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

07 Nov

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)

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

07 Nov

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)

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

07 Nov

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)

 
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Review Tamrac Anvil Pro Series Backpacks

07 Nov

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.’

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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.

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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.

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

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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?

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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.

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

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

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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.

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

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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.

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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.

 

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How to Use Import and Export Presets in Lightroom Classic CC

06 Nov

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.

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

06 Nov

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)

 
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Blur and Creative Photography – Why Your Images Don’t Need To Be 100% Sharp

06 Nov

Blur and creative photography – Why your images don’t need to be 100% sharp all of the time.

Blur and Creative Photography - Why Your Images Don't Need To Be 100% Sharp 1

I have an image of a blueberry shot on the end of a spoon with my macro lens. It has a very narrow depth of field (DOF).  Only the front of the blueberry is in focus. The rest has a lovely soft blur.

The first comment when I posted it on Facebook was ‘it would look better if it were all in focus.’

No.

There is a perception amongst some photographers who are very invested in the technicalities of shooting, that absolutely every image has to be 100% sharp. While it is an entirely valid choice – and I fully support the decision to shoot their images that way – it is not the ‘only’ choice.

For those of us who want to explore different creative styles, have fun with different lenses and push the boundaries of what photography can allow us to do in creating art, there are plenty of alternatives.

NOTE: To clarify, sometimes an image ‘just is’ out of focus for whatever reason. This article addresses the photographers deliberate creative choice to use softness or blur in a picture.  It may be a subtle difference for some, but it is a difference.

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Beyond Bokeh

It amuses me that many photographers believe all images ‘must be tack sharp.’ Still, they are out there taking photos of birds, portraits or wedding shots with very soft blurred bokeh backgrounds. However, the reasons they do so are perfectly valid.

Some photographers do so to:

  • soften a distracting background
  • bring the subject into prominence
  • make it aesthetically pleasing
  • give depth and 3D feel to the image

But for bokeh to work well, you need to have some specific elements present and happening. Such as decent quality lenses, a lot of distance behind the subject to the background, and good soft light. Not every shoot offers those situations, nor can everyone afford the best lens.

What if we want even more softness in our image, including the subject? Maybe we want the background sharp, and the subject blurred – a technique often used in some street photography styles.

What about ICM – Intentional Camera Movement? Or Wabi-Sabi, the Japanese/Zen aesthetic of the beauty of imperfection.

There are so many other ways to see the world and present our images with our unique creative viewpoint. If that means smearing stuff on a filter in front of your lens, then smear-away :).

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Learn To Love the Blur

Bring your hand as close to your face as you can, so you can still focus on it. What happens to the background?  If you shift focus to the background instead, your hand blurs.

Distant mountains are blurred as we physically cannot focus clearly that far away.

So its natural for blur to be present in our images. Therefore if we choose to use it more creatively to give our pictures a different feel or mood, we are enhancing a natural element in our world.

Painters can represent a tree in different ways depending on their technique and style. It may be rendered beautifully with every leaf painted as an individual element. It may have stark lines representing a trunk and branches, or colorful blobs in the background.

Photography can be playful, creative, stylistic and artistic as well. We can allow ourselves to love blur.

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Intentional camera movement is popular with stands of trees, soft beach scenes, and fields of flowers. To enhance it, even more, some people stretch plastic film in front of the lens. Or wrap it around the front leaving a small opening to shoot through.

I know flower/macro photographers who wrap gauze fabric around the front of their lens for an alternative soft effect and to add some color as well. Stretching pantyhose across the front of the lens is also cheap and effective.

Smearing petroleum jelly on a filter screwed to the front of the lens is reasonably common for an effective soft blur effect.

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Lens Choices

Lenses with an F stop of 2.8 to 1.4 give a very narrow depth of field, which highlights the subject and softens the background. Macro lenses are excellent for this effect.

Many portrait and wedding photographers will have an 85mm portrait lens with an F-stop in this range. Often specifically used to blur the background for a nice effect.

Lensbaby are well known for their special effect lenses. Their lenses offer lots of creative blur effects.  The ‘Composer’ range allows you to select a specific point in the image to be in focus while softening the remainder. The ‘Twist’ range gives a swirly bokeh effect in the background, and there are other options too.

‘Helios’ and ‘Vivitar’ vintage lenses are experiencing a renaissance in popularity. They have many creative bokeh effects (including the swirl style) and are quite cheap in comparison to Lensbaby. They are vintage manual-focus lenses and may need a specialist mount to attach to your modern camera, but can they can be purchased at very affordable prices.

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Vintage ‘Helios’ lens gives very swirly bokeh blur in this image

Have Fun

For some people, it can be scary to let go of the need for sharpness and embrace the softer side. Other people sit happily in that place and rarely shoot a classically sharp shot.

There is room within photography as a creative medium for us to be artistic. To let go of the perceived rules, relax and have some fun doing something different.

Yes, some effects are niche, and you may not want to use them all the time. But you wouldn’t use a Fish-Eye lens every day either.

Having a range of choices gives you much more scope to shoot differently, add your unique take on an image. Using different lenses can help us see the world in new exciting ways and open up opportunities to create memorable images.

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Ways to Play

1. Bokeh

Bokeh relates to the quality and smoothness of your blurred background when you shoot the subject with a shallow depth of field. Different lenses give a varied type of bokeh. Usually, the better quality fast primes or macro lenses have the smoothest, most pleasing bokeh.

Bokeh happens when the subject is closer to the camera than it is to the background. Shooting wide open, i.e., F2.8 to F1.2 will give maximum blur of the background.

So try to shoot your subjects wide open with a narrow depth of field. With the background further away from them, you will achieve the nice soft blur.

Blur and Creative Photography - Why Your Images Don't Need To Be 100% Sharp 8

2. Selective Focus

When you combine a narrow depth of field, such as F2.8, with selecting a specific part of the subject, it will soften everything else in the image.

Doing so creates a lovely effect with flowers and macro imagery.

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3. Shoot Through

Place something in front of the lens to add some level of softness.  It can either completely cover the lens or be wrapped around it to only soften the edges.

You can use:

  • nylons stretched across the lens
  • gauzy fabric wrapped around the lens
  • plastic film across or wrapped around the lens
  • filters smeared with petroleum jelly
  • hold fabric or flowers in front of part of the lens to add softness (common in flower photography)

4. ICM (Intentional Camera Movement)

Intentional Camera Movement is when the camera is deliberately moved during the shutter opening and closing to add blur to the image. A neutral density filter can assist with giving you a slightly longer shutter speed if shooting in daylight.

You may have seen this used in shots of forests with vertical stands of tree trunks.

5. Vintage Lenses

Try purchasing ‘Helios’ or ‘Vivitar’ Lenses (or other options) and related mounts for your camera. Many of these lenses have unexpected visual effects (sometimes seen as a fault) but can be used effectively for creative shots.

6. Specialty Lenses

Lensbaby offers a range of lens solutions to give you a variety of soft effects.

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Lensbaby Velvet 56 at F1.8 is very soft and adds a glamour effect

7. Filters

Soft Focus filters get screwed in front of your lens and are useful in portrait and glamour work. Otherwise, many people mimic this effect in post-processing via Photoshop.

Blur and Creative Photography - Why Your Images Don't Need To Be 100% Sharp 12

Conclusion

For those who strive to have every image as sharp as possible, continue with your efforts. If you who want more variation, flexibility, and creativity in your work, there is space to play and create that style of an image too.

It doesn’t have to be expensive. The vintage lenses can be bought online for under $ 100 (depending on freight and exchange rates).

Give yourself permission to relax, experiment and play, and create something unique!

Come over to the soft side. We like it here! ?

Share your images with us in the comments below.

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The Truth About Becoming a Professional Family Photographer

06 Nov

So you’re growing restless with your place in life, and thinking of becoming a professional family photographer? You know it’s what you want to do, but there seem to be a lot of obstacles holding you back. If only you could take a quick peek into the future and see if it will really work out for you.

Unfortunately, there’s no way to see the future. But would hearing from a photographer a few years ahead of you help?

I’ve been there myself and encouraged others along the way. And I hope I can inspire you too.

My first photography job had me working with dozens of kids every day. I didn’t know how to work the camera. Everything in the studio was preset. But what I did learn was how to work with people, especially kids. That is one of the most valuable parts of my family photography business.

Am I Good Enough?

Chances are many of your doubts relate to one question: ‘Am I good enough?’ But keep in mind that’s different from asking, ‘Are my photographs good enough?’

Are your photographs good enough? Do you know how to work your camera, and take the photo you envisage in your head? Do you get good responses from people when you put your photos out there? Do other photographers give you encouraging feedback?

If you can’t answer ‘Yes’ to these questions, then you probably need to improve your skills. But if you can, then you are good enough. And you’ll keep getting better through experience. Eventually, you’ll know you’re good enough because everyone who hires you will love their photos.

Begin with competence, and the confidence will come with time.

Along the way, you may be really hard on yourself. You might be a great photographer who pleases the families that hire you, and yet you still feel inferior. Learn to be honest with yourself, and start assessing your work from other people’s perspective.

At first, it may feel really awkward taking photographs of families you don’t know. Learn to embrace that awkwardness and be comfortable with new people, silences, and the occasional tears.

I Don’t Have a Defined Style Yet

You don’t need a defined style when you’re starting out. You’ll develop your style along the way. You don’t really know what you’ll encounter yet, so keep yourself open to surprises. Your style will reflect your unique vision (which you’ll be developing your entire life) and the experiences you’re drawn to.

Compared to other photographers well ahead of you, your style and vision may seem weak. But if you ask, they’ll tell you it took them a while to develop their style too.

I knew nothing about ‘golden hour’ photography when I first started my business. Now I love this time of day for photography.

I Need to Have the Right Gear First

Don’t go into debt for thousands of dollars to start your photography business. Use what you’ve got to the best of your ability. It’s probably better than you think.

Yes, you need to have good gear. But most new photographers over-purchase and buy gear they never use. Start with a good camera and a 50mm lens. Then upgrade and expand your gear as you get more experience.

No photographer is as good as the simplest camera — Edward Steichen.

I use a Fuji XT1 and 56mm lens for most of my photos.

Where Can I Get a Logo?

You don’t need a logo to get started. Nobody really cares about your logo. When people are looking for a photographer, it’s not your logo that will convince them to hire you.

Spend your energy building and showcasing your photography, and leave the logo for later.

How Many Facebook ‘Likes’ Should I Have?

When you’re starting out you should use every avenue possible to let people know you’re in business as a photographer – social media, networking, word of mouth and, of course, a website.

But don’t worry about the number of ‘likes’ you have. It’s the people who hire you that count, not the people who click ‘like’.

In the beginning, social media and word of mouth were critical for me. But now my website brings in most of my business. Create a simple website showcasing your photography, and tell people why they’ll love hiring you as a photographer.

Should I Quit My Job?

No.

Ease yourself into becoming a professional family photographer, and then leave your day job when you’re confident it’s the right decision.

I had seasonal jobs that allowed me to pursue photography in the summer. After about three years I decided to quit my job. I’m introverted and find it difficult to promote myself, so it took longer than it needed to. It might be much quicker for you.

Occasional sessions on evenings or weekends is a great way to get started. Prove you really want to be professional and that you can make your business work, then quit your job.

The more you focus on your photography instead of things such as logos and likes, the sooner you’ll be able to transition into your own business.

What Should I Charge?

I guarantee you’re thinking about this the wrong way. You’re thinking about how much you should charge per session, aren’t you? But you really have no idea. You’ll make assumptions about how much people are willing to spend. And you’ll settle for way too little.

Instead, you should:

  1. Decide how much you’d like to earn in a year.
  2. Decide how many sessions you’d like to do each year. (How many sessions can you handle each week or month?)
  3. Use those numbers to calculate how much you need to charge per session.

Suppose you’d like to earn $ 50,000 per year and want to do only one session a week.

So that’s $ 50,000 / 50 sessions, or $ 1000 per session.

Maybe you’d settle for $ 20,000 each year and 100 sessions (two per week).

That’s $ 20,000 / 100 sessions, or $ 200 per session.

Keep in mind expenses. I use minimal gear and work on location, so my costs are quite low. But some photographers make a lot of money and then lose a lot of it due to expenses.

Above all, don’t assume you have to be cheap. People value photography, and when you’re a great photographer with excellent people skills they’ll be happy to pay you.

And don’t worry if your friends think you’re charging too much. Believe me when I say you shouldn’t start out cheap and then raise your prices over time. By all means, start off cheaper for a month or two to build your portfolio. But when you start you should already have your correct pricing in place.

Any Questions?

I’d be thrilled to answer any questions you might have. Leave them in the comments and I’ll answer them for you.

The post The Truth About Becoming a Professional Family Photographer appeared first on Digital Photography School.


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Fotolia is shuttering its website next year following complete integration with Adobe Stock

06 Nov

Fotolia, a stock photography platform acquired by Adobe in January 2015 for $ 800 million cash, has announced via email that it’s now fully integrated with Adobe Stock and its website will officially close exactly a year from today on November 5, 2019.

On Fotolia’s FAQ page, it says the following as a response to the question “Why is Fotolia closing?”

After thirteen years in business, Fotolia will transition its members to Adobe Stock on a voluntary basis in order to offer them a better and more streamlined service as well as deeper integration within Adobe Creative Cloud applications.

Fotolia says “The Core asset collection in Adobe Stock comes from Fotolia, so you’ll find the majority of the assets you love there,” adding “You’ll also find a unique and diverse portfolio of content uploaded from our world-class community of creative professionals.”

Fotolia’s contributor page now redirects to Adobe Stock’s home page, which reads “Turn your passion into earnings […] Sell your content to the world’s largest creative community.”

Starting November 5, 2019, Fotolia users will no longer be able to access their accounts, purchase credits or subscriptions, or download and upload content from the Fotolia platform. Instead, Fotolia users will need to transition to Adobe stock or another stock photography service.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Z7 Review

05 Nov

Nikon Z7 Review

The Nikon Z7 is the company’s most well-rounded camera to date: it’s as well spec’d and well-suited for video capture as it is for stills, and the quality of both is impressive. The Z7’s designed to offer an experience familiar to existing Nikon DSLR shooters in a smaller, lighter body, built around the all-new Nikon Z-mount.

This is Nikon’s first full-frame mirrorless camera: a 4K-capable machine which features a variant of the D850’s 46MP BSI CMOS sensor, but with the addition of on-sensor phase detection AF pixels and mechanical stabilization. The only area where the Z7 comes up a little short is autofocus reliability and usability – something at which Nikon’s DSLRs have long excelled.

Key features:

  • 45.7MP full-frame BSI-CMOS sensor with on-sensor phase detection
  • In-body 5-axis image stabilization (rated to 5EV)
  • 493 PDAF points with 90% horizontal and vertical coverage of the frame
  • ISO 64-25,600 (expandable to 102,400)
  • Up to 9 fps shooting (JPEG and 12-bit Raw)
  • 3.69M-dot OLED viewfinder
  • 2.1M-dot tilting touch LCD
  • OLED top plate display
  • Single XQD card slot
  • UHD 4K capture up to 30p
  • 10-bit 4:2:2 N-Log output over HDMI
  • Up to 100Mbps H.264 8-bit internal video capture
  • SnapBridge Wi-Fi system with Bluetooth, including to-PC transfer
Edited to taste in Adobe Camera Raw.
ISO 4500 | 1/500 sec | F2.8 | Shot using the Nikon Z 35mm F1.8 S

The Nikon Z7 is available now for a body-only price of $ 3400. It is also available kitted with the 24-70mm F4 S lens for $ 4000 (many retailers are offering additional kits with the ‘F to Z adapter’ for about $ 150 more).


What’s new and how it compares

The Z7 isn’t just a D850 without a mirror: we look at the key additions and what the Z7 offers.

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Body and handling

How the Z7 feels in the hand may be crucial to its acceptance with photographers. Have a look at the camera and its control points to see how it could work for you.

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Operation and controls

The Z7’s user interface will be very familiar to existing Nikon shooters. Up to a point, that is.

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What it’s like to use

The Z7 is well-suited for a wide variety of photo and video use-cases. Here are the pros and cons of using it for…

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Image quality

The Z7’s 45.7MP BSI-CMOS full-frame sensor is very capable, but how does it compare to the D850?

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Dynamic range

On-sensor autofocus points limit the Z7’s effective dynamic range, compared to the D850. By how much? Read on.

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Z7 autofocus performance

The Z7 mostly offers impressive autofocus performance, but struggles with tracking reliability and low light accuracy.

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Autofocus usability

AF usability is one area the Z7 lags behind its Nikon DSLR counterparts and the mirrorless competition.

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Video

Nikon has done a lot to enhance the Z7’s video, even if that’s not immediately obvious from the specs.

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Conclusion

For a first-generation product, we’re hugely impressed with the Z7. We think it’s the most well-rounded stills+video camera Nikon’s launched to date.

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Sample gallery

We’ve shot a lot with the Z7, here’s our full gallery of out-of-camera JPEGs and Raw conversions.

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Articles: Digital Photography Review (dpreview.com)

 
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