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  • Video: Shooting a portrait on a 20×24 instant(ish) camera in Vienna

    Marco Krenn of YouTube channel Analog Things has shared a video showcasing a 20×24 Wisner camera, including the process of capturing and developing a photo with it.

    The camera, which is located at Supersense in Vienna, Austria, is presented in great detail throughout the ten minute video, with Krenn taking a look at the ground glass and paper holder, as well as the lens, inside the bellows, and the final portrait.

    Supersense offers an online tour of its large format instant cameras, including an 8×10 Vienna Vintage Wood camera and the 20×24 camera featured in the video. The company allows visitors to schedule an appointment to have their own 20×24 or 8×10 instant portrait taken, and also sells instant film packs. In addition to its YouTube channel, Analog Things shares images related to analog photography on its Instagram account.

    Articles: Digital Photography Review (dpreview.com)

  • Nikon Z6 image quality and dynamic range impress, but not without caveats

    Studio Scene

    We shot the Z6 using Nikon’s new Z 50mm F1.8 S lens, since improved optics are one of the main promises the company has made for its mirrorless system. JPEGs were shot with lens corrections minimized as far as possible. Adobe Camera Raw has mandated lens distortion and chromatic aberration corrections, despite us disabling that option in the camera. Have a look below, then take a look at our dynamic range assessments further down.

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    The results of the Z6 and 50mm S lens are impressive, with consistent performance across the frame$ (document).ready(function() { $ (“#icl-4298–901106245”).click(function() { ImageComparisonWidgetLink(4298); }); }). The anti-aliasing filter appears a bit stronger than the Sony a7 III, which means a bit less detail but less occurrence of false color$ (document).ready(function() { $ (“#icl-4301-714546339”).click(function() { ImageComparisonWidgetLink(4301); }); }).

    While fine detail isn’t as well preserved at low ISO$ (document).ready(function() { $ (“#icl-4299-740733493”).click(function() { ImageComparisonWidgetLink(4299); }); }) or at high ISO$ (document).ready(function() { $ (“#icl-4300–152210045”).click(function() { ImageComparisonWidgetLink(4300); }); }) as the best of its peers, the Z6 generally strikes a nice balance between noise and detail. Low light Raw performance is competitive with the best of its peers$ (document).ready(function() { $ (“#icl-4302–698920912”).click(function() { ImageComparisonWidgetLink(4302); }); }), which is to say it’s essentially class leading.

    Exposure Latitude

    Our Dynamic Range tests presented no great surprises. The same banding in shadows the Z7 displayed is present in the very darkest tones of its images, at 12 row increments – the very rows dedicated to phase-detect AF (PDAF). This suggests the Z6 PDAF rows aren’t being perfectly corrected when they’re incorporated into the Raw files. This will impact the usability of darker tones in images relative to its peers like Nikon’s own D750 or Sony’s a7 III. We’ll also check for striping (bright white stripes across shadows) in back-lit shooting as we put together a sample gallery with the camera.

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    ISO-Invariance

    The camera isn’t entirely ISO Invariant but this is largely because the sensor features the Aptina-style Dual Gain design that Sony Semiconductor has been using for the past few years. This sees the camera use a second higher gain circuit in its pixels to reduce noise from ISO 800 upwards (at the cost of some capacity for dynamic range), where the camera is essentially entirely ISO-invariant.

    This means that if you shoot Raw there’s no advantage to increasing ISO above 800, for the same shutter speed and aperture, vs. brightening the Raw file yourself while protecting highlights in post-processing. This method of working can afford you many stops of additional highlight detail at no cost to you other than a dark image preview.

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    Our results are confirmed by Bill Claff, based on the test images we sent him. His graphs show a similar pattern to the a7 III’s results but with the performance lying a fraction behind the Sony and a little ahead of the Canon EOS R at most ISO settings. In real world shooting, though, banding in shadows may decrease the overall usable dynamic range.

    Articles: Digital Photography Review (dpreview.com)

  • Top 5 Tips for Extreme Sports Photography

    Top 5 Tips for Extreme Sports Photography 1

    Extreme sports photography is a discipline all of its own.

    Each sport has its intricacies, rules, and set of specialists who operate in each arena. Me, I am a long time skateboarder. I’ve been a skate rat since I was a kid. I’ve looked at thousands of images, know how a trick should look and know what the rider is looking for. Put me with a BMX rider and I may have an idea of how they want the trick to look, but I will be unsure of exactly what they’ll be doing. The key, like any genre of photography, is to know what you are shooting and work with your subject to form a bond of trust. 

    To those who haven’t shot extreme sports before, it may look easy. But the truth is, unlike posing a model in a studio, sports photography is unpredictable and extreme sports, even more so. With this in mind, here are my top 5 tips to up your extreme sports photography game. 

    1. Know The Sport

    Ever photographed a ballerina? If you have, you know they will pick out the minute detail in a photo you take. Finger placement or how high they are on their toes will dictate whether a photograph is one they love or one they hate. Extreme sports athletes are exactly the same! The best way to know what a great shot looks like is to start by doing your research. Look on websites such as Thrasher and Ride BMX. See what their photographers are taking. Look at where the photograph is taken from, try to figure what lens they used and how it was lit. As with any photography, breaking it down and visualizing how you want things to look before you shoot is key. The only difference with extreme sports is that the person you are taking a photo of will more than likely be risking personal injury for your photo. You need to be ready, know what settings you want to use and have an angle in mind. Which brings me nicely to….

    2. Camera Settings

    To quote my all-time favorite movie Ferris Bueller’s Day Off:

     ‘Life moves pretty fast. If you don’t stop to look around once in a while, you could miss it.’

    Extreme sports is fast. Whole tricks last barely a second. And you need to freeze an incredibly small percentage of that. There are two ways to freeze motion in extreme sports; one is to use a high shutter speed, the other is to use a flash with a small flash duration. Unless you know what you are doing with off camera flash or are shooting at night, using a high shutter speed is a much better option when you are starting out. You need to have your exposure nailed quickly and a high shutter speed will be the easiest way for you to do this. 

    You should put your camera into ‘Shutter Priority’ and aim for a shutter speed of at least 1/500th of a second. This will mean your images will not suffer motion blur, which is important to capture those beautiful moves. The obvious pay off here is aperture and ISO. I would personally suggest when starting out to use a higher ISO and keep a wider aperture. This gives you a larger depth of field to work with and a higher chance of a sharp image. 

    This is great when shooting outdoors, but when shooting at an indoor skatepark, you need to think about using flash. Plan your shoot accordingly.

    In terms of focus mode for your camera, you should aim to use Ai servo mode. This is designed for shooting action and will give you the best chance of getting the rider in focus. An alternative to this is to pre-focus and then switch to manual focus to keep it locked. This technique involves getting your rider to position themselves where you anticipate taking the photo, focus on this point, then flick over to manual focus. As with everything, read your camera manual, experiment and see which works best for you.

    3. Think Don’t Feel

    As I said above, extreme sports tricks can last less than a second. By the time you see the perfect moment in your viewfinder, it is already too late. You need to trust yourself and shoot just before the peak moment. Anticipate what is about to happen and trust your instinct. Your instincts will sharpen with practice. With most extreme sports tricks you will have more than one chance to get the shot. In some cases, you may have too many tries. You can help cure your boredom by changing angles if you think of something different, or you can tough it out. However, the unwritten rule of action sports is that the trick must be landed. This argument has been going on for as long as the sports themselves. The rider must make the trick in order for you to put the photo out, otherwise, they are just posing it. Now the even bigger question is: does the photo have to be of the one they landed? This is up to you. Personally, I pick the best photo.

    Top 5 Tips for Extreme Sports Photography 2

    If I had waited to see this in the viewfinder it would be gone. Try to anticipate and press the shutter just before the peak moment

    4. Angles

    The best angle for shooting tends to be down low. This adds height to the object and power to the person in your photograph. This technique is one you will see a lot of in magazines, but there are no hard and fast rules. When you get the spot, look around, try taking photos from different angles, until you find the one that makes the trick look powerful. 

    In terms of composition, to allow the photo to make sense to the viewer you need 3 key things: where they started, where they are and where they will land. I have lost count of the number of photos I have seen of riders in the air. It has no context, you may as well have just composited the rider onto a sky background. Context is key. 

    The third and final tip for composition is to avoid the butt shot. The key to a good extreme sports photo is to be able to see the riders eyes. When finding the angle for your shoot, look at which way the rider approaches the trick and plan accordingly. By getting their face in their frame, you will always get a better photo. 

    To answer the question that some of you might be asking, which lens is the best for extreme sports photography? It is the full frame fisheye. The lens gives that wonderful distortion that we associate with this kind of photography. However, this means you are incredibly close to the action, which brings me to my final point.

    Top 5 Tips for Extreme Sports Photography 3

    This was my second to last shot of this shoot. The next try I got hit with a board and cut pretty badly. Be careful!

    5. Be Careful

    You need to be aware of your surroundings at all times, even if you are shooting with a long lens, there will no doubt be more than one person at the skatepark or spot where you are taking photos. This means people and skateboards will be flying. It is incredibly easy to take a rogue skateboard to the ankle (and incredibly painful) but when shooting with an extremely wide angle lens, such as the fisheye, you can risk taking a rider, board or bike to the head. While it can be easy to feel secure when looking through your viewfinder, you need to remember that being a photographer can be as dangerous as being the rider if the trick goes wrong. Just keep your eyes open and remember a photo is not worth the pain of being hit in the head with a skateboard when a rider misses a trick. Trust me, I know!

    Have you tried extreme sports photography? Do you have tips or photos you’d like to share in the comments below?

     

    The post Top 5 Tips for Extreme Sports Photography appeared first on Digital Photography School.


    Digital Photography School

  • The Leica Q-P is a stealthy, subdued version of the Leica Q that’s missing the iconic red dot

    Leica has announced its latest camera, the Leica Q-P. Deemed “an artful statement of understatement,” the Leica Q-P is essentially the Leica Q camera wrapped inside a more discreet, subdued frame.

    Much like the Leica M10-P, a higher-priced and more toned down version of the M10, the Leica Q-P drops the iconic red dot in exchange for a classic Leica script engraving on the top plate of the camera and finishes off the stealthy look with a matte-black paint finish.

    The Leica Q-P has a redesigned shutter release that Leica says provides “a more positive tactile feedback” and comes with a new brown leather carrying strap and an additional spare battery.

    Aside from the aforementioned changes, the Leica Q-P remains unchanged from the Leica Q camera inside and out. It has the same Summilux 28mm F1.7 ASPH lens in front of the 24.2MP full-frame CMOS sensor and a Leica Maestro II image processor to crunch all of the data.

    Likewise, it keeps the same 3.68MP electronic viewfinder, 3″ 1.04 million dot touchscreen LCD display on the rear of the camera, and built-in Wi-Fi for compatibility with Leica’s FOTOS smartphone app.

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    The Leica Q-P is listed on B&H as available for pre-order and is retailing for $ 4,995.

    Articles: Digital Photography Review (dpreview.com)

  • Irix 150mm F2.8 Macro 1:1 lens preorders arrive ahead of December release

    IRIX has launched its 150mm F2.8 Macro 1:1 full-frame DSLR lens for preorder. The model measures 8.7 x 13.5cm / 3.4 x 5.3in, weighs 840g / 29.6oz, and features 12 elements in 9 groups, a 0.345m minimum focusing distance, 77mm filter size, focus lock, a detachable Arca Swiss lens collar, and a detachable lens hood.

    The 150mm F2.8 Macro 1:1 lens includes a Neutrino coating to minimize ghosting and light flares resulting in improved color fidelity and contrast. IRIX used its Dragonfly finish for weather sealing against moisture and dust. As stated in late September when the lens was announced, IRIX claims its new lens has nearly zero distortion at 0.1-percent.

    The new 150mm F2.8 Macro 1:1 lens is offered in Canon EF, Nikon F, and Pentax K mount options, each priced at $ 595 USD. The model can now be preordered from B&H Photo, where the shipment start date is listed as December 26, 2018.

    Articles: Digital Photography Review (dpreview.com)

  • NASA shares the first 8K footage from space, shot aboard the International Space Station

    NASA has published the first 8K footage from space on its YouTube channel.

    The three minute video, filmed aboard the International Space Station, details “the in-space experience and see how the international partnership-powered human spaceflight is improving lives on Earth, while enabling humanity to explore the universe.”

    Throughout the video, more than a dozen experiments and devices are shown, each of which are listed and timestamped in the video’s description on YouTube. There’s even a glimpse or two of Nikon D5 cameras and Manfrotto mounting equipment.

    In order to view the video in full resolution, you’ll need to either stream it on Google’s Chrome browser or download the 3GB MP4 video directly from NASA’s Image and Video Library website.

    Of course, in order to watch it in all its glory, you’re going to need a display capable of showing off 8K footage — something you might not have sitting around the house or office — so keep that in mind.

    NASA specifically thanks the European Space Agency, the ISS National Lab, and astronauts Alexander Gerst, Serena Auñón-Chancellor, Ricky Arnold and Drew Feustel for their efforts in the making of the video.

    Articles: Digital Photography Review (dpreview.com)

  • Cinemartin launches Fran cameras with 8K global shutter and RAW support

    Cinemartin has announced the launch of Fran LT, Fran (STD), and Fran Plus, three new 8K camera models offered at introductory prices until December 31, 2019. The company also plans to start shipping a new line of ultra-high brightness 2500 nit 7″ HDMI+SDI monitors by the end of the month.

    The Fran LT is the lineup’s introductory model, featuring a 24MP sensor, maximum 7920 x 3024 resolution, and aluminum chassis. The mid-tier Fran (STD) is more advanced with a 32MP sensor, maximum 7920 x 4096 resolution, and mixed aluminum and carbon fiber chassis. The line’s most advanced model, the Fran Plus, has a 47.7MP sensor, maximum 7920 x 6024 resolution, and fully carbon fiber body.

    All three models feature an 8K global shutter with support for shooting raw, though only the two higher-end models support both compressed and uncompressed raw. The Fran (STD) and Fran Plus both support 8K/30p maximum frame rates, while the Fran LT maxes out at 8K/24p. Unlike the Fran LT model, the Fran (STD) and Fran Plus feature a removable lens mount, PL mount, Thunderbolt 3, stabilization, and modular design. All three support removable m.2 NVME SSD drives.

    The Fran Plus is the only model of the three that is programmable, which according to Cinemartin, means users can utilize OpenCV-based code for new features. One provided example is using a plugin to identify an on-screen car’s shape and color in order to automatically present the driver’s name on the display. The company includes sample code with the camera.

    Cinemartin is offering the three new models at discounted introductory prices until December 31 or when inventory runs out, whichever happens first. Buyers can order the camera through the Fran 8K website or via Cinemartin’s authorized resellers. An initial deposit must be paid to reserve the cameras, which will be available in two to four months depending on model.

    • Fran LT: 10.995€ regular, 7.920€ introductory
    • Fran (STD): 17.790€ regular, 15.995€ introductory
    • Fran Plus: 25.670€ regular, 19.995€ introductory

    Articles: Digital Photography Review (dpreview.com)

  • Review Tamrac Anvil Pro Series Backpacks

    Review Tamrac Anvil Pro Series Backpacks

    Camera backpacks are abused, and I mean seriously mistreated.

    We need them to be tough; want them to be comfortable; need them to be light; we want them to be dependable; want them to handle heavy loads (often worth thousands), we need them to offer security; we want them to adapt, and, we want to forget they’re there, and we don’t want them to complain.

    It seems, on the surface, this is a rather one-sided relationship. But, in fact, it can be a rather nice love affair.

    Ok, that’s a tad mushy, I know! The point is, camera backpacks are some of the hardest working bags in the world. When you need the shot, and the light is fading, they are dumped to one side, no matter what the surface, with zips ripped open. The last thing any of us think about is the poor backpack. And, that’s the way it should be. That’s the whole point. Their role is that of the consistently reliable silent partner.

    Why I Switched to the Tamrac Anvil Pro Series Backpacks

    After owning numerous backpacks over the years and always disappointed with their performance, I had a chance encounter with an old friend three years ago. They steered me in the direction of Tamrac, and more specifically, their range of six pro backpacks known as ‘Anvil.’

    Review Tamrac Anvil Pro Series Backpacks 1

    Side View of Anvil Pro Series Backpack with Accessories. Photo courtesy of Tamrac ®

    Now, I had heard of Tamrac because I also own an older style Gura Gear bag. But I hadn’t realized just how influential they have been in camera backpack development over the last 40 years. A bunch of outdoor enthusiasts established the company in Southern California in 1977. They had a mission to design products that could withstand the day-to-day challenges of photographers in the world’s most testing and demanding environments and conditions. They stuck to that conviction and they continue to innovate and enhance – based on customer reviews they are getting.

    Tamrac has sized the Anvil to fit us, and our gear. Whether we shoot pro-DSLR with battery grip, have a big fast glass or have been enlightened by the mirror-less movement. With six sizes, multiple heights and depths, any set-ups have an Anvil to suit.

    I decided to invest in the ‘Anvil 23,’ as it is appropriate to my particular set of requirements. That said, all six Anvils are designed and built alike, with capacity being the only real difference.

    Review Tamrac Anvil Pro Series Backpacks 2

    Front/Side View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

    Now, when it comes to handing over hard-earned cash for a backpack, I have some basic criteria to meet. Albeit, I would have to take a punt based on existing customer reviews and previous experience. Three years on, and I can now add my own real-world experience to this set of standards.

    Adaptability

    Backpacks need to be fully customizable and to adapt with you as your gear evolves.

    The Anvil has certainly delivered on this front. It features a large main padded compartment designed to protect and carry multiple pro-sized DSLR bodies with lenses attached. Along with a full range of lenses, flashes, and accessories.

    Review Tamrac Anvil Pro Series Backpacks 3

    Compartment View of Anvil Pro Series Backpack Photo courtesy of Tamrac ®

    Review Tamrac Anvil Pro Series Backpacks 4

    Top Compartment View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

    I’ve lost count of the number of times I’ve reconfigured the internal compartment over the years to cater for my varying needs!

    Robust Materials

    While keeping my bag light is extremely important, there is also the need for it to stand up to some serious long-term abuse.

    Anvil backpacks utilize over ten different optimized foams for the perfect balance of weight and protection. The fabric used is ‘Cordura 500D’ with a PU coating. It is super-rugged and has excellent abrasion resistance. It’s also incredibly strong with outstanding tear strength and water repellent capabilities.

    My Anvil 23 is now three years old. Although it shows signs of use (extreme abuse) and its showroom shine has gone, everything is still in working order. There’s no evidence to suggest material degradation.

    Of course, when your backpack is dragged down a wet pebble beach by a German Shepherd, it has to be tough, right?

    Review Tamrac Anvil Pro Series Backpacks 5

    Photo © Andrew Sproule

    Comfort

    Wider, flexible waist-straps and shoulder straps are a must to ensure I can manage all my gear comfortably over long periods of time.

    Furthermore, I transit through plenty of airports each year and climb many a mountain. The Anvil’s comfortable airflow harness and removable belt system (which you can use independently) has made any amount of gear easy to carry.

    I’ve also been able to fit the Anvil in the overhead compartment of most commercial aircraft, but please check with your own carrier’s carry-on restrictions.

    Review Tamrac Anvil Pro Series Backpacks 6

    Back View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

    Review Tamrac Anvil Pro Series Backpacks 7

    Belt View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

    Review Tamrac Anvil Pro Series Backpacks 8

    Back Belt View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

    Access

    Due to the fact that I work predominately outdoors, there are few things worse than missing a shot because I couldn’t get access to my gear on time.

    Except for the Anvil Super 25 (designed to carry up to an 800mm lens or up to a 500mm attached to a pro DSLR), all Anvils have a handy front padded pocket that holds most 15” laptops. There are also many other exterior pockets for carrying accessories. These are where I tend to keep memory cards, phone, etc.

    Review Tamrac Anvil Pro Series Backpacks 9

    Front View of Anvil Pro Series Backpack with Tripod (not included). Photo courtesy of Tamrac ®

    Review Tamrac Anvil Pro Series Backpacks 10

    Front Open View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

    Dust

    Dust is my camera’s enemy.

    I lead worldwide wildlife photo safaris to some extremely inhospitable places, and dust can be a constant concern. Past backpacks I’ve used have been dust magnets, especially ones with air-mesh type materials.

    Thankfully, the Tamrac Anvil Pro Series Backpacks are completely seam-sealed and have a weather protective rain fly. Both have been critical components in my gear’s welfare.

    Review Tamrac Anvil Pro Series Backpacks 11

    Rain Fly View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

    In conclusion

    As I’m sure you can tell by now, I’m a big fan of the Tamrac Anvil Pro backpack. That’s down to the fact that it has delivered against my set of expectations and requirements. So, it’s certainly not the cheapest backpack on the market, with prices ranging from around $ 170 – $ 270 (approx. £130 – £210). Although, if I had to choose a backpack again, I would most certainly go for an Anvil.

     

    The post Review Tamrac Anvil Pro Series Backpacks appeared first on Digital Photography School.


    Digital Photography School

  • How to Use Import and Export Presets in Lightroom Classic CC

    When it comes to using Lightroom Classic CC (formerly Lightroom CC. Yeah, it confuses me too) there are lots of fun things to do and some not-so-fun things to do. Oddly enough, those not-so-fun (okay, painfully monotonous) undertakings can be the most pragmatic and valuable.

    Don’t get me wrong. I like using the filters and sliders as much as the next guy. But sometimes you need to endure a little dullness so you have time to do more of the fun stuff.

    In this article I’ll be tackling two of the less adventurous aspects of working with image files in Lightroom Classic CC: import and export presets.

    The Great Power of Presets

    A Lightroom preset (along with a Photoshop action) is a file containing a set of actions you want to perform. It can help you complete a relatively complicated operation without needing to perform each step manually. What’s more, it can easily be repeated as many times as needed.

    Import and export presets allow you to apply certain choices when importing and exporting your images. They tell Lightroom where you want to start and end with one or more images.

    Fortunately, creating and working with import and export presets is extremely easy. Let me show you how easy and useful they can be. (I promise I’ll sneak in a joke at some point to keep things fresh.)

    Using Import Presets

    Import presets are sets of parameters you can apply when you first import your images using the import dialog box.

    Creating an import preset is a great way to speed up importing your photos. Instead of having to choose the destinations, file naming and handling, and metadata each time you bring your images into Lightroom, you can simply make a preset. What’s more, the develop and metadata presets can be automatically applied as you import them. This is a great way to not only speed up your processing but also ensure your images are protected with copyright metadata.

    How to Create an Import Preset

    Once you’ve selected all the options you want saved as a preset, look for the ‘Import Preset:’ tab at the bottom of the import dialog screen. This is what you’ll use to save your import preset.

    Next, select the drop-down menu on the far right of the tab and select ‘Save Current Settings as New Preset…’.

    Next, enter a name for your new import preset. In this example, I’ve chosen a name that’s demure and professional.

    Finally, select ‘Create’. Your new import preset should now appear in the presets drop-down menu.

    How to Apply an Import Preset

    If you think creating an import preset is easy, wait ’til you see how painless it is to apply one to your next import.

    This is the real reason why import presets are so great to have in your Lightroom toolbox.

    Simply go back to the ‘Import Preset:’ tab at the bottom of the import dialog screen and select the preset you want to use. (You’ll notice I’ve added some more presets with similarly demure and professional names.)

    Select the preset you want to use from the list and it will instantly be applied to your import. No more cycling through option panels or wasting time on file handling and renaming.

    Using Export Presets

    Export presets are the cool uncle of our import presets. They accomplish essentially the same task except they look after the back end of your editing.

    In a way, export presets are even more flexible and useful than import presets. They can ensure you export and store your images correctly every time, which is important when working with websites, publications or clients that have specific image requirements. And they’re just as easy to make as import presets.

    To get started, click ‘Export…’ to bring up the export dialog screen.

    As you can see you have the usual suspects you can apply as you export – export location, file naming, file settings, image sizing  – along with develop presets, watermarking and output sharpening. Won’t it be great having a preset ready and waiting to save you from doing all those clicks?

    How to Create an Export Preset

    Creating an export preset is incredibly simple. Lightroom comes with some default export presets, but we’re going to be grownups and create our own.

    Once you’ve made all the selections you want to be included in your preset, click the “Add” button

    Next, choose a name and a folder for your export preset. If you want to create a new folder, select the ‘New Folder’ option from the drop-down.

    Congratulations. You’ve just created your first export preset. If you regularly work in Lightroom Classic CC you’ll fine them indispensable. And your mouse (and your fingers) will thank you.

    And now, as promised…

    “Knock knock.”

    “Who’s there?”

    “An interrupting cow”

    “An interrupting cow w—”

    “MOOOO!” 

    Thanks, folks. I’ll be here all week. Try the veal.

    How to Apply an Export Preset

    To use your export presets, simply select it from the list on the left. But don’t forget that all of your export presets are entirely editable.

    Let’s say you want to tweak the preset you just made. To do this simply make your changes, and right-click on the preset and select “Update with Current Settings”.

    This will save your current export settings, overwriting the previous export preset settings.

    Note: This won’t change the name of the preset. So to avoid any mixups for future exports you should save the changed settings as a new export preset.

    Some Final Thoughts on Import and Export Presets

    The question isn’t whether you should use import and export presets, but rather why on earth wouldn’t you use them? Your time is valuable, so why not work smarter instead of harder. Sure, creating import and export presets isn’t the most glamorous part of working in Lightroom. But the time and guesswork they’ll save you are definitely worth the effort.

    If you don’t currently use these types of presets I hope this article gives you the kick you need to do yourself and your processing a huge favor.

    The post How to Use Import and Export Presets in Lightroom Classic CC appeared first on Digital Photography School.


    Digital Photography School

  • Shimoda unveils Explore 30 multi-use backpack for DSLR and mirrorless cameras

    Shimoda has launched its new Explore 30 Daypack, a multi-use backpack for photographers, filmmakers, and others. The bag features the same gear carrying capacity as the original Explore 40 pack despite a shorter profile, according to the company. As well, the Explore 30 backpack has a new removable belt system and the ability to use Shimoda’s lineup of Core Units, the modular storage compartments that house camera gear.

    The Shimoda Explore 30 features a main compartment that is accessible while carrying the bag, as well as a wrap-around zippered opening for access while the bag is positioned facing the wearer. The backpack has a dedicated zippered smartphone pocket, stretchable side pocket, padded shoulder straps, a removable waist belt, and a top carrying handle.

    The Explore 30 is weather-resistant and can be used with a separate rain cover for additional protection. Photographers can utilize the Mirrorless Medium Core unit for transporting mirrorless and rangefinder cameras and lenses, or the Large DSLR Core Unit for transporting longer telephoto lenses and DSLRs.

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    Accessory webbing straps enable users to attach accessories to the bag’s front and side panels; there’s also a multi-use accessory pouch that can be used with the webbing straps to transport larger items, such as a tripod. Shimoda is also offering a multi-section SD card wallet, a divider kit for the DSLR Core Unit, a Belt Booster that transfers some pack weight to the wearer’s waist, three mesh Stuff Sacks, and extra webbing straps with gate hooks.

    The Shimoda Explore 30 backpack is available to preorder from B&H Photo and Adorama for $ 259.95 USD.

    Articles: Digital Photography Review (dpreview.com)