (yellow) that’s wider than the standard 36 x 24mm dimensions of a full frame sensor (pink), so long as the diagonal is the same. This maintains the same diagonal angle of view: a trick Panasonic and Canon have made use of in the past.

This sensor could form the basis of one hell of a stills/video camera. Details of the chip are hazy to the point where they could be downright inaccurate, but a camera that can shoot both high-res stills and high-res video would make sense as an a7S III, since it would cost more than an a7 III but offer a lot more to videographers than the a7R III can.

Don’t get side-tracked by talk of the a7S cameras being great for low light stills: it’s no better than the a7R III

And let’s not get side-tracked by talk of the a7S cameras being great for low light stills. I’d happily put money on that being a marketing angle decided as the camera was being launched: the a7S II is no better in low light than the a7R III if you scale files down to the same size. The only reason it ever looked good in low light was that it’s the first time we’d seen ‘Dual Gain’ technology appear in a Sony sensor, and didn’t initially recognize its significance.

Does 8K capture mean 8K output?

Just because a sensor can capture 8K doesn’t mean that it would necessarily output 8K footage. Every manufacturer we’ve spoken to has told us how difficult it is to process and compress 4K footage in a camera with a small, stills-style body with no fans, because too much heat builds up. It seems unlikely that Sony could go straight from 4K stills/video cameras that have some heat buildup limitations straight to one that can process and compress four times as much data.

And that’s before you question how many people have computers or software that can edit the footage.

Could we be looking at perfectly oversampled 4K output, rather than 8K

But the question is: would it have to? There’s very little call for 8K footage yet, given that 4K is only starting to find its way into people’s homes. Sony’s current cameras can downsample 6K capture into 4K output, so could we be looking at perfectly oversampled 4K output, rather than 8K? After all, the math is likely to be easier.

The Sony a7S used 3840 x 2160 capture to produce 1920 x 1080 video with no aliasing, since this 2x oversampling let it perfectly capture all the frequencies that can be included in 1080 footage.

There’s a precedent for this, of course. The original Sony a7S captured 3840 x 2160 pixels, not to create 4K footage but as the basis for excellent 1080 video. This has a number of advantages: 2160 is the fewest pixels you need to capture to accurately represent all the frequencies you can include in an image 1080 pixels tall (This article explains why). So the a7S captured 4K, filtered-out (blurred) everything that couldn’t be conveyed in a 1920 x 1080 video, and then downsampled to produce some of the best 1080 footage we’ve ever seen.

An ‘8K’ camera could output cleaner, more detailed 4K footage than anything we’ve yet seen

A camera sampling 8K could output cleaner, more detailed 4K footage than anything we’ve yet seen. Better still, creating one output pixel from four capture pixels means you’re capturing all three primary colors at every location, so you could potentially output a 4:4:4 color signal over HDMI if you wanted. Though it’s noticeable that the a7S didn’t do this with its oversampled 1080, and most consumer recorders will only cope with 4:2:2 signals.

Does 10-bit capture mean 10-bit output?

And, just as 8K capture shouldn’t be taken to mean 8K output, 60 frame-per-second readout shouldn’t be assumed to mean 60p recording. The specs of the chip are rumored and hence hazy but if it’s true that it can only shoot 60FPS with 10-bit readout, then I’d expect a camera that records 30p (or whatever rate the sensor can maintain in 12-bit mode). This is down to the difference between capture bit-depth (which is linear and can limit the system’s dynamic range), and output bit-depth (which can contain any amount of DR). 10-bit output is pretty flexible, but 10-bit capture (with a maximum of around 10 EV of DR) is pretty limiting. So I’d expect video to come from 12-bit capture and then, ideally, be recorded and output as 10-bit files.

Venice-series/anamorphic

Of course this could all be wrong. The rumors might be completely incorrect or the idea of an a7S III (or a9S if componentry or the desire not to overshadow the a7R III saw it sold at a higher price point) could be wide-of-the-mark.

Maybe this chip could be destined for something in Sony’s CineAlta range, with the 3:2 region used for anamorphic shooting. We doubt it, though.

For instance, the expensive, Stacked CMOS sensor used in the Sony a9 (or one very closely related to it) is almost certainly the one also used in Sony’s pro-video Venice camera that costs tens of thousands of dollars. This new chip could be for a sister model for that range, with the 3:2 aspect ratio used to capture footage with anamorphic lenses, for instance.

Or maybe it’ll be a different camera maker than ends up making use of the chip.

But, whether this 36MP still/8K video sensor turns up in a Sony a7/a9 series camera or not, it seems fair to say it could be the basis of one hell of a stills/video camera.

Articles: Digital Photography Review (dpreview.com)

November 28, 2018

Nikon Custom Modes of the D750 and D500. Which mode is best?
Customization is a big trend. From 3D printing to personalizing phones to our face, customization is becoming a requested product feature and a competitive advantage. Cameras also try to provide more and more customizable features to cater to our individual shooting styles. In this article, I will present and compare the Nikon custom modes of the D750 and the D500 including:
- U1/2 and
- Memory banks
A D750 features ‘U1/2’ and a D500 the ‘Memory banks.’ In this article, you will learn ways to set both up. Shooting scenarios showcasing the usefulness of custom settings will be included. Finally, I will share my preferred settings for each one, as well as some thoughts on both methods.

The location of U1/2 on the D750

Location and activation of U1/2

Generally a warmly received feature, U1/2 can be found on the top dial of the cameras that include them.

The way to move between them is to push the button next to the dial and spin the dial until the required setting aligns with the white indicator line next to the dial. This then becomes the active combination of preselected settings.

Location and Activation of Memory Banks

On the other hand, Memory Banks are not assigned upfront directly to physical controls. Instead, these are selectable through the menus or are assignable to button and dial press-and-turn combinations.

There are different ways to access and activate banks. The most common are:
- Through the ‘photo shooting’ and ‘custom’ menus shown below. It is the top option on both menus. These switch between the four (A/B/C/D) available photo shooting menu banks (in the photo shooting menu) and the four (A/B/C/D) available custom setting banks (in the custom setting menu). This is the longest way to set banks up, as it resides deeper in the menus.
Screen of photo shooting menu on the D500

Screen of custom setting menu on the D500
- Through the ‘info’ button at the back of your camera. Pressing this opens up a menu and the two topmost options are: ‘photo shooting menu banks’ and ‘custom settings banks.’ There is no way to change the order in which they are shown.
- Through the ‘my menu’ tab. With this menu, you assign them in any ranking that suits you. A variation, for quicker access, is to first place either of them (but only one at any time) as the top item in ‘my menu.’ To follow, assign the shortcut ‘access top item in my menu’ to any permissible button. The buttons / / / work for this shortcut (sub-selector press).
- Through the assignable button and dial press-and-turn combinations. This method applies exclusively to ‘photo shooting menu banks.’ The buttons that can be pressed in combination with any command dial rotation are / / (sub-selector press) / (movie record button next to the shutter button). For the combination with the movie record button to work, the live view selector needs to be in rotated to .
Live view selector to photography mode position on the D500

A Conceptual Way to Approach Custom Settings

Now you should know how to access and activate both custom settings. I will now discuss the rationale behind them using them.

Firstly, I will talk about useful ‘generic’ concepts:
1. Camera settings (core/output/fine-tune)
2. Photographic parameters (scene variables/photographic intent/enablers)
These concepts are a framework for you to consider in the use of custom settings. I prefer this framework, rather than simply answering ‘which custom settings are best for portrait, sports, nature or any other photography genre?’ I have intentionally left out perspective (I consider this primarily impacted by lens selection) and composition (as this is the photographer’s prerogative).

1. Camera Settings

Core Settings: Aperture, shutter speed, ISO, and metering. These are at the heart of photography, regardless of genre. Most of these are changeable on the fly while shooting through the dedicated button and/or dial press/turns.

Output Settings: Most of the settings of the ‘photo shooting’ menu. These affect the output file type, size and look, such as file quality (raw and jpeg), picture control system (standard, vivid etc.), and white balance. An exception is the ISO setting, which I consider core.

Fine-tune Settings: The menu options of the ‘custom settings’ menu. These are important adjustments to the way the camera looks at and reacts to the scene/subject.

2. Photographic Parameters

Scene variables: I keep it simple, by including (available) light levels and subject movement only.

Photographic intent: This is the part where you decide what you want to convey or achieve through your photograph. Do you want to freeze or show movement? Go high or low key on the scene? Are you isolating your subject from its surroundings or showing some background detail? These (and many more) are the meaningful aesthetic choices, which make each photographer unique.

Enablers: Out of the many props/modifiers available to photographers, I include here the flash and the tripod. These two (arguably filters as well) make possible, more than anything else, the realization of our vision in diverse genres of photography (e.g. landscape, long exposure, night photography, macro etc.). Additionally, each of them has their own distinct group of settings to maximize their effectiveness.

How Do U1/2 and Memory Banks Approach These Concepts?

Any given scene can be broken down to any pair of variables (marked with x) in the table below.

I argue that superimposing our photographic intent on these sets of variables, assisted by suitable enablers, is the art and technique of photography. In my view, the custom settings number one goal is to facilitate effortless interplay between variables, intent, and enablers.

To achieve this, they should allow a quick switch from one bundle of the core, output and fine-tuning settings to another. U1/2 and Memory Banks do this in different ways, as I will demonstrate below.

U1/2 Table

Key: U1 (User-defined 1), U2 (User-defined 2), C1 (Core 1), C2 (Core 2), O1 (Output 1), O2 (Output 2), F1 (Fine-tuning 1), F2 (fine-tuning 2)

Memory Bank Table

The tables above summarize the difference in the logic of U1/2 and Memory Banks.
- U1/2 are vertical combinations of selected settings of all types of camera settings.
- Memory Banks is a matrix combination (i.e. mix and match) of primarily ‘Output’ and ‘Fine-tuning’ camera settings. The exception is the inclusion of the core ISO setting on the photo shooting Menu Banks. Turning on the ‘extended photo menu banks’ option in the ‘photo-shooting’ menu allows for the other settings (aperture/shutter/manual priorities, aperture, and shutter values as well as exposure and flash modes) to be embedded in the photo shooting banks.
Applying Custom Settings to Real-Life Shooting Scenarios

Generic Shooting Style

Before I provide some examples of real-life shooting using both custom settings, I will make a few important working assumptions about a ‘generic’ shooting style:
- You shoot various genres of photography regularly in a mixed way (i.e. you would opt for the maximum settings’ range and flexibility within easy reach)
- You do not employ back button focus. I propose you do so. It can increase your focusing and composing options, as well as your speed of shooting considerably.
- You are not a full-time raw or jpeg only shooter. Myself, I shoot raw 95% of the time/shots.
- You do not use auto ISO. I propose you do, as on the field it can make life a little less complicated.
- You have and know how to use a flash and a tripod.
Typical Shooting Situations

Now, I will walk you through one of my typical shooting situations – walking around town or traveling, to show what I ideally expect from my custom settings.

Scenario One:

As I am strolling along, I see a nice background for a portrait. I want my camera to be on the ready with pinpoint focus accuracy (AF-S single point) with a nice shallow depth of field. Depending on surrounding light levels and contrast, I may or may not want to add flash-fill or even overpower available light using high-speed sync, so it is handy to be able to quickly access a convenient flash exposure starting point.

Portrait of a friend taken with the D750

Scenario Two:

Along the road, a cute animal is playing. I’d like to shoot it as it moves, freeze it or do a nice pan. My camera needs to be ready to follow motion (AF-C combined with any preferred focus area mode). Also, I need quick flexibility on my shutter speed selection from a 1/1000th sec (to freeze action) down to around 1/30th sec (to pan).

A portrait of a dog taken with the D500

Scenario Three:

I enter a beautiful garden. Flowers are perfect to photograph close-up (macro) so I set up my tripod. Here, I require a deeper depth of field and pinpoint focus accuracy again (AF-S single). If the light is not plenty, I may need a longer than usual exposure.

Turning ‘on’ long exposure noise reduction and exposure delay, provides better image quality in these scenarios. To further mitigate shake risk, I also engage mirror lock-up. Unfortunately, mirror lock is not pre-configurable in U1/2 or in Memory Banks.

A Flower close-up taken with the D750

Scenario Four:

On any trip, it is great to take a nice landscape photo. In this case, the macro settings above, more or less apply. If there is plenty of light, shooting handheld is not an issue.

A landscape taken with the D750

Scenario Five:

Finally, during a town-by-night walk, a nice long exposure is always memorable. Again, the macro scenario settings and my trusty tripod come in handy.

A long exposure taken with the D500

Based on these realistic hypothetical-shooting scenarios, it is evident that settings vary considerably from auto-focus mode to shutter speed and aperture, to flash or no flash etc. You may also want to give your camera to someone for a quick snap, without having the time or inclination to explain focus, recompose or other settings.

If there is an ‘auto’ option on your modes dial then all is good, if not, then resetting to ‘waiter’ or ‘dumbbell’ mode (as full-auto is also known to some) is not quick nor easy without custom settings.

Now, I will briefly show my settings for both modes and a few tips to further increase their flexibility.

My Settings for U1/2

U1 is my ‘General Shooting Mode’ and the settings are shown in the screen below. If you employed back-button focus, then you would use AF-C instead of AF-S

My U1 settings in D750

U2 is my ‘Flash Shooting Mode’ and the settings are shown in the screen below.

My U2 settings in D750

It is important to mention that you have additional options by customizing M/A/S modes.

The Settings I Use For Memory Banks (Extended Banks ‘ON’)

My photo shooting banks are named A=General B=JPG C=Shutter D=Manual

The custom banks are named A=General B=Flash C=Tripod D=Waiter

I have set banks this way to be able to move from my usual working best quality output (e.g. A/A) to basic point and shoot output (e.g. B/D) within just a few seconds by using the ‘info’ button and changing the ‘custom settings’ banks.

Tips to maximize both methods:
1. Create and rank items in ‘my menu’. This will allow quick access and change of settings that are not pre-programmable in any mode (e.g. mirror lock up).
2. Especially for Memory Banks, use the ‘save/load settings’ option onto an SD card (one you will not format). Also, store the settings file on any drive for safekeeping. This will give you a quick restore method, in case you forget what your initial Memory Bank settings were after many changes, as banks are not ‘sticky’.
3. Read on the net for other ways that users have set their U1/2 and banks. Their needs and style may suit yours.
So Which Method is Best?

After comparing U1/2 with Memory Banks for versatility in the above scenarios, my conclusion is that banks provide me with the highest flexibility thanks to their matrix structure. However, banks demand greater discipline in their set-up and use to remain helpful. This is because U1/2 are ‘sticky’, while banks are not.

Once settings are saved in U1/2, no matter what changes you make while shooting with U1/2 selected, you will not impact the saved settings. Simply reselect U1/2 and you are at your initial settings in a blink, hence ‘sticky’. However, all 8 banks save settings dynamically in real time as you apply them during your shooting. Following is a simplified example to elaborate:

You have U1 set up as A-priority, AF-S at f/5.6 and matrix metering. During your shoot, you move from the matrix to spot and f/8. Do you want to go quickly back to your base settings? Simply turn the dial from U1 to U2 and then back to U1 again, and you are back to f/5.6 and matrix.

In banks (both custom and shooting), if you wanted to keep your selected bank identical to the starting configuration, you would need to manually bring metering and apertures back to their initial values.

Conclusion

So, in the grand scheme of things, I have no complaints from either method in the Nikon Custom Settings. I am glad to have both available. I value the ease of use of U1/2 and I love the greater choice that Memory Banks give me. For example, being tripod-ready for landscape or macro, without having to remember to change many settings makes things easier and quicker.

It would be great to have an option to easily save and restore banks in camera to provide the best of both worlds, or to have the quick recovery of U1/2 with the greater choice of the banks.

Join the discussion and let us know your preferred method and way of programming Nikon Custom Settings on the D750, D500 or any other camera featuring U1/2 or banks.

The post Nikon Custom Modes of the D750 and D500. Which mode is best? appeared first on Digital Photography School.

Digital Photography School
November 28, 2018
Zeiss opens its 2019 photography award with €15K top prize
Zeiss has announced its 2019 photography contest is open for entries, and that the top prize will include €12,000/$ 13,615USD of its lenses along with a €3000/$ 3403USD grant to pay for a photographic project.

The contest, run alongside the Sony World Photography Awards, is aimed at photographers shooting stories with multiple images rather than single frames. The theme, as always, is ‘Seeing Beyond – The Unexpected.’ The judges will be looking for collections of 5-10 photographs and descriptions on a theme with a ‘strong and clear narrative’. The brief is purposely pretty open and can be interrupted in a wide range of ways.

15 photographers will be shortlisted and will exhibit at the Sony World Photography Awards show, and the winner announced on April 9th at the awards ceremony in London.

Submitted photographs will be judged by three international panelists: Simon Frederick, Dagmar Seeland and Shoair Mavlian. According to Zeiss, ‘The jury will evaluate both the photographic quality as well as the creativity of the works. The jury is particularly looking for a powerful story that is clearly recognizable in the images.’

The contest closes on February 8th, 2019. For more information visit the Zeiss Photography Award pages on the SWPA website.

Press release:
ZEISS Photography Award 2019 “Seeing Beyond – The Unexpected “
Pushing the limits of creativity

The ZEISS Photography Award is now in its fourth year – and is calling on ambitious photographers from across the globe to present their work around the theme “Seeing Beyond – The Unexpected” to the international jury of experts. The ZEISS Photography Award is jointly organized by ZEISS and the World Photography Organisation. Last year, 12,000 photographers from 140 countries submitted nearly 90,000 photos.

The 2019 brief
Photographers are asked for a creative response to the brief “The Unexpected” that is driven by a strong and clear narrative. To be understood in its broadest sense, “The Unexpected” challenges photographers to submit a series of 5-10 images that look past the everyday and address something unforeseen or surprising – whether this is through the landscape and the physical environment, through human expression, emotion and interaction, through political or social causes or something more conceptual. The ‘unexpected’ element could be of global or very personal concern and may either showcase the familiar in a new way or shed light on something entirely different. All types of photography are welcomed by judges

Participants are required to submit a series of five to ten photographs, including a description of the images, online. Submissions open 22 November, 2018 and close 8 February, 2019.

Prizes
A shortlist with up to 15 photo series will be released on 26 March 2019. The winner will be announced on 9 April 2019. The winning and selected shortlisted works will be exhibited at Somerset House.

The winner will receive:
- ZEISS camera lenses of their choice worth a total of 12,000 euros, and 3,000 euros to cover travels costs for a photo project.
- Flights and accommodation to attend the exhibition’s opening at Somerset House London in April 2019.
- ZEISS will also invite the winner to their headquarters in Germany to see behind the scenes and test out ZEISS lenses for themselves.
The winner will also have the chance to collaborate directly with ZEISS and the World Photography Organisation.
Articles: Digital Photography Review (dpreview.com)
November 27, 2018
Free online tool helps photographers visualize and compare aspect ratios

Developer and photographer Christopher Kalafarski has created a free tool that enables users to compare and preview various aspect ratios with their own images. Unlike comparisons in an application like Lightroom, Kalafarski points out that his ratio.party tool is simple to use and offers a wide range of sample ratios.

Users can add their own image to the tool by dragging and dropping them onto the Web page. Ratio.party features an input format box at the bottom, which can be clicked to cycle through multiple format options. Users can enable and disable horizontal and vertical lines, and click lines to crop the image at them.

Though the tool works on mobile devices, Kalafarski explained in a Reddit post that he designed ratio.party for desktop browsers. The tool operates locally in the browser, meaning user images are not uploaded to a server.

Articles: Digital Photography Review (dpreview.com)

November 27, 2018
How Using the SpiderPro Camera System V2 Changed My Life

As a professional wildlife and adventure photographer, I am accustomed to carting heavy camera equipment from location to location. You’ll know what I mean if you’ve ever used 500mm+ lenses and pro-bodies. Nevertheless, in most situations, these larger-than-normal set-ups are used in conjunction with super-sturdy tripods with gimbal heads and or other supports such as bean bags, which comfortably take the weight and more importantly, the strain.

When I set up my UK-based dog photography business a few years ago, I rocked up to my outdoor on-location dog photo sessions with a lot less equipment than I was used to – which was awesome!

So I thought!

Holding Heavy Equipment

On most dog photography shoots there are periods where I’m holding a pro-body, with a 70-200mm f/2.8 or 24-70mm f/2.8 lens attached. I hold this in my right hand while using my left to attract my subject’s attention with squeakers, toys, balls, treats and more. I use my thumb to control the back-button focusing while using my index and middle fingers to control a multitude of features. I am crouched, lying down while looking up, standing while looking down, in water, or snow. You name it; I do it!

Now, I’ve always been a reasonably fit individual and look after myself, so when I started to suffer from a few unusual aches and pains, alarm bells rang.

First off, I experienced chronic muscle twinges and aches in my right shoulder. Then, depending on the demands of the shoot, I frequently suffered from lower back pain. These two issues were bad enough. However, the most painful affliction was in the index and middle fingers on my right hand. I only had to knock these two digits against something and the pain, although momentary, was excruciating.

So, after a couple of x-rays the verdict was in – Repetitive Strain Injury (RSI). After I discussed my experiences with three fellow pet photographers with comparable stories, RSI was confirmation of what I suspected.

However, they are no longer sufferers, and each put their freedom of pain and increased productivity down to a couple of products from the SpiderPro range: the SpiderPro Camera Holster and the SpiderPro Hand Strap.

Their shared experiences were endorsement and encouragement enough to test-drive the SpiderPro Camera System V2 system and discover the potential benefits for myself.

SpiderPro Single Camera System v2

The Belt and Holster

The SpiderPro Pro 2 Belt features an improved design, over the original that is more optimized for comfort and flexibility and now features a heavy-duty triple-lock buckle. The whole belt and holster system is super-tough and expertly constructed with durable and wear-resistant materials.

My immediate impression, when first wearing the holster, is just how comfortable and secure everything feels. The build quality is excellent with stainless steel and hardened aluminum. The plate and pin system, that screws on to my camera’s base and engages with the Holster feels bulletproof and is not going anywhere.

The SpiderPro Camera Holster takes the weight of my pro gear away from my upper body relieving the strain on my upper back. The holster relieves strain in my shoulder areas, and distributes it at my waist, which according to Spider is “the most ergonomic place to carry heavy gear – just ask a carpenter with a full tool belt!” Moreover, I have to agree.

The SpiderPro Camera Holster features a two-position lock designed for flexibility – unlocked for quick draw action shots or auto-locking for security in any shooting situation.

The Plate

The improved Pro2 Plate attaches to any professional DSLR and has is redesigned for a more balanced and comfortable carry. The new plate also features an improved and more secure pin and anti-slip rubber grips to keep the plate in place. It can be swapped easily for carrying on the left or right and is compatible with any tripod.

If you want a camera on each hip, you can now upgrade the single system instead of purchasing the dual system. The Dual Camera Upgrade v2 requires no tools, which makes adding a second holster extremely easy.

The SpiderPro Hand Strap

Over the years I’ve experimented with various hand straps and none, and I mean none, have worked for me. They’ve all lacked one or two crucial features such as comfort, performance and or ergonomic functionality.

The SpiderPro Hand Strap, however, is different. It has all of the features that make a good hand strap and has been an absolute game changer for me.

My hand slides in effortlessly.

The ‘S’ curved leather strap is particularly snug and follows the contour of the back of my hand, ensuring the weight of the camera is evenly distributed and secure. However, more importantly, the straps’ clever design ensures the correct position for shooting while allowing my thumb, index and middle fingers to operate the camera unrestricted.

Trust me – that’s a major coup.

The Strap is compatible with extended battery packs, vertical grips, and any tripod or Spider plate. There’s also clear access to the memory card slots. It’s available in a variety of colors, which is an extra touch.

In Conclusion

I’ve been using the SpiderPro Camera Holster System, v1 and v2, in conjunction with the Hand Strap now for over a year and my strain-related pains have all but gone.

Photography, like many professions, can be physically demanding and you need to look after yourself. So, when a brand, like SpiderPro, takes on the challenge of designing and producing a product that not only enhances our lives but also increases our productivity, then I have to take my hat off to them.

Nowadays, manufacturers can tap into social media and online forums for real-time user feedback on their products. Armed with valuable, in-the-field insight, they’re able to improve each product based on what we, the consumer, would like to have.

The adage of ‘if it ain’t broke, don’t fix it’ very rarely applies to camera systems and camera accessories. SpiderPro’s products are indeed a testament to this.

All images courtesy of Spider Holster.

The post How Using the SpiderPro Camera System V2 Changed My Life appeared first on Digital Photography School.

Digital Photography School

November 27, 2018
Instagram tests redesigned profiles that emphasize user bios, shrink follower count

Instagram has introduced redesigned user profiles that will be rolling out to users over the next several weeks. The company describes the rollout as a test that retains common profile elements, but rearranges them to provide a new look emphasizing bios and taking the focus away from follower counts.

Though user content posted to the grid remains unchanged, Instagram has repositioned buttons, icons, and other profile elements. User bios are given the most focus with a prominent right placement, whereas follower counts are now listed in small text beneath both the bio and links. Total post counts have been eliminated.

The company hopes its redesigned profiles offer easier navigation and a cleaner look. Testing will take place in multiple phases and “combinations,” Instagram said last week. User feedback on the new look will help shape the experiment and potentially the final design. It’s unclear how many users will see the new profile.

Articles: Digital Photography Review (dpreview.com)

November 27, 2018