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Lexar’s new USB 3.0 flash drive uses your fingerprint to keep your photos safe

23 Oct

Lexar has announced a new flash drive that features a fingerprint reader to protect its content from unauthorised access. The JumpDrive Fingerprint F35 can record up to ten fingerprints to allow it to be shared between users, and it comes with the fingerprint software already loaded.

Lexar claims recognising a user’s fingerprint takes less than a second, and the drives have read speeds of up to 150MB/s. While normal memory is compatible with Mac, PC and Linux, the fingerprint software is Windows-only.

The JumpDrive Fingerprint F35 will be available in capacities of 32GB, 64GB, 128GB and 256GB and will cost €29.99/$ 32.99 (32GB), €44.99/$ 49.99 (64GB), €79.99/89.99 (128GB). The 256GB version will arrive later this year, and will cost €149.99/169.99. Each of the drives comes with a three-year limited warranty.

For more information see the Lexar website.

Press release:

Lexar Announces New JumpDrive® Fingerprint F35 with an Added Touch of Security

New USB 3.0 Flash Drive Securely Protects Files Using 256-bit AES Encryption

Key messages:

  • Up to 10 fingerprint IDs allowed
  • Ultra-fast recognition – less than 1 second
  • Easy set-up, no software driver needed
  • Securely protects files using an advanced security solution with 256-bit AES encryption

Lexar, a leading global brand of flash memory solutions, today announced the new Lexar® JumpDrive® Fingerprint F35 USB 3.0 Flash Drive.

One of the most secure USB 3.0 flash drives available, Lexar JumpDrive F35 uses an ultra-fast fingerprint authentication that allows you to protect your data against unauthorized users – in under one second so that you will have no discernible impact on workflow. The F35 can save up to 10 fingerprint IDs, making sure only you and your closest collaborators have access to your files. It also boasts an easy set-up with no software driver required*, so you can quickly start transferring your files with speeds up to 150MB/s**. And for added peace of mind, it also features an advanced 256-bit AES security solution to protect your valuable files.

“The F35 combines reliable and secure data storage with biometric technology to prevent unauthorized access to your files – adding an extra layer of security for your drive by using fingerprint authentication. It is ideal for business professionals and photographers who require high-privacy protection to meet their needs,” said Joel Boquiren, Director of Global Marketing.

The Lexar JumpDrive Fingerprint F35 USB 3.0 Flash Drive is compatible with PC and Mac®* systems and comes with a three-year limited warranty***. It will be available in 32GB, 64GB, 128GB and 256GB capacities with read speeds of 150MB/s**. The new Lexar JumpDrive F35 is available now at MSRP of €29.99 (32GB), €44.99 (64GB), €79.99 (128GB), and the 256GB version will be €149.99, arriving in Q4 of this year. For more information visit www.lexar.com

Lexar will be exhibiting new product demonstrations at this year’s PhotoPlus Expo held at Javits Convention Center in New York City, New York, from October 25th – 27th.

*Fingerprint registration software only compatible with Windows XP, Vista, 7, 8, 10. Software required to create/edit accounts and adjust partition size. Regular flash drive use compatible with Windows, Linux and macOS.
**Up to 150MB/s read transfer, write speeds lower. Speeds based on internal testing. Actual performance may vary.
***http://www.lexar.com/support/warranties/

About Lexar
For more than 20 years, Lexar has been a trusted leading global brand of memory solutions. Our award-winning lineup includes memory cards, USB flash drives, card readers, and solid-state drives. With so many options, it’s easy to find the right Lexar solution to fit your needs. All Lexar product designs undergo extensive testing in the Lexar Quality Labs with more than 1,100 digital devices, to ensure performance, quality, compatibility, and reliability. Lexar products are available worldwide at major retail and e-tail stores. For more information or support, visit www.lexar.com.

About Longsys
Longsys – a leader in consumer NAND flash applications, is committed to supporting Lexar in its quest to reach new achievements in high-performance, quality, and reliability while maintaining its position as a leading global brand in memory cards, USB flash drives, readers, and storage drives for retail and OEM customers.

Articles: Digital Photography Review (dpreview.com)

 
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Tiffen launches line of filter kits for DJI Mavic, Inspire drones

23 Oct

Tiffen Filters has announced a new collection of drone-specific filter kits for DJI’s latest offerings.

The filters kits are available for the the DJI Mavic 2 Zoom, DJI Mavic 2 Pro, DJI Mavic Air, and DJI Inspire 2 drones, adding to the filters Tiffen already offers for the Phantom series. Tiffen says the filters have “a multilayer and hydrophobic coating” that’s waterproof, resistant to scratches, and “guarantee[s]” ultra-low reflection rates.

“Drone operators will have the opportunity to capture in flight content like never before,” says Tiffen in its press release. “When used in conjunction with the award winning filter technology engineered by Tiffen, the high quality performance of the DJI 4K camera system is taken to the next level, broadening the horizons for content creation.”

The pricing of the filter kits is a bit confusing, so below is a collection of charts detailing the kits available for each drone:

Mavic Air
3 Filter Kit — $ 49.95
6 Filter Kit — $ 99.95
ND4
ND4 — ND4/PL
ND8
ND8 — ND8/PL
ND16
ND16 — ND16/PL
Mavic 2 Zoom
3 Filter Kit — $ 79.95
6 Filter Kit — $ 149.95
ND4
ND4 — ND4/PL
ND8
ND8 — ND8/PL
ND16
ND16 — ND16/PL
Mavic Pro
3 Filter Kit — $ 99.95
6 Filter Kit — $ 179.95
ND4
ND4 — ND4/PL
ND8
ND8 — ND8/PL
ND16
ND16 — ND16/PL
Inspire 2
3 Filter Kit — $ 99.95
6 Filter Kit — $ 199.95
ND4
ND4 — ND4/PL
ND8
ND8 — ND8/PL
ND16
ND16 — ND16/PL

The filters are listed on Tiffen’s website as “coming soon.” Each filter kit will come with a ten-year warranty, meaning these will likely outlast the life of your drone. To find out more, head on over to Tiffen’s Aerial Collection page.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T3’s video lives up to impressive specifications

23 Oct

The Fujifilm X-T3’s 4K video more than lives up to its impressive specification, making it one of the most capable video cameras we’ve ever tested.

Articles: Digital Photography Review (dpreview.com)

 
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DJI challenges drone plane collision test, accuses researchers of ‘sowing fear’

23 Oct

DJI has challenged a recently published video that demonstrates a small drone smashing into an airplane wing. The test collision was conducted in a simulated environment by researchers with the University of Dayton Research Institute (UDRI) to assess the potential damage such an in-air crash may cause. DJI has accused the test of being “unbalanced, agenda-driven research.”

In a letter sent to UDRI’s group leader for impact physics Kevin Poorman, DJI alleges UDRI’s “Risk in the Sky?” video (below) and related materials present a “collision scenario between a drone and an airplane wing that is simply inconceivable in real life.”

The test collision involved a 952g / 2.1lbs DJI Phantom 2 quadcopter being launched at the wing of a Mooney M20 aircraft. In a blog post about the research, UDRI researchers said the test was intended to “mimic a midair collision of a drone and a commercial transport aircraft at 238 miles per hour…”

DJI has taken issue with that claim, saying the test assumes the Mooney M20 would be flying at its max 200mph / 321kph speed, and that the drone would “apparently” be exceeding its max 33.5mph / 53.9kph speed. “At the altitudes where that plane would conceivably encounter a Phantom drone,” DJI claims, “it would fly less than half as fast – generating less than one-fourth of the collision energy.”

DJI also states:

Your video was created contrary to established U.S. Federal Aviation Administration (FAA) crash test parameters, which assume a bird striking an airplane at its sea-level cruising speed —which is typically 161 mph to 184mph for Mooney M20. Your video deliberately created a more damaging scenario, and was widely cited as evidence for what could happen to a large commercial jet —even though the Mooney M20 is a small plane with four seats.

The Chinese drone company has likewise taken issue with the test as a whole, accusing it of having not been “created as part of a legitimate scientific query, with little description of your testing methodology and no disclosure of data generated during the test.” The company accuses the researchers of having a “bias toward sowing fear,” claiming they would have otherwise also shared a video of a simulated bird-plane strike that caused “more apparent damage.”

DJI’s letter demands UDRI “remove the alarmist video,” withdraw the research, and “issue a corrective statement” that proclaims the test to be “invalid.”

Articles: Digital Photography Review (dpreview.com)

 
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Create a Theme to Step Up Your Travel Photography

23 Oct

One of the things that always drew me to travel photography is the endless variety. Every place on earth is unique. The people, the landscape, the culture, the wildlife, the architecture. Even with neighboring cities, no two places are the same.

create a travel photography theme 01

So, why is it that we tend to photograph them all the same way? When I look back through my archives from all over the world, most of my images have a similar look. If I didn’t remember the location of a photo, I likely couldn’t guess where I took it.

As photographers, we develop our own unique approach to our craft. It’s not a bad thing – it helps to develop our own style. Although, sometimes it’s worth taking a different approach for a specific location or trip. Choosing a travel photography theme for a trip can help focus and guide your photography, as well as give you a unique collection of images.

surfers create a travel photography theme

Coming Up With Your Photography Theme

I’m not talking about changing your style or learning a whole new genre, necessarily. Just taking some time to think about how you could create a theme for your next photography trip. Here are a few things to consider that could help to give your collection of images a unique photography theme.

Genre

You likely already have an idea of what genre of photography you’ll be using. This will largely come down to what you like to photograph. It will also depend partly on the location you’re going to and the gear you have available.

However, you may be tempted to photograph everything. It’s easy to fall for this temptation, I know. You’re in a new, exciting place and may never go there again. You don’t want to miss a thing. Go crazy, if you must, but try to think of a specific genre that suits the location and spend most of your time on that.

noah create a travel photography theme

You don’t want to pick a genre that won’t give you many options. Trying to photograph the milky way in New York isn’t going to happen. Neither is photographing architecture in Yosemite. Come up with something that will give you a lot of material to work with and that you will actually enjoy.

Travel photography conjures images of epic landscapes or cityscapes. You really are only limited by your imagination. Try making the local people your theme with portraiture. Spend your days practicing street photography if you’re visiting an urban location. Maybe even try your hand at wildlife photography if there’s any around.

Subject

So, you’ve picked a genre. What are you going to point your camera at? It’s time to spend some time thinking about the subject of your theme. Again, it may be an easy decision. What’s unique about the location you’re visiting? What’s it known for?

On my recent road trip up the coast of Queensland, Australia, I followed a coastal theme. If there’s one thing Australia is known for, it’s incredible beaches. It was an obvious choice.

jetty create a travel photography theme

You don’t need to go with the obvious, though. Something less obvious can actually make a more engaging collection of photos. If you’re visiting a big, concrete jungle, you could create a contrasting theme by photographing the flowers you find. Think outside the box and get more out of the location.

Of course, there’s nothing wrong with photographing the cliche. There are some incredible collections of photos that follow an obvious subject – lakes of Canada, waterfalls of Iceland, Humans of New York.

Style

The style of your photography is one of the most powerful elements in creating a photography theme. The way you choose to photograph the subject you’ve chosen can vary a lot. You may have already developed your own style. You don’t need to throw that out the window.

sand create a travel photography theme

If your photographic style suits the genre and subject that you’ve chosen, feel free to stick with it. You’ve likely worked hard to develop it. You could adapt it for this trip by turning up the volume or trying something slightly different.

If your theme uses long-exposures, you could try creating super-long exposures. If you’re doing astrophotography, maybe give star-trail photography a go. Creating an aerial theme? How about shooting panoramas with your drone?

A big factor in creating a style is focal length. A 50mm lens will create a very different image to a telephoto. As will a wide-angle or fish-eye lens. You might have a dozen lenses to choose from, or you might have one. Either way, try choosing one lens for your theme. You could even take it a step further and stick to just one focal length.

create a travel photography theme

A photography trip could be a good opportunity to try something new. Have you been wanting to get a drone and have some fun with aerial photography? Maybe it’s an opportunity to try your hand at macro photography? Travel is expensive, so buying new gear for a trip usually isn’t possible. Renting is a great option, as is borrowing gear off other local photographers.

Color

If there’s one thing that can create a consistent theme within a collection of images, it’s color. This can be both in the colors that you capture in-camera and the way you edit them in post-production. A combination of both can really bring a bunch of photos together.

shipwreck create a travel photography theme

It’s not always the case, but you may find there are certain colors that are consistent in the locations you’re photographing. Certain landscapes, for example, will have dominant colors. Green hills, blue water, yellow sand.

There are opportunities to create color themes everywhere, though. You could create a color theme in a city by photographing doors, flowers, dresses, signs, etc, that are all that color.

palm create a travel photography theme

When you import your photos to your computer, the options for editing your photos with a color theme are endless. Try playing around with the white balance and saturation sliders. Experiment with HSL and split-toning. Do something different to what you usually do, and when you find something you like, save it as a preset for your theme.

Creating a color theme doesn’t need to include advanced color grading or anything technical. Your theme might just be bright, vivid colors. It could also be the opposite. Maybe a desaturated look, or even go monotone. Black and white photography can create a very strong theme.

create a travel photography theme

As a colorblind photographer, I’ve avoided advanced color editing in the past and played it safe. Taking risks and learning to create color themes for my travel photography really helped me take my photos from mundane to unique.

Summary

Whether your trip is a family vacation, business travel, or a photography adventure, try thinking about a photography theme. Ask yourself what you could do to come home with a more cohesive collection of images that represent the location well. You might even end up with a few side-by-side on the wall someday.

Do you have any photography theme tips? If so, let us know in the comments below.

The post Create a Theme to Step Up Your Travel Photography appeared first on Digital Photography School.


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Fujifilm X-T3 Review

22 Oct

When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1, most notably in terms of autofocus and video. While the new X-T3 hasn’t changed the overall design of the camera it repeats the same trick: representing a significant step forward.

The X-T3 brings with it a brand new sensor, improved autofocus and video performance that makes it competitive with Panasonic’s GH5, taking the X-T series from being a very good stills camera to one of the best stills/video hybrids on the market.

With its classic looks, attractive photos and superb video, it’s the APS-C camera to beat.

Key Specifications

  • 26MP BSI ‘X-Trans CMOS 4’ sensor
  • 425-point hybrid AF system
  • Improved AF Tracking and Face/Eye Detection AF
  • 20 fps shooting with AF (11 fps with mechanical shutter)
  • 30 fps shooting in 1.25x crop with electronic shutter
  • ‘Sports Finder’ mode gives preview of area around a 1.25x crop
  • 3.69M-dot electronic viewfinder
  • Three-axis tilting touchscreen
  • 10 bit 4:2:0 H.265 internal video capture (4:2:2 over HDMI)
  • UHD/DCI 4K/60p from 1.18x crop region
  • UHD/DCI 4K/30p using full width of sensor
  • Internal F-Log capture (HLG coming by end of 2018)
  • Dual UHS-II SD card slots
  • USB C-type connector can be used for charging battery
  • Headphone and Mic Sockets
Out of camera JPEG shot using the Provia/Standard profile.
ISO 640 | 1/ 160 sec | F2 | Shot using the Fujifilm XF 90mm F2 R LM WR
Photo by Wenmei Hill

The X-T3 has an MSRP of $ 1499 (down $ 100 from the X-T2) but still costs $ 1899 when sold as a kit with the XF 18-55mm R F2.8-4 OIS lens. It is available in black or black and silver.


What’s new and how it compares

Autofocus, video and the user interface are just a small portion of what’s new on the X-T3 compared to its immediate predecessor.

Read more

Body and handling

The X-T3’s design is nearly identical to that of the X-T2, and that’s a good thing. The improvements are significant, though, with the addition of a higher-res EVF and a touchscreen LCD.

Read more

Operation and controls

The name of the game is customization, with nine buttons to choose from. There are also use-case-based AF controls available. Battery life is above average.

Read more

First impressions

Fujifilm has raised the bar for video on APS-C cameras, one example of why crop formats are not dead yet.

Read more

What’s it like to use

We look at how well the X-T3 performs for a variety of different types of shooting…

Read more

Image quality

Take a closer look at the X-T3’s image quality, using our studio scene.

Read more

Dynamic Range

The X-T3 produces pretty flexible Raw files, even in E-shutter mode…

Read more

Autofocus

The X-T3 shows newfound AF capabilities, particularly when it comes to people.

Read more

Video

The X-T3’s video quality lives up to its impressive specifications.

Read more

Conclusion

The X-T3’s newly enhanced video capabilities, added to familiar photographic prowess makes it one of the best APS-C cameras we’ve tested.

Read more

Sample gallery

View a variety of sample images from the Fujifilm X-T3.

Read more

Articles: Digital Photography Review (dpreview.com)

 
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Why celebrity photographer Manfred Baumann uses ACDSee Photo Studio Ultimate 2019

22 Oct

Celebrity photographer Manfred Baumann has been using a pre-release version of ACDSee Photo Studio Ultimate 2019 for a while, and in this article he shares his impressions of using the software.


As a photographer, there are plenty of software programs out there that all want my attention (and my money). ACDSee is a name that will be familiar to many digital photographers, going right back to the 1990s. Designed originally as an image organization tool for digital photographs, ACDSee has evolved over more than 20 years to become a fully featured digital asset manager and editing platform. These days it’s basically a ‘one-stop shop’ for digital photographers.

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Like most photographers, I prefer taking pictures to sitting in front of a computer. For that reason, the software I use has to be fast, uncomplicated and self-explanatory. A Raw Converter is like a digital darkroom for me – everything else is optional. I’ve been using ACDSee for years. The latest version, Photo Studio Ultimate 2019, competes directly with the world’s best Raw editors, offering in-depth editing features alongside advanced image cataloging and organizational tools.

New in the 2019 version is face detection and automatic face recognition,

One of my favorite things about Photo Studio Ultimate’s editing power is the option to use layers when working on my Raw files. New in the 2019 version is face detection and automatic face recognition, which allows you to find photos of clients, friends or relatives at the click of a button. I don’t think many people would have difficulty recognizing some of my portrait subjects, but face detection and recognition are useful features when I’m organizing images for my clients.

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Photo Studio Ultimate also brings improvements to black and white editing, which let me individually adjust the contrast and brightness of different channels. I can even use the Edit Brush to paint these adjustments onto specific parts of an image. Monochrome editing is at the heart of a lot of my workflow, and the improved black and white mode features in Ultimate 2019 are really useful.

ACDSee is ideal for photographers who prefer to take photos rather than sit in front of the computer

It is important to continue growing, and as an artist, you always want to make sure that viewers can recognize your signature in your photographs. I like to think that I catch what others might not have seen. My primary focus is using images to say something about the essence of the person I’m photographing, and it’s all about the imagery: quality before quantity. Quality can be recognized by the fact that a good image doesn’t go out of date.

I would say ACDSee is ideal for photographers who prefer to take photos outdoors or in the studio rather than constantly sitting in front of the computer. It is cost effective, fast, and offers more features than most of its competitors. With Photo Studio Ultimate I really don’t need to use additional software in my workflow; I can usually do everything I need to do without leaving the app.

When it comes to image organization and cataloguing I do this exclusively in ACDSee Studio Ultimate now. It’s the quickest and easiest way for me to work.

Learn more about ACDSee Photo Studio Ultimate 2019


Manfred Baumann lives and works in Europe and the USA with his wife, Nelly. Throughout a long and varied career he has photographed celebrities from the worlds of acting, sports, and fashion for some of the top publications in the world.

A passionate advocate for animal rights, images from Baumann’s ‘Mustangs’ project have been exhibited in the Natural History Museum, Vienna.

See more of Manfred’s work


This is sponsored content, created by ACD Systems. What does this mean?

Articles: Digital Photography Review (dpreview.com)

 
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Pixii is a display-less digital rangefinder that connects to your smartphone

22 Oct

French startup Pixii has announced its first product, the Pixii camera. The Pixii is a digital rangefinder with an M-mount that pairs with your smartphone to use the mobile device’s display and memory.

The machined aluminum body houses a CMOS sensor with global electronic shutter and 12-bit sampling rate that, according to Pixii, offers a dynamic range of 60-90dB. Base ISO is 200 and gain can be adjusted from ISO 100 to 6400. Unfortunately at this point there is no information on the sensor’s dimensions or pixel count. All we know is it features a 5.5µm pixel pitch.

Lenses are attached via a Leica M mount but, using an adapter, you can also shoot with M39 and LTM lenses. Shutter speed can set to auto or manual but focus and aperture are controlled manually only.

“The digital camera hasn’t changed much since the 90s,” says PIXII founder David Barth. “But now the new generation is learning photography with a smartphone: who understands why a camera still needs to bother with a screen or an SD card?”

On the camera’s back there is no display but an optical viewfinder that offers a 0.67x magnification, LED backlit frame lines (40/50mm and 28/35mm) and exposure indicators. LED brightness adjusts automatically and the viewfinder also offers automatic parallax correction.

On the top plate you can find a small OLED control screen that displays the most important camera and image settings but images have to be reviewed on the display of your smartphone. There is no card slot either. Instead images are saved into 8 or 32GB of built-in memory or directly transferred to your phone.

Other features include a tripod mount, Wi-Fi/Bluetooth connectivity (presumably for connecting to the smartphone) and a 1000mAh Li-ion battery.

There is no information yet on pricing or availability but we will let you know as soon as we get an update from Pixii.

Articles: Digital Photography Review (dpreview.com)

 
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How to photograph family and bridal party portraits quickly at weddings

22 Oct

Wedding days are filled with details. While the bride and groom portraits are the most important pictures you’ll photograph during the day, family and bridal party portraits come at a close second.

These tips help you photograph family and bridal party portraits quickly and beautifully, giving your guests great photos without taking up valuable time.

How to photograph family and bridal party portraits quickly at weddings 1

If you have time during the bridal party photos, get creative!

Family portraits

Make use of a consultation to speak with your clients before the event to find out if any of their parents are divorced and note this down on a wedding info sheet.

I lead with this because it can change the order in which you photograph family portraits, especially if there are parents who choose not to see each other.

Unfortunately, this is a reality and should be handled with care.

How to photograph family and bridal party portraits quickly at weddings 2

Ask about divorced parents before the wedding because it can affect family portraits.

During the consultation process, you should also create an itinerary so that you have at least 30 minutes for family portraits. The more time you have, the more variety in posing you can get, however, 30 minutes is enough time to capture the family.

How to photograph family and bridal party portraits quickly at weddings 3

Both family portraits in the same location.

When photographing wedding family portraits before the ceremony, make sure you confirm if both the bride and groom families will be present or if you will be photographing them separately.

Either way, this list provides different combinations to use with each family; all achievable in under 15 minutes.

How to photograph family and bridal party portraits quickly at weddings 4

Build portraits by adding people gradually.

  • Bride/Groom with parents (If they are divorced, photograph with new spouses or simply keep them separate portraits)
  • Bride/Groom with entire immediate family, including brothers, sisters, including spouses and children
  • If grandparents are present, take another photo of the entire family including grandparents
  • Bride/Groom with mother
  • Bride/Groom with father
  • Bride/Groom with nieces and nephews only
  • Bride/Groom with siblings
  • Bride/Groom with grandparents
  • Bride/Groom with important uncles/aunts/extended family
How to photograph family and bridal party portraits quickly at weddings 5

Build portraits by adding parents and without moving them, add in the rest of the family.

Keep the portraits of the extended family until the end.

They may be eager to get family portraits after the ceremony but make sure that you express to them that the most important photos are of the immediate family.

Of course, make sure to ask the bride and groom if there is anyone in the extended family that is a must-have during the family portraits.

At small weddings, you might have a chance to photograph all of the guests with the bride and groom.

How to photograph family and bridal party portraits quickly at weddings 6

Take photos of each family individually and don’t forget to add the bride or groom.

The family portrait formula

How to photograph family and bridal party portraits quickly at weddings 7

To do this and all of the family portraits quickly, follow this formula:

  1. Find a big space with a neutral or pleasing background, like pretty landscaping, an interesting building, or a clearing in the venue/location. One great option is to photograph close to the ceremony where family members are all together and present. This helps keep people from wandering off and missing out on the portraits.
  2. Begin with the family that is present. For example, if the groom’s family is ready, begin with them so that you don’t waste time waiting. Set up the bride and groom in the center, tummy to tummy, holding the bouquet. From here, build out until you get the entire family in the photo. Remember to also take photos of the bride and groom with their respective families alone.
  3. From there, it is easier to keep the bride or groom in the center and add or remove people as needed.
  4. Always show a connection by having people put their hands on the arm of the person next to them or if they are spouses, holding hands. Putting hands on the shoulders of children or holding their hands also helps. 
  5. For babies and children under 3, they are best when being held as sometimes they might be too small if they are standing in the portrait. If you have time, photograph both options.
How to photograph family and bridal party portraits quickly at weddings 8

Both families are in one portrait.

Family portraits are the ones that guests always download the most as many family members do not live nearby. Weddings act as a mini-reunion for families, which is why it’s important to get solid portraits of them.

How to photograph family and bridal party portraits quickly at weddings 9

Grandparents are very important guests, make sure to take portraits when they are present.

Taking family portraits using the formula above ensures that you can work quickly and not take up time from the cocktail hour or even the bride and groom’s portraits!

How to photograph family and bridal party portraits quickly at weddings 10

Connect family with hands to arms or on shoulders.

Once you take the solid portrait of the family, if you have time, get creative or have fun with it.

Get a photo of the family hugging or siblings doing something funny.

Doing this also helps keep the mood light and ensures that everyone has fun during the family portraits.

How to photograph family and bridal party portraits quickly at weddings 11

Bridal party portraits

Bridal party photos should take anywhere from 45 minutes to one hour to photograph to get as much variety as possible. Begin photographing the entire bridal party together to ensure that no one is missing and everyone is present.

How to photograph family and bridal party portraits quickly at weddings 12

Begin with photographing the entire bridal party together.

A few quick tips for bridal party portraits

Make sure that all boutonnières and bouquets are ready and each person has their flowers pinned or in hand. Place bouquets at belly button height because this keeps the arms slightly bent, and the flowers visible without being too high or too low.

For the groomsmen, ask them to take out all of their belongings from their pockets as this can create hard to edit shadows on the pants. If there is something special, like a gift from the bride or groom to their bridal party, take a photograph of that too.

How to photograph family and bridal party portraits quickly at weddings 13

Take the following series of photos for the entire bridal party portraits:

  • Bridal party standing in line – placing bridesmaids on bride’s side and groomsmen on the groom’s side is a classic and sure portrait of the entire bridal party. Place the tallest people on the outside as they can distract from the bride and groom if they are shorter. Then line them up according to height.
  • Create a ‘u’ shape forward or try to use a ‘v’ shape to create more depth.
  • Stagger the bridal party and turn some people away from the center, creating more depth in the portrait. You can sometimes have the bridesmaids interlocking arms or the groomsmen holding shoulders or leaning against each other. Try different ideas with them standing.
  • If you have access to chairs, place a couple in front to create differences in height and create a similar portrait but with a few people sitting. It makes a much more interesting photo.
  • If there are steps, use them to stagger the bridal party across, keeping the bride and groom center.
  • Get a photo of the bridal party walking toward the camera having fun.
  • Ask the bridal party to mix and get a group photo of them having fun.
  • Get a group hug if the bridal party isn’t too large. Doing so creates authentic smiles and breaks-up the stiffness or seriousness of the portraits.

How to photograph family and bridal party portraits quickly at weddings 14

How to photograph family and bridal party portraits quickly at weddings 15

Bridal party portraits should be fun and keeping the mood light always helps.

If you find yourself having a hard time getting them to focus, try letting them know that the faster you photograph the portraits, the faster they can get to the party.

This usually motivates them to cooperate faster.

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Once you have the entire bridal party portraits, take photos of the groomsmen. The bride can take a break to touch up makeup, take a sip of water, or rest for a moment.

Groomsmen usually want to get the portraits over as quickly as possible so beginning with them makes everything run smoothly. If you have a second photographer, ask them to take the groomsmen aside and photograph them while you focus on the bride to cut time as well.

How to photograph family and bridal party portraits quickly at weddings 17

Photographing the bridesmaids and groomsmen separately is much more fluid and can be more fun. Have them line up, hug, do something funny, and take individual photos of the bride or groom with each person.

How to photograph family and bridal party portraits quickly at weddings 18

Have fun during bridal party portraits.

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How to photograph family and bridal party portraits quickly at weddings 20

Take individual photos with each person in the bridal party.

Make sure to take waist-high portraits as well as full-length with enough room around the frame just in case they print the photo at different sizes that may crop the image.

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How to photograph family and bridal party portraits quickly at weddings 22

Try and keep the bridal party photos in one location so that you don’t have to move so many people around.

Another tip is to photograph the bridesmaids and groomsmen separately earlier in the day and come together after the ceremony for the larger portrait.

Sometimes this can save time as well.

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Extended family bridal party portraits

After the ceremony, as guests congratulate the couple, do not get caught in the trap of photographing extended family portraits. Make sure to let the guests know that during cocktail hour or the reception, you will have more time to photograph guests with the couple.

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Extended family photos during cocktail hour saves time from the bride and groom portraits or other events during the wedding day.

The reason for this is because taking portraits of guests with the couple immediately after the ceremony, or while the guests are congratulating the couple, can cut time from the family portraits.

It is okay to get candid/photojournalistic photos during this time of the couple with the guests.

How to photograph family and bridal party portraits quickly at weddings 25

Photos during the reception for extended family is very ideal.

However, make sure to get a few before heading to the location where you are taking the family portraits. This gives you time to set up and get your camera ready for the quick family portraits.

How to photograph family and bridal party portraits quickly at 26

Keep a checklist

Use the Notes app on your phone or carry a printout of a checklist with all the combinations to use to photograph the family and bridal party portraits. Doing so helps you keep track of what you’ve already photographed and what you need to do, so you don’t waste time wondering what comes next.

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Weddings are all about the guests, and the guest list is meticulously planned, so make sure you take the extra step and ask the bride and groom if there are any guests they specifically want photographing.

Doing so makes all the difference when they look through their final images. Make sure to include these VIP guests in your checklist and note when would be a good time during the day to get their portrait.

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Once you have more wedding experience, these portraits become easier and quicker to set up, photograph and pose. Soon you’ll be doing them in under 15 minutes, giving you more time to experiment and get creative!

Put a family member or someone close in charge

It can be stressful making sure all the family members and bridal party are present where and when they need to be. This stress should not fall on either the bride or groom.

On the day of the wedding, find someone who is a family member or bridal party member who is familiar with both sides of the family be in charge of making sure that all family members and bridal party are where they need to be during the portraits.

Since they know who the key players are, this helper can cut time by making sure everyone who needs to be in the portraits is present, making the portrait time more fluid.

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Take photos of gifts the bridal party receives from the couple.

Keep the portraits moving 

Sometimes, you’ll have to wait on a family member or bridal party member, and that is okay. You always want to make sure the bride and groom stay as calm and stress-free as possible. When this happens, keep the portraits moving.

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For example, if the groom’s family isn’t ready, then begin with the bride’s family. If you’re waiting for a bridesmaid, take individual shots first and then move on to the groomsmen.

Making sure the portraits continue allows the person who is missing to arrive, all the while you are still creating beautiful portraits for the bride and groom.

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Allow the bridal party to have fun.

If there is a circumstance where someone essential is missing or unavailable for the photos, ask the bride and groom to move the portrait session to a different time.

Perhaps you can do the bridal party portraits during the cocktail hour or carve out some time during the reception to get family portraits.

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If you have access to chairs use them to pose the bridal party or family.

Make sure to note any changes to the portrait sessions and anyone still to be photographed. Ensure that you get the photo during the day to help the bride and groom feel less stressed and more confident in you to achieve all the crucial portraits.

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In conclusion

Family photos and bridal party photos are a huge part of every wedding day and can be stressful when trying to pose large groups of people.

Using these tips can help these portraits to be more streamlined so that the guests, as well as the bride and groom, can enjoy the party.

You’ll get fabulous portraits that everyone loves without having to take up too much time.

Do you have any wedding portrait tips you’d like to share? If so, leave them in a comment below.

For more information on wedding photography, read this article on What Are the Real Responsibilities of a Wedding Photographer or What to Bring to Photograph a Wedding Besides Your Photo Gear

The post How to photograph family and bridal party portraits quickly at weddings appeared first on Digital Photography School.


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Greater freedom: Canon’s engineers talk about the EOS R project

22 Oct

The launch of Canon’s EOS R gave us a chance to talk to a group of the engineers involved in the project. The company put forward an engineer from each of the main parts of the development process: physical design, optical design, UI design and overall product design. They talked of being given more freedom than ever before but also of the need to build on the EOS system’s strengths.

Left to right:
Koji Yoshida – Lead Engineer/Architect, Integrated Design Department 232
Manabu Kato – Deputy Senior General Manager, ICD Optical Product Development Center
Shintaro Oshima – General Manager, ICB Product Development Div 1.
Hironori Oishi – Lead Specialist, Product Design Div 1.

A new, short and wide mount

Canon has been consistent across its launch, when it’s said that the important announcement isn’t the EOS R, specifically, or the fact that there’s no mirror, but in what the RF mount allows them to do.

Manabu Kato sums up the freedom they’ve gained in terms of optical design: “people who’ve been working on lenses for a really long time have, with this new system, been able to make lenses like the 28-70mm F2 comparably easily, compared to how they had so many challenges in the past.”

“By having [more] data being transferred between the camera and lens…you can improve the autofocus, metering and image stabilization performance”

As well as allowing more ambitious optical designs, the RF mount also adds data bandwidth, moving from eight communication channels to twelve. “During shooting there’s a massive amount of data going between the lens and the camera, so making sure that was smooth was another challenge,” says Kato. “By having that huge amount of data being transferred between the camera and lens, you can improve the general performance in relation to autofocus, metering and image stabilization. And you can also add features such as the control rings on the lenses.”

The RF 28-70mm F2 lens, combined with pupil detection AF is a powerful combination. ISO 100 | 1/5000sec | F2 | Canon RF 28-70mm F2 @ 70mm (Pre-Production lens)

“You can also use DLO without any problems,” he said. Digital Lens Optimizer – Canon’s name for digital lens corrections – previously required that the camera look up the data in a database, meaning that camera firmware needed to be updated to accommodate new lenses. It’s now supplied in real time by the lens itself, so there’s no need for a look-up step.

Video, as well as stills

This real-time data flow allows the use of Digital Lens Optimizer and distortion correction in video for the first time. And it’s clear that, despite the EOS R’s comparatively modest specs in that area, Canon has done a lot of thinking about the needs of video shooters.

“Getting rid of [the mode dial] was a big decision that required a lot of consideration”

“In relation to the optical system, we gave consideration to focus breathing*, and also aperture control: you can change the aperture in 1/8th stops,” says Kato. “also the Nano USM, it’s very quiet and quick: the first time in an L lens.”

Difficult decisions

Trying to accommodate the needs of video shooters ended up leading the removal of the camera’s mode dial, says Koji Yoshida: “if you have a mode dial then the [exposure] settings will be the same for both stills and movies.”

The decision not to offer a mode dial on the EOS R was not taken lightly.

“We consulted with a lot of different people and talked about this a lot, and decided to have different settings this time,” he says. But it’s clear this isn’t a decision made lightly: “[The mode dial] is a function that’s been common in the past, so getting rid of that was a big decision that required a lot of consideration,” said Shintaro Oshima. “There was a lot of internal discussion about this point,” concurs Yoshida.

The challenge of legacy

This tension between novelty and legacy is a constant theme of our conversation. “Our aim was to carry on the traditional parts of EOS but then bring in new innovation at the same time,” says Hironori Oishi: “our biggest challenge was making this look like an EOS camera with just a single glance, you can see that it’s an EOS camera, based on the traditional styling of the EOS cameras. And also the feeling, when you hold the camera – as soon as you hold it in your hand, you know it’s an EOS.”

The M-Fn button is one of the most obvious ways in which the EOS R introduces new thinking to the EOS experience. It’s fair to say we’re not convinced by the way it currently works.

This extended to the user interface, says Yoshida: “the challenge we faced in terms of the software or the interface was making sure that it’s got the same basic controls as an EOS: to carry on that operability that EOS users are used to, then also implementing new elements into that design at the same time.”

The answer was to blend features from Canon’s existing live view and DSLR experience:, he says: “We used the mirrorless AF modes but we also also included features from the 5D Mark IV AF, like Expand AF area and large zone AF: this is the first time this has been introduced in a live view camera from Canon.”

Opportunity for innovation

The solution to these tensions seems to have been to look for opportunities to innovate while maintaining continuity: something made clear in the challenges of maintaining EF lens compatibility. Despite the EF mount already being fully electronic, Kato says: “it was difficult ensuring that compatibility. But we think that’s a big plus for the system.”

Whatever we might think of the rest of the EOS R experience, we love the idea of adding a control dial or filter mount in the EF-to-RF adapters.

Tellingly, the team looked for ways to add new features. “We also achieved the control ring adapter which brings additional value to EOS lens users,” says Kato: “The same applies to the drop-in filter adapter: it gives added value to those who already have EF lenses. We wanted to make sure that we looked after our current users of our EF lens system.”

“The control ring adapter brings additional value to EOS lens users…the same applies to the drop-in filter adapter”

Oshima stresses that the need for continuity didn’t hold the new camera back, though: “another focus was the low light limit performance. That’s a point of evolution from the EOS cameras.”

“Another focus was the low light [autofocus] limit performance”

This eye for an opportunity to innovate is perhaps most clearly seen in the way the EOS R, unlike any other mirrorless camera, closes its mechanical shutter when shut down. “we wanted to protect the sensor as much as possible from dust and light hitting the sensor,” explains Oshima: “The light coming through the lens affects the sensor in the long term. The color filter array and microlenses and also the photodiodes can all be damaged by light [if the sensor is always exposed].”

Another bright idea: Canon’s engineers worked out that if you stop-down the lens aperture blades, it reduces the risk of damaging the shutter blades, at which point you can close them to keep light and dust off the sensor.

To then protect the shutter blades, the camera stops its lens down and displays a warning not to leave it facing towards the sun, without a lens cap. “The aperture cannot be closed completely, so that message is kind of a safeguard,” explains Kato: “We’re kind of proud of the fact that with a simple idea, we’ve been able to increase value for customers.”

Just the beginning

As usual, no one was able to discuss future products. When asked whether there was any chance of an APS-C RF-mount camera, Oishi was suitably non-committal: “we’re thinking about it, but we can’t answer in detail,” he says. But the individual engineers did all discuss what they were looking forward to.

“We want to surprise and astonish you, so please expect big things”

“It gives more structural freedom in terms of design, because it doesn’t have a pentamirror”, says Oishi. “I’m excited about improvements in Digic image processor and functions that create more value and make easier to use,” says Yoshida. But it’s optics specialist Kato who seems most enthused: “This is just the start of the system,” he says, talking about F2.8 zooms and other possibilities, before settling on a broader-reaching point: “We want to surprise and astonish you, so please expect big things.”


Editor’s note: Richard Butler

Nearly ten years ago I wrote a blog post suggesting camera makers should go back and take a ‘blank sheet of paper’ approach to the way their cameras operate. Simply suggesting it is the easy bit. Actually doing it, and having to find clever solutions is quite a different matter.

Throughout our conversation, it was obvious that Canon had given its engineers more freedom than usual in this project but that there’s still a careful balancing act to avoid confusing or alienating your existing users. The nods of recognition around the table as Mr. Oshima spoke about the difficulty of decision to eliminate the mode dial said a lot about how seriously these decisions were taken.

It’s difficult to talk to people who’ve worked so hard to make a great camera and then have to publicly report that it doesn’t work as well as they’d intended. But that’s the reality of our experiences with the EOS R so far, across the DPReview team.

If nothing else, though, the team’s responses show how seriously Canon is taking the RF system as a chance to improve and innovate.I really hope we’ll see that reflected in updates to the EOS R and future products in the system.


* A change in field-of-view as the lens focuses – a minor concern for stills shooting, but potentially distracting in video [Return to text]

Articles: Digital Photography Review (dpreview.com)

 
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