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First look: Skylum Luminar 3 adds support for photo libraries, Digital Asset Manager to follow

07 Dec
Skylum Luminar 3’s layout.

Luminar’s library is set to open soon, but expect construction to continue through at least next year.

The long-awaited update to Skylum Software’s photo editor adds in-app photo library management, which the company says is the first step toward building out a complete Digital Asset Manager (DAM). Called ‘Luminar with Libraries’, this version more directly competes with applications that organize your photos, such as Adobe Lightroom Classic CC and Lightroom CC. Luminar 3 arrives December 18, runs on macOS and Windows, and is a free update for owners of Luminar 2018.

This version more directly competes with applications that organize your photos, such as Adobe Lightroom

That’s mixed news for photographers contemplating a switch from Adobe’s applications, especially since Skylum has been teasing a Luminar DAM for well over a year (and just barely hitting their promise to ship it in 2018). Acknowledging the situation, Skylum is making further updates to Luminar free throughout 2019.

Luminar 3 is a free update for current owners of Luminar 2018. Owners of Aurora HDR, Photolemur, and legacy products can upgrade for $ 49 until December 18. New preorders cost $ 59 until that date, and $ 69 thereafter. There’s no subscription pricing model.

Library vs Digital Asset Manager

Here’s what Luminar with Libraries offers:

  • The Library component is integrated into the application, not existing as a separate app. It keeps track of all the images you throw at it in a browsable image gallery. Photos can be imported from cameras or memory cards, or you can point Luminar at existing folders on your hard disk. Unlike apps such as Apple Photos or Lightroom CC, Luminar doesn’t squirrel the images away to its own folder or container. It creates a central catalog file to track file locations and edits, but the originals remain wherever you put them in the first place.
  • In the Library, you can rate photos from zero to five stars, mark them as flagged or rejected, or apply any of five color labels.
  • You can create albums and populate them with photos.
  • A few shortcuts act like smart albums, revealing photos based on their capture dates, import dates, and recently edited dates.
  • In the Info panel, a limited set of EXIF data is shown, such as the camera, lens, focal length, ISO, aperture, shutter speed, and exposure compensation.
  • You can filter the library based on any of those attributes.
Filter images based on the criteria the Library offers.

Luminar with Libraries covers the basics of wrangling files and making them easily available for editing, but a full DAM provides a deeper level of interacting with one’s photos. Not included in this release is the ability to apply keywords or IPTC metadata, any kind of text-based search, a way to expose and take advantage of location data, or synchronization of images between computers or devices. The interface for importing photos relies on traditional Open dialogs instead of a way to preview the shots.

Editing Changes

Luminar 3 is still the same editor as it was before, with a few enhancements. Presets are now ‘Luminar Looks,’ which sounds like just a rebranding attempt, but actually rolls presets, LUTs, and some AI-enhanced operations into one-click actions.

“Luminar Looks” isn’t simply advantageous alliteration, but a merging of presets, LUTs, and some AI processing.

More significantly, the inclusion of the library into Luminar makes it possible to apply edits to one image and sync them among many other similar photos.

Sync edits from one image to several similar shots.

The Windows version includes improvements to Luminar’s color management to get consistent color among displays and devices, plus a host of bug fixes and performance boosts.

What’s Next

Skylum plans to release frequent updates throughout 2019 to add features and expand the library’s features. In its Luminar Roadmap, the company lists targets for the first half of the year that include:

  • Improved handling of Raw + JPEG image pairs (instead of treating each part separately).
  • The ability to create virtual copies of photos.
  • A Smart Search feature for locating shots “using keywords, EXIF information, and file names” (suggesting keyword support will be forthcoming).
  • IPTC core data editing and syncing among images.
  • Features that use AI technology “when editing skin on portraits, architecture, removing objects or simply applying masks on your images.”
  • A Lightroom migration tool.

Although Luminar 3 won’t arrive with a fully-formed DAM, as many photographers were hoping, incorporating the photo library into the application is still a big deal. Melding the library and the editing tools in the same environment streamlines the overall workflow. It allows you to work on a range of images quickly, without the hassle of opening and saving individual images (and deciding where the edited versions live). It’s a big reason why people stick with Lightroom or use alternatives such as Capture One, Alien Skin Exposure, or ON1 Photo Raw.

Articles: Digital Photography Review (dpreview.com)

 
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Xiaomi co-founder teases 48MP smartphone camera

07 Dec

Earlier this year Chinese smartphone maker Xiaomi announced it had established an in-house camera division. Now it seems the initiative is bearing its first fruits.

Xiaomi co-founder and President Lin Bin has teased a smartphone with 48MP camera module on the Chinese social media platform Weibo. The image he posted shows a close-up of a rear camera with a ’48MP camera’ label next to the lens. Bin says he has used the phone for a few weeks and that it will be released in January.

That’s not an awful lot of information, but it means the upcoming Xiaomi phone will feature the highest pixel count ever on a mobile image sensor. Nokia’s 808 PureView juggernaut came with a 41MP sensor and the much more recent Huawei Mate 20 Pro features a 40MP quad Bayer arrangement.

Like the Nokia 808 PureView and Huawei Mate 20 Pro, the unreleased Xiaomi phone is likely to use its pixel count for high-quality digital zooming, pixel-binning for lower noise, and other computational trickery, rather than outputting enormous image files.

The sensor in question could be the Sony IMX586 quad-Bayer model which was announced in July. At 1/2″ it’s large for a mobile sensor, but due to the high pixel-count, individual pixels still only measure 0.8µm. Samsung’s Bright GM1 is another option with very similar specifications.

It’ll be interesting to see if the new Xiaomi will solely rely on the power of the 48MP sensor or add additional sensors, for example for tele, super-wide-angle or black-and-white shooting into the mix. We’ll know more in January.

Articles: Digital Photography Review (dpreview.com)

 
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Taking a Measured Approach to Learning Photography

07 Dec

The post Taking a Measured Approach to Learning Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Whether you have just invested in your first camera, or you did so a while back, taking a measured approach to learning to use it will help you improve your photography.

Woman Photographer at the Shopping Mall - Taking a Measured Approach to Learning Photography

© Kevin Landwer-Johan

Beyond camera skills, there’s a whole lot more to making great photos. Composition, lighting, timing, and relationship with your subject are all important aspects of photography. All are largely unrelated to camera tech.

Photography is a journey. You can make it as long or short as you like. You can stick to a well-beaten path, (and create photos much the same as most people do,) or be more ambitious and scale lofty peaks. If you want to do the latter you better have a good idea of where you want to go and be ready to develop the necessary skills for the adventure.

Where do you start and how do you become competent in both the technical and creative aspects of photography?

Start with What’s Essential

Camera manuals are notorious. They are often difficult to understand and the information can appear disjointed. However, these books provide you with valuable insight. To be able to create interesting photographs you need to have a good knowledge and understanding of your camera first.

Taking a Measured Approach to Learning Photography Happy Photographer

© Kevin Landwer-Johan

Start with your camera manual. Read it in the language you most easily understand, (and ignore all other language options.) Don’t try and absorb it all at once. Spread out your reading over the first week with your camera in your hands. Take in a little at a time and practice it.

Google and Youtube will often provide you with information about your camera that’s more straightforward. Search your camera make and model. Find one or two sources that cover it in depth and spend time studying it.

Get a good grasp of the basics of how your camera works. Get to know it’s settings and functions. Learning these things will help you avoid a lot of frustration when you are taking photos.

Concentrate on the Basic Functions

Trying to learn all the intricacies of your camera right at the start can be confusing. Modern cameras are packed with more whistles and bells than you will ever need to use.

Taking a Measured Approach to Learning Photography My First Camera

© Kevin Landwer-Johan

My first camera was a simple tool. I had no option but to learn to use it manually. It had no automatic functions. This was a great way to learn. Thirty years or so later as I was preparing to launch my photography workshops, I had to study how to teach using the auto settings. I had never used them.

It’s a little like driving a car with an automatic transmission after learning in a manual shift car. Easy, because you’ve already mastered the essentials in manual mode.

Personally, I think using manual mode gives you the freedom to become more creative with your camera. I encourage you to do this. If you don’t have the time or commitment, experiment with the auto settings on your camera and find one or two which suit you best. Don’t be distracted by the scene modes or the many other functions your camera has. When you are starting out these will just add confusion.

Taking a Measured Approach to Learning Photography Camera Police

© Kevin Landwer-Johan

Be Regular

Picking up your camera frequently and regularly is the one thing that will advance your photography. Make a habit of taking at least one photo a day. It only needs to take a few minutes.

Once you form a habit you will find it easy to make more time for photography. As you become familiar with your camera you will start to enjoy it more. When this happens you will notice you are beginning to take better photographs. It can become addictive.

Using your camera infrequently will lead to some frustration each time you do pick it up. You will have to think again which dials and buttons do what. You will not be familiar enough with the controls to use your camera with ease. Taking at least one photo a day will help you learn the camera controls and before long you will know them and use them intuitively. You don’t need to make a masterpiece each day, just try to improve a little at a time.

Taking a Measured Approach to Learning Photography Example

© Pansa Landwer-Johan

Learn a Little More

Studying – along with regular camera use – will accelerate your photography learning experience. Find a good book, online course or enroll in some classes.

Look for a teacher or author whose style you like and would like to emulate. Some people who teach photography will have you concentrate heavily on the technical aspects of the craft. Others will encourage you to leave your camera on auto all the time and let the camera do the work. It’s your choice which path you choose to follow. I prefer to teach a mix of the creative and technical aspects of photography.

Taking a Measured Approach to Learning Photography Monk Photographer

© Kevin Landwer-Johan

Building your technical ability is important. You need to understand your camera and how to manage the settings. Receiving some good teaching on the functions of shutter speed, aperture, ISO, focus and other essential controls will lead you to be more creative. Once you have learned these skills your mind will be freer to focus on the creative elements that make good photographs.

Having a good grasp of composition, light, color, and timing is equally important for being able to make good photographs. Much of the creative side of photography is very subjective. You can study it and gain foundational knowledge. This will set you up towards developing your own personal photographic style.

Without a balance between technical and creative study, you can end up unbalanced. This can lead to technically perfect snapshots or terribly exposed, out-of-focus ‘creative’ photographs.

Three Helpful Tips to Help Your Progress

Make a separate folder on your computer, somewhere you can access it easily. At least once a week, go through the photos you have made and choose a few of your favorites. Put them in this new folder. This is your portfolio. You don’t need to share it with anyone else (but it’s a good idea to.) It’s there so you can see your photographs improve over time.

Taking a Measured Approach to Learning Photography Market Photographer

© Kevin Landwer-Johan

Having your work critiqued by a more experienced photographer helps. You may not always see what you have done wrong. You may look at your photos and know they are not great, but not be able to figure out why. This is where an experienced photographer can help you. A good critique will be positive and constructive but not shy away from pointing out changes which need to be made.

Finding someone to mentor you is one sure way that will help your photography progress. Regular contact with a more experienced photographer who’s committed to helping you learn will accelerate the process. The feedback a mentor can provide is invaluable. A good mentor will teach and guide you. They will also set and assess assignments for you.

Conclusion

Taking a Measured Approach to Learning Photography Kevin Teaching

© Pansa Landwer-Johan

Like learning to play a musical instrument or losing weight, the level of your commitment will be reflected in the level of your success. The more committed you are to learning to use your camera well, the more successful you become.

Frequent camera use and study will propel you more quickly to your goal. It’s your choice. Make regular study and camera use a daily habit. Go through and separate out your favorite photos once a week or so. You will be encouraged by the photos you are making. You will never achieve your potential by only occasionally picking up your camera.

The post Taking a Measured Approach to Learning Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Peel apart instant film returns in the form of ONE INSTANT

07 Dec

In 2016, Fujifilm announced it would no longer produce its FP-100C peel apart instant film, citing a dwindling lack of demand for the product. The discontinuation effectively ended the peel apart instant film market, but a new Kickstarter campaign aims to change that. Florian “Doc” Kaps, founder of The Impossible Project, has unveiled ONE INSTANT, a new peel apart instant film expected to launch in 2019.

Following Fujifilm’s FP-100C discontinuation, Kaps had pushed to save peel apart film via SuperSense, the company he founded after leaving The Impossible Project in 2013. The effort wasn’t successful at the time, but has ultimately proven fruitful more than two years later with the unveiling of ONE INSTANT.

As Kaps explains in the video above, ONE INSTANT is a re-invention of peel apart technology featuring single-shot instant film packaged in a paper cartridge. More than two years of research and development went into the innovation.

Kaps explains on the Kickstarter campaign:

In spring 2016 Fuji announced termination of the world’s last instant packfilm production line. Since that day – more than 2 years ago! – we have been desperately searching for “impossible” ways to save this iconic film material. Just like we successfully did with the legendary Polaroid film by purchasing the last original factory in 2008 and restarting production the classic way.

We failed! And honestly this was the best thing that could happen.

The single-shot ONE INSTANT Type 100 glossy color ISO 125 film is ‘based on a new, radical concept,’ the team explains. The product is compatible will all classic Type 100 packfilm cameras and is made with original Polaroid P7 material that was acquired by 20×24 Studio.

The team warns that ONE INSTANT “is truly really expensive to produce,” but they have vowed to bring down the cost when possible by optimizing production. The high cost is due to being mostly hand-made; the campaign explains how production takes place, saying:

ONE INSTANT is a tiny, bespoke, dream-come-true MANUFACTORY in Vienna. ONE INSTANT film editions will be produced WITHOUT the need of giant machines, huge factory spaces and large teams. Our all new manufactory will just consist of a small beautiful darkroom for all production steps that need darkness (mainly the insertion of the negative into the lightproof paper cartridge), a beautiful daylight assembly room and of course our beloved all analog printshop for all paper work, cartridge punching, producing all our hand-made packaging and communication materials.

Backers are offered multiple products to make a pledge for on the Kickstarter campaign, including various ONE INSTANT bundles that feature multiple packs, different box colors, and a Starter Kit that includes a mint condition Polaroid COLORPACK 2 camera. Film shipments to backers are expected to start in May 2019.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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Insta360 One X update brings HDR video and Google Street View integration

06 Dec

Insta360 has released a software update for its One X 5.7K 360-degree camera. With version software version 1.1.0 the camera is now capable of capturing HDR video — previously HDR recording was only available for still images. The One X HDR mode makes sure highlight and shadow clipping in your 360-degree videos are kept to a minimum and should make for more natural looking footage, without minimal need for post processing.

The second new feature in the update is Google Maps Street View Integration. One X owners can now use their camera to capture 360-degree content for Google Maps Street View and directly upload to Street View via the One X mobile app. The latter automatically converts video files into a series of evenly spaced 360 photo spheres for viewing on the Google platform.

In addition the company has announced that the One X is now available in a bundle that is exclusive to Apple. The bundle includes a number of accessories, including Insta360’s Bullet Time handle that also serves as a tripod, a selfie stick that is rendered invisible by the camera software, two batteries, and a protective pouch.

The Insta360 ONE X Camera Bundle is now available at Apple.com for $ 449.95. You can read our review of the Insta360 One X here.

Articles: Digital Photography Review (dpreview.com)

 
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Review: The Wacom Intuos Pro is a workflow-boosting machine

06 Dec

Wacom Intuos Pro
$ 299.95 | Wacom.com

When it comes to precision photo editing, a tablet may be the tool you never knew you desperately needed. Although the Wacom tablet has long been a favored tool of graphic designers and digital artists, it’s also an excellent piece of editing gear for photographers.

The Wacom Intuos Pros allows you to return to your roots of putting a pen to paper to create an image – a tactile experience that many younger digital artists may be out of touch with. If you’ve spent a number of years editing with a mouse or trackpad there will undoubtedly be a a bit of a learning curve when it comes to using the pen, but with a little bit of practice you will likely find this device speeds up your editing process and make tools like dodging, burning and clone-stamping much more precise.

Key features

  • 338 x 219 x 8mm / 13.2 x 8.5 x 0.3 in
  • 1.54lb / 0.7kg
  • Wacom Pro Pen 2 with 2 programmable buttons
  • 8192 pen pressure levels (up from 2048)
  • 8 Customizable ExpressKeys
  • Built-in Bluetooth connectivity and USB connectivity
  • Pen stand with 10 replacement nibs (tips)
  • Choose between ‘standard’ or ‘felt’ nibs for added friction
  • Mac and Windows compatible

What’s new

The Wacom Intuos Pro tablet is thinner and lighter than its predecessor, so it occupies less real-estate on your desk. Despite this, the active area is larger thanks to a slimmer bezel and he surface plate can be swapped for a variety of different textures depending on your preferences.

The Wacom Intuos Pro is designed to imitate a large piece of paper

The new version utilizes the Wacom Pro Pen 2, which comes with a weight base (shown below), and is slimmer than version 1 – It also features two programmable buttons and 8192 pressure levels (up from 2048). Wireless Bluetooth connectivity is also new to the Wacom Intuos Pro.

Design

The Wacom Intuos Pro is designed to imitate a large piece of paper. The user chooses the orientation of the tablet and how it will map to their computer screen – this makes it a great tool regardless of your computer setup or dominant hand. On one side of the tablet you will find eight customizable express keys and the touch ring. The power switch and the touch functionality switch are located on the side of the tablet near the express keys and the optional USB plugin is on the opposite edge of the tablet.

The Wacom Pro Pen 2’s stand stores additional nubs. The pen itself has two customizable buttons – flip it upside down and you can use it as an eraser. The tablet itself has rubber grip on the bottom to keep it in place, and its slim profile makes it easy to travel with or store away when space is limited.

In use

It had been a number of years since I’d used a tablet for photo editing, and I can confirm that the learning curve was certainly there. But after a bit of practice with the pen and tablet I found the process of retouching scanned negatives in Adobe Photoshop to be more precise, faster and less taxing on my wrist than it would have been if I were using a mouse. Put another way, the difference between retouching with the Wacom pen vs. the mouse is like hand-writing a note with a fine tipped Sharpie vs a paint roller. The eraser is precise as well. I found it to be particularly helpful when creating multi-layer image compositions.

The vast degree of pressure responsiveness in the Pro Pen 2 is something I really appreciated, especially when it came to dodging, burning and light retouching. Press hard and the results are more pronounced, use a lighter touch and everything is more subtle. If you are particularly heavy-handed you can adjust the overall sensitivity of the pen.

The difference between the Wacom pen and a mouse is like hand-writing a note with a fine-tipped Sharpie versus a paint roller

The buttons on the side of the pen make it easy to control the brush size. At first I found myself accidentally pressing them as I edited, but I eventually learned to slightly rotate the pen while I worked to avoid this problem.

Also of note is that I observed no noticeable lag time between tablet and computer screen when it was connected via USB. The Bluetooth connection also seemed quite good, though I did notice a little bit of latency when using the paintbrush tool for extended periods of time.

Of course, Photoshop is not the only application the Intuous Pro is good for; I also used the tablet to work on images in Adobe Lightroom. And while it was useful for cloning and healing, I found it to be a little unwieldy when making adjustments to the slider. Ultimately I think I still prefer utilizing the mouse and the keyboard shortcuts that have been burned into my muscle memory for Lightroom work.

Bottom line

If you’ve never used a tablet and pen setup – or if it’s been a number of years since you’ve picked one up – the Wacom Intuos Pro will take some getting use to. Give it time though, because if you are doing a lot of image retouching, image compositing or light graphic design work, this editing accessory will certainly boost your productivity. And the customizable functions will make it appeal to a large variety of users. In all, we think that this tool can help take your editing workflow and the final image results to the next level.

What we like:

  • Pen delivers precise results
  • Pressure sensitive tip
  • Lightweight and travel friendly
  • Highly customizable
  • Excellent to use with Adobe Photoshop

What we don’t like:

  • Somewhat laggy Bluetooth connectivity; not a huge problem for light retouching jobs, but could become problematic when making large scale image composites that require a lot of painting.

Articles: Digital Photography Review (dpreview.com)

 
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Photography Equipment Tips for an Africa Photo Safari

06 Dec

The post Photography Equipment Tips for an Africa Photo Safari appeared first on Digital Photography School. It was authored by Andrew Sproule.

There’s no doubt that booking and planning for an Africa photo safari is an exciting time, especially if it’s your very first venture. As a photo safari tour leader, I’m used to the process. Nevertheless, I still behave very much like a child in anticipation of what Christmas brings. As your departure date draws nearer, your thoughts move to packing for your trip. Although the appropriate clothing is essential, these trips are really about amazing wildlife encounters, shared experiences and capturing memories. It’s time to think about your photography equipment, – your gear.

It’s time to pack your camera bag!

Author’s Note

Before I dive in, I would like to state that this article represents my tips for maximizing your experience while on an Africa photo safari. It’s a guide with a mix of opinion and facts based on my on-location, in-the-field experience. It’s a summary, an introduction and not a laboratory review and therefore should be treated as such.

Secondly, I always recommend photography enthusiasts choose a safari designed explicitly with photographers in mind. General ‘tourist’ safaris have their place, but they’re much more likely to be governed by a species timetable. Lion, check. Move on. Buffalo, check. Move on. You get the picture. On a dedicated Africa photo safari trip, not only will you share a vehicle (often customized for photographers) with liked minded people, you’ll also benefit from being able to spend much more time with an individual animal or group of animals. You’ll be able to witness unusual behaviors and explore different angles and lighting situations. Explicit and invaluable guidance and advice are also on tap.

Thirdly, you’ll notice that I’ve included my camera settings below a number of the images. These settings worked for me in those particular situations, under certain conditions to produce the type of image I was after. I suggest you use these posted settings as a guide only. Instead, think about how these images might look if you were to adjust the shutter speed, aperture or ISO. Then, take that information into the field with you. The relationship between these elements can create widely different outcomes and also help you to define your style.

Leopard, Botswana. Canon 1DX, Canon 70-200mm(at 105mm), f/2.8, ISO 400, 1/125th sec handheld. Image © Andrew Sproule

Cameras for an Africa Photo Safari

Notice I have stated ‘cameras’ in the title and not ‘camera.’ I recommend you take at least two camera bodies with you. On the surface, this may seem like overkill or even a touch extravagant, but there are valid reasons why.

Firstly, it’s peace of mind. Imagine the heart-sinking moment if your camera fails. That emotion is tenfold if it happens on day one of a two-week photo safari! Whether you take two DSLRs, two mirrorless cameras, a combination of both, or an alternative solution, possessing a backup prevents any unnecessary anxiety. Before I purchased a second camera body, I used to hire one for my Africa trips. I still do this on occasion. It’s a great way of testing and trialing gear in the field beforehand and working out what works best for you.

Secondly, Africa is an extraordinarily harsh and dusty environment. Sand and dust particles are the enemies of sensitive camera sensors. Consequently, eliminating the need to swap lenses while on location can be a huge plus.

Furthermore, having two cameras armed with different lenses (for example a telephoto lens and a mid-range zoom), you’ll find it easy to switch between them. Switching between them is useful when wildlife comes too close, or if you are pulling away for a wide shot of wildlife in context of its habitat. Being able to adapt to shifting conditions can mean the difference between capturing, or not capturing the shot.

Not everyone is in a position to take two cameras. It also doesn’t matter whether your camera is full-frame, crop-sensor or another type, as there are pros and cons to all. What is fundamental is that you know your camera intimately. Practice on your dog, your cat or deer in a local park. Whatever you can. The more familiar you are with your camera’s features, the quicker you’ll be able to adjust to conditions that unfold in front of you with confidence.

Lenses for an Africa Photo Safari

Super-telephoto lenses with a focal length of 300mm plus are the staple for most Africa photo safaris. For crop-sensor cameras, 300mm should be ideal. If you intend to photograph birds as well as large game, the longer the focal length, the better. Full-frame cameras usually need lenses of 400m+.

Wild dog, Botswana. Canon 1DX, Canon 500mm, f/5.6, ISO 200, +2/3 EV, 1/160th sec, monopod. Image © Andrew Sproule

Although my go-to lens is a 500mm, I believe the versatility of zoom lenses make them ideal for African safaris. There’s such a wide variety of birds and mammals of a degree of varying sizes and distances that a good lens option would be something like the 100-400mm.

A short-zoom lens in the range of 24-70mm is also a great option as it provides the flexibility to pull away to present wildlife within its environment, adding real context to an image. Because I’m also a landscape photographer, I also favor super-wide lenses in the range of 16-35mm or 14-24mm.

Much of Africa’s wildlife is active in the early mornings and late evenings meaning you’ll be battling low levels of light. Lenses with larger apertures, such as f/2.8, allow more available light into the camera, so you’ll be able to use a reasonably high shutter speed for much longer. These lenses are a luxury item though, so an alternative solution is to increase the ISO. Doing so most certainly increases noise, but most photographers would rather have a sharp shot with an acceptable amount of noise than an out of focus shot with no noise. In many cases, you can eradicate most noise in post-production.

Filters for an Africa Photo Safari

I often use filters when composing landscape images, and on an Africa photo safari there are most certainly circumstances when the use of a filter is advantageous. For filters that reduce glare, saturate colors and darken skies, I recommend using a polariser filter.
If you need help to correctly expose bright skies, while preserving exposure detail in the foreground, then I recommend an ND filter.

Camera Support on an Africa Photo Safari

Burchell’s Zebra, Kenya. Canon 1DX, Canon 500mm, f/4, ISO 200, 1/50th sec, bean bag. Image © Andrew Sproule

Bean Bags

Bean bags are my go-to support, especially in East Africa. They are a simple, yet extremely effective support for your camera. Bean bags can be used to rest your lens on a vehicle’s doorsills, window frames, roof rails and the actual roof itself. Also, wildlife is often on the move, so you’re not limited to one position within the vehicle. Many reputable Africa photo safari tour operators provide beanbags. However, that said, it is always worthwhile double-checking beforehand. Bean bags can pack light and get filled with rice or beans on arrival. Some photographers prefer to fill their beanbags with lightweight polystyrene balls before they leave. It’s bulkier but a lightweight alternative. I’ve been using a couple of Kinesis SafariSacks 4.2™ for a while. As well as being a great support, the quick release straps secure the bags in place, so you never lose them in the bush.

A typical East Africa safari vehicle. Image courtesy of Governors Camp, Maasai Mara, Kenya

Unfortunately, bean bags are not a universal solution, contrary to what you may have read in certain books or magazine articles. Although they’re a fantastic solution in East Africa, they’re not as useful in Southern Africa (including South Africa, Botswana, Zambia, and Zimbabwe). The reason is that the vehicles there are radically different. Safaris in Southern Africa use open Land Rovers and Land Cruisers with no sides at all – often there isn’t even a windshield! So, there is nothing on which to rest the beanbag. In Namibia, both open Land Rovers and closed vehicles are in common use.

A typical Southern Africa safari vehicle. Image courtesy of Motswari Private Game Reserve, South Africa

Monopod

If a bean bag is not an option, a monopod offers a lightweight and more practical alternative to use within the confines of a safari vehicle. Especially in Southern Africa. You don’t need to extend it entirely, and it takes the strain from your arms and shoulders while seated. It’s surprising how effective it can be. I have tested many monopods over the years and have found that Gitzo Monopods™ best suit my needs. I also use a Really Right Stuff™ lever-style, quick release that makes the process of taking lenses on and off the monopod very fast.

Tripod

A tripod is useful or even an essential piece of kit for evening photography, longer exposures or for around the camp. Although, the wide-spread tripod legs make them impractical and ill-advised for most safari vehicles. However, if you’re in an open vehicle on your own, or perhaps with one other, a tripod can be rigged to provide an excellent platform for larger lenses. To avoid badly damaging your camera from vehicle shake, always remove your camera from the tripod while on the move.

Some airlines take a dim view of tripods, and you may find it difficult to persuade them to let you take it in the cabin as part of your hand luggage. If it’s going in the hold, it can take up more of your baggage weight allowance.

Clamp

I often use a ball head or gimbal head on a Manfrotto® Superclamp that can be bolted almost anywhere, including a vehicle’s roof bars. If I’m on my own, or part of a tiny group, I may even have several of these clamps placed in strategic points around the vehicle making it extremely easy to switch from side to side and back to front.

Manfrotto 035 Superclamp. Image courtesy of Manfrotto®

Storing Images while on an Africa Photo Safari

Laptop

You could easily take 300-500 images a day. Trigger-happy photographers may even have over 1,000, so a small laptop with external hard drives are useful for securely backing up your photographs. If weight restrictions allow, two hard drives that mirror each other is a great solution. Remember to pack essential items such as connecting cables, chargers and memory card readers.

Memory Cards

An alternative solution to external hard drives is to bring extra memory cards. You can file these away at the end of each day. That way, you are safe in the knowledge that your data remains untouched until you arrive home. If you don’t like the idea of swapping out memory cards too often, go for larger capacity ones such as 32GB. That said, I don’t like to put all my eggs in one basket, and therefore I opt for 2 or 3 smaller cards in favor of one larger one.

Accessories for an Africa Photo Safari

Batteries

Get to know what you can expect out of your camera with regards to battery life and take enough spares to get you through each day. Cold is a battery’s nemesis, so make sure they’re not getting too cold overnight. I have two spare batteries for each camera body, and that’s always been more than adequate for my purposes.

Lens Cleaning Cloth

Remember lens cleaning cloths. I would also recommend a camera and lens cover that helps protect your camera in the event of a rain shower and for protecting your gear against the dust mentioned above.

Others

Don’t forget your smartphone, binoculars, head torch, notepad and pen, personal medication, malaria medication, toiletries, money, your passport, and visa.

For detailed, up-to-date information on vaccinations and more, you are best to consult an official website.

Packing for an Africa Photo Safari

I recommend packing high-value items like cameras, lenses, and laptops in your hand luggage. Some airline safety requirements require you to pack batteries in your hand luggage, so ensure you charge your items, as airport security often requires you to demonstrate that laptops and cameras are all in full working order. A simple rule of thumb is to pack items essential to your photography, travel, and health in your hand luggage.

Pack your gear very carefully with disruption in mind. Some Africa photo tours can consist of two or three successive flights to get to various destinations in Africa. There may be two or even three layers of airport security on each of these flights. You may be required to unpack large cameras, lenses, and laptops. If you can, avoid placing smaller accessories on top of larger items that you may need to take out repeatedly and re-pack. Pack cables and batteries together in small pouches rather than loose in your bag.

Your camera bag should be large enough for your gear but small and light enough for all cabin limits. When packed you should be able to safely lift your bag in and out of the overhead lockers without assistance. Check the maximum sizes and weights for all the airlines and be aware that different flights often have different rules.

For small internal charter flights within Africa, total baggage allowance (hand luggage plus hold luggage) can be as little as 20kg and bags must be soft and pliable.

Typical Southern Africa internal charter flight. Image courtesy of Moremi Game Reserve, Botswana

Final Thoughts on an Africa Photo Safari

An Africa Photo Safari is an incredible experience. For many, it is a-once-in-a-lifetime opportunity both to experience incredible scenery and wildlife and to take amazing photographs.

There’s no doubt that it can be a daunting experience packing expensive and essential photography equipment for a safari. Even for seasoned photographers. Just remember to seek out advice. If you are booked on a photographer-specific tour, you can request support from your guides and or Africa safari tour facilitator. They have the experience and knowledge to help you make it the through this process with as little stress as possible.

The post Photography Equipment Tips for an Africa Photo Safari appeared first on Digital Photography School. It was authored by Andrew Sproule.


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4 Tips for Building a Photography Portfolio and Business

06 Dec

The post 4 Tips for Building a Photography Portfolio and Business appeared first on Digital Photography School. It was authored by Lily Sawyer.

dps-Building a Photography Portfolio and Business

For some of us, a photography business springs from a hobby and grows into a paid endeavor, and so we feel it just landed in our laps. To others, it was more of a dream that was kept close and dear and planned to make a reality for a long time. For others, doors of opportunity open at the right time and place, and they’ve grabbed it.

Regardless of how your photography business has come about, for your business to take shape and grow, there are necessary steps to take. These steps require many initiatives and work and do not depend on luck or open doors of opportunity.

Let me share with you a few tips for building a photography portfolio and business. This article is of benefit if you are building your business from scratch or have been in operation but have relocated, requiring you to start afresh in a new location.

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1. Build a Strong Portfolio

Now, don’t get me wrong – I don’t expect that you have a massive pile of photoshoots under your belt in the beginning (although that would be great.) All you need is a handful of carefully curated photos for your portfolio. If you have any images from practices or hobby shoots, choose your very best images. The best of the best, even if you only end up with a handful. If you are brave enough to do so, choose one genre and focus on that!

Usually the more niched, the stronger the portfolio.

3-dps-Building a Photography Portfolio and Business

2. Call for Models

If you don’t have any images to use or you feel your images are not good enough yet, plan a model call-out. Shoot new images that are more focused and consistent – your portfolio benefits from more consistent images. The goal down the line is that you are the one people think of when they need a photo shoot of a particular type.

You’re the expert in that field, and therefore you can also command decent prices. Having this in mind at the very start of your portfolio-building helps you streamline your model call plans in regards to age group, style, outfits location, and set-up. Branding is vital, especially at this stage. One could go as far as saying branding is everything.

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You have two choices for model calls:

1. You can ask friends or friends of friends. You can do a public call on your social media platforms. If going the friends’ route, you may decide not to charge as you may feel they are doing you a favor. That is your call. However, money doesn’t grow on trees in business. Money comes from clients or investors who want a return on their investment.

Therefore, don’t be quick to offer your services for free, especially if you want to start charging decent fees or market rate. It’s hard for a potential paying client to start paying good money after initially being offered a freebie.

2. There are other options far better than offering freebies. You can do a barter of some sort. Think of something that either party finds beneficial with relatively equal values. You can also charge a fair rate for portfolio building that is lower than the market rate. You can offer the session at no charge in exchange for the model call but sell the prints. That way it’s not a total freebie.

Right off the bat, learn to accept money from clients without feeling guilty or feeling that you don’t deserve it. Also, don’t be embarrassed about it!

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3. Have a Web Presence

Nowadays, if you are not on the web, you are not on the map. You don’t need a super-fancy website either if you feel that is out of reach at the moment. Although, it is easy enough to start a website using readily adaptable templates. More importantly, use social media platforms that are free and easy to set up such as Facebook and Instagram.

If possible, have both. However, if you are only doing one, a top tip is to think about your audience. What platform is your target market using? Parents with children are usually on Facebook. Younger age groups, like seniors, early 20s and 30s, are on Instagram. If you are after more real-time conversations and engagement with your followers, you could also link your accounts on Twitter.

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A Web Presence is Your Virtual Office

Having a web presence is like having a virtual office. People can contact you and view your strongest images in your portfolio. This tool can be leveraged to reach more people, especially friends of friends. You can tag friends, share on their page, and ask them to share. All of these methods help to spread the word about you.

By tapping into your contacts’ friends, you are starting from a position of trust. You are no longer a stranger to a potential client but a referral. Use that to your advantage. By being reached easily on social media channels, you become more of a real person than just a webshop.

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4. Print Some Business Cards and Stationery

While they may seem old-fashioned, business cards are useful because some people expect them, and they are great if you are networking in-person. If you want to be memorable, make your cards into a magnet, so you stay on people’s fridges! Think of something quirky, or at least different, so that you stand out more.

Having some printed promotional materials like mini-brochures and vouchers are invaluable. They come in handy if you want to collaborate with other small businesses in your area, such as your local health clinics for baby and maternity shoots, or boutique shops that sell outfits that fit with your branding.

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I hope the tips in this article will help you in some way as you start your photography business. If you have any other tips, please share them in the comments below.

You may also find this article helpful.

The post 4 Tips for Building a Photography Portfolio and Business appeared first on Digital Photography School. It was authored by Lily Sawyer.


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Buying Guide: The best camera bargains of 2018

06 Dec

Last updated: December 4, 2018

If you’re looking for a high-quality camera, you don’t need to spend a ton of cash, nor do you need to buy the latest and greatest new product on the market. If you’re willing to miss out on some features, you can save a lot of cash by picking up a last-generation model or shopping around for deals on refurbished or older, but still current, cameras.

In this buying guide we want to direct your attention to some great-value cameras, which are still available. We’ll start with the least expensive options and go up in price from there.

Street prices listed below are current as of December 4th, 2018.

  • Sony Cyber-shot DSC-RX100 $ 369
  • Nikon D3400 w/18-55 lens $ 399
  • Canon PowerShot G9 X II $ 399
  • Canon EOS M100 w/15-45mm lens $ 399
  • Sony a5100 w/16-50mm lens $ 449
  • Sony a6000 w/16-50mm lens $ 499
  • Panasonic Lumix DMC-ZS100 $ 499
  • Fujifilm X-E3 $ 799
  • Nikon D7200 $ 799
  • Sony a7 II $ 899
  • Nikon D750 $ 1399

Sony Cyber-shot DSC-RX100
$ 449 MSRP, $ 369 street

While not as capable as later models, Sony’s original Cyber-shot RX100 is an inexpensive way to snag a genuinely compact camera with a 1″ sensor. It has a 28-100mm equivalent lens that will do well in low light at the wide end of the lens, but not-so-great at telephoto. You miss out on the faster lenses, electronic viewfinders and improvements in autofocus and JPEG image quality that arrive in the latest models.

The camera fits in a pocket with ease, though the body is slippery and some may find the controls a bit clunky. The RX100 has a 3″ non-touch LCD but lacks a viewfinder. Photo quality is excellent and the same can be said for its Full HD video. It focuses quickly and can shoot continuously at 10 fps. Wi-Fi is built-in for photo sharing.

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Nikon D3400 w/18-55mm lens
$ 499 MSRP, $ 399 street

While it’s since been replaced by the D3500, the Nikon D3400 is essentially the same camera but in a slightly different (but still very compact) body. Like other Nikons, the D3400’s 24MP APS-C sensor has excellent resolution and dynamic range. Its autofocus system is dated and it can’t take many photos in a burst, so a sports camera it is not.

What makes the D3400 so appealing is that it’s great for beginners, with its ‘Guide mode’, selecting the correct settings for you based on use case, and tells you which of them were actually changed so you learn. The camera also features Full HD video capture (though AF is essentially unusable) and Bluetooth for easy photo sharing.

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Canon PowerShot G9 X Mark II
$ 529 MSRP, $ 399 street

The Canon PowerShot G9 X Mark II is one of the cheapest and smallest compact cameras with 1″ sensor that you can buy. The larger-than-average sensor will produce better-looking images than your typical compact, though the slow-ish lens will reduce that advantage in low light.

The lens has a small 28-84mm equiv. focal range, which isn’t as versatile as most of its peers. Despite that, the G9 X II has a well-designed touch interface, snappy performance, Full HD video capture and the latest wireless features.

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Canon EOS M100 w/15-45mm lens
$ 599 MSRP, $ 399 street

The Canon EOS M100 is one of least-expensive mirrorless cameras you’ll find. It’s packed with Canon’s latest features, including its excellent Dual Pixel autofocus system and also has a flip-up touchscreen display. It’s not as good at shooting action as the newer M50 model, which can also capture 4K video.

The M100 features Full HD video capture and Wi-Fi with Bluetooth. While there aren’t many native EF-M lenses available, the M100 is compatible with Canon’s enormous selection of EF and EF-S glass with an optional adapter.

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Sony a5100 w/16-50mm lens
$ 549 MSRP, $ 449 street

It’s hard to believe but, five years after its introduction, Sony is still making its a5100 mirrorless camera. The compact Sony a5100 is a good choice for those on a tight budget seeking a point-and-shoot experience, but with interchangeable lenses. It hasn’t seen the improvements in video, autofocus or JPEG color that have arrived in newer Sonys, meaning you don’t get the excellent Eye AF feature.

The a5100 uses a 24MP APS-C-size sensor and has a hybrid AF system that’s still responsive today. There’s a selfie-friendly flip-up touchscreen LCD on the a5100, but no viewfinder. It can capture Full HD video and has Wi-Fi with apps you can download to the camera.

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Sony a6000 w/16-50mm lens
$ 649 MSRP, $ 499 street

The Sony a6000 is one of the best-selling interchangeable lens cameras of all time, and for good reason. It has excellent image quality, a reliable autofocus system, 11 fps burst shooting and a sharp OLED viewfinder. The a6000 is targeted a bit more toward enthusiasts than the a5100, with dual control dials but (disappointingly) no touchscreen. It pre-dates features such as 4K video and Sony’s excellent Eye AF feature, and improvements in interface and JPEG color.

It captures Full HD video, offers Wi-Fi and can download feature-adding apps into the camera. It’s worth pointing out that Sony’s APS-C lens collection is relatively small and expensive compared to other mirrorless brands.

Panasonic Lumix DMC-ZS100
$ 699 MSRP, $ 499 street

The Panasonic Lumix DMC-ZS100 (TZ100 in some regions) is a compact camera with a 1″ sensor and 25-250mm equiv. lens. It fits easily in your pocket, making it an ideal camera for travel. Its lens has a relatively slow maximum aperture, so it won’t perform terribly well in low light, though it will still out-do compacts with smaller sensors. It doesn’t get the nicer JPEG colors of newer Panasonic models.

The ZS100 has a fixed touchscreen display and a ‘better than nothing’ electronic viewfinder. In addition to taking 4K video, the ZS100 also has genuinely useful features like ‘Post Focus’ and ‘4K Photo’. For those looking for a portable, versatile travel camera, the ZS100 is a bargain.

Fujifilm X-E3
$ 899 MSRP, $ 799 street (body only)

The Fujifilm X-E3 is a rangefinder-style mirrorless camera that produces excellent images straight out of the camera courtesy of its modern 24MP X-Trans APS-C sensor. Its well-built body has direct controls for shutter speed and exposure compensation, and most buttons are customizable.

A high-resolution EVF and touchscreen await users on the rear plate. It also offers Wi-Fi and Bluetooth. The X-E3 captures 4K video but not nearly to the high standard or newer models.While it doesn’t have a built-in flash, with a small external one included in the box. The excellent 18-55mm F2.8-4 lens adds just $ 300 to the cost of the camera and is well worth the money.

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Nikon D7200
$ 1099 MSRP, $ 799 street (body only)

The Nikon D7200 is a midrange DSLR with a 24MP APS-C sensor that produces sharp images with excellent dynamic range and solid high ISO performance. It’s reasonably small and light and is sealed against the elements. The D7200 has a large optical viewfinder and a fixed 3.2″ (non-touch) LCD.

Autofocus performance is superb, whether you’re tracking subjects or shooting in low light. While the D7200 can record Full HD video, quality isn’t as good as other midrange cameras and autofocus is effectively unusable. The D7200 has built-in Wi-Fi, but the aging smartphone app is unreliable.

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Sony a7 II
$ 1399 MSRP, $ 899 street (body only)

The Sony a7 II is a solid full-frame mirrorless camera that currently sells for a remarkably low price. It has built-in 5-axis image stabilization, a 24MP sensor, fast hybrid autofocus system and Full HD video capture. The camera has a relatively rugged, with some weather-sealing, high resolution EVF and tilting (non-touch) LCD. It misses out on the further improvements Sony has made in terms of JPEG color, autofocus and user interface in its latest models.

Photos have great resolution and excellent Raw dynamic range, though the a7 II struggles a bit at high ISOs. Some users might find the buttons and dials to be too small, so it’s worth trying one in person before you buy.

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Nikon D750
$ 1999 MSRP, $ 1399 street (body only)

Despite being released way back in 2014, the D750 is still one of the most attractive full-frame DSLRs on the market and an incredible bargain as it approaches its fifth year of production. The D750’s 24MP sensor produces beautiful photos with low noise at high ISOs and plenty of dynamic range. Its autofocus system tracks subjects with ease, though the camera’s buffer fills quickly when shooting bursts.

The D750’s body is compact for a full-frame DSLR and it has a giant optical viewfinder, a 3.2″ tilting (non-touch) LCD, built-in flash, dual SD card slots and Wi-Fi. It can shoot good quality Full HD video, though autofocus performance in video and live view is for static subjects only. Battery life, on the other hand, is exceptional.

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Articles: Digital Photography Review (dpreview.com)

 
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Hipstamatic harnesses iPhone X TrueDepth data to improve TinType app

06 Dec

Camera app developer Hipstamatic says it has found a way to use the depth data generated by the iPhone X to improve the way its TinType app works out which areas of a picture to render out of focus. The depth information the new camera phone creates has allowed Hipstamatic’s developers to identify a genuine plane of focus instead of having to guess and simulate the effect just with software blurring.

A portrait taken with the new app showing a map that demonstrates the area of the image the camera takes to be the subject and where the plane of sharp focus should be

Hipstamatic founder Ryan Dorshorst says that the TrueDepth feature of the new iPhone X provides information at every pixel about how far away the subject is, so with a subject identified it is a much easier job to determine what is background as well as what is in front of and behind the subject – and to blur only those areas. This allows the developers not so much to improve the impression of a tin type’s characteristics but the extremely shallow depth of field that we associate most with large format cameras.

In previous versions of the app a ring of blur was placed around the subject based on where the camera was focused, but it was only really effective when the subject was a person and they were in the right part of the frame. The new v2.1 version bases the decision about where the blur should go on real depth data, so the effect can be applied in a convincing way in a much wider range of situations.

The app is only available for iPhone users, and can be downloaded from the Apple App Store. For more information on the TinType app see Hipstamatic’s TinType page.

Articles: Digital Photography Review (dpreview.com)

 
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