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Equipment List for Making Better Smartphone Videos

In case you haven’t noticed, smartphone cameras keep getting better and better. Not only do they take better still photos, but they also record high-quality video. Many latest generation smartphones are equipped with image stabilization, focus tracking, and the ability to shoot in 4K.

This is especially notable with the recent release of IGTV and social media platforms encouraging more video creation. With that in mind, it’s worth investigating how to use your smartphone to take better smartphone videos. As usual, it comes down to the tools you use. Here are several accessories worth investing in to take your smartphone videography to the next level.

A Way to Secure Your Phone

Smartphones today are being built tougher, but they still have a sleek body that makes them easy to drop. To keep your phone more secure, consider getting one of these accessories. This will help you take sharper and better videos.

Pop Socket

In case you’re not already hip to the Pop Socket, here’s why they’re so popular.

Image courtesy of Pop Socket.

These little devices look deceptively simple. They’re just a plastic backing that sticks to your phone and pops out to give you a better grip. This helps you hold your phone with one hand while taking selfies or shooting tricky angles. They are especially helpful while shooting video.

But there are some problems with the Pop Socket. For one thing, they’re bulky. Even when retracted, the Pop Socket sticks out just enough to make it a hassle to stick your phone in your pocket or put it into your car’s cell phone holder.

Secondly, Pop Sockets look about as cheap as they cost, at least in my opinion. This can ruin the aesthetic of the pricey phone you’ve invested in. Finally, these suckers are pretty permanent. Once they’re attached to your phone, they’re useless if you remove them. For that reason, I prefer using the next accessory to keep my phone secure.

Black Rapid WandeR Bundle

Image courtesy Black Rapid.

Black Rapid is known for their camera straps, but they also have a cool new product for smartphones. The WandeR Bundle is a nylon tether wrist strap that attaches to your smartphone’s case (above).

You can also use the included TetheR-Clip to secure your phone to a bag or camera strap (see below). It’s a simple concept that is very well executed and will make it hard to drop or lose your phone again.

Image courtesy Black Rapid.

A Smartphone Tripod

Like any other camera, there’s a time and a place to use a tripod with a smartphone, especially when creating videos. The good news is that you don’t need a giant tripod for your smartphone, although you can certainly adapt any basic tripod for use with a cell phone using an adapter (more on that below).

But if you want a more compact setup, consider getting a dedicated smartphone tripod. The Manfrotto PIXI EVO is a popular option, as is the JOBY GorillaPod Hybrid Mini. Both are small, yet sturdy enough to hold a smartphone or even a small mirrorless camera if needed.

No matter what kind of tripod you end up with, make sure you get a cell phone tripod adapter to properly mount your device.

External microphone

Most smartphones have pretty good built-in audio recording features. But sometimes you need an enhanced audio solution. Note that for both of these microphones, you may need a smartphone audio jack adapter if you have a phone without a traditional audio jack.

One of the best smartphone microphones out there is the Rode VideoMic Me microphone. It’s very compact and comes with a fluffy windscreen (also known as dead cat). To use it, simply plug it into your smartphone’s audio jack. It worked well with my Samsung Galaxy S8 but didn’t work at all with the Google Pixel.

The reason is the location of the audio jack. On the S8, it’s located on the bottom of the phone, on the opposite end of the cameras. The Pixel’s audio jack is located on top, next to the camera. Thus, the microphone was in the shot both with and without the windscreen. So check the audio jack’s proximity to your camera before investing in this mic.

Another type of microphone you may need is a lavalier (or lapel) mic. It is placed in close proximity to the speaker’s mouth to isolate their voice from environmental noise. Lavalier mics are generally wired, meaning they can be difficult to use when plugged directly into your video recording device.

So the most convenient setup is to record your visuals with one camera, and record audio with a lavalier mic plugged into a smartphone. You’ll need an audio recording app to do this. A top of the line lav mic option is the Rode smartLav+, or the more affordable Stony-Edge Simple Lav. Note that sound quality typically corresponds with price, but it truly depends on your budget.

Smartphone gimbal

Many smartphones come with built-in stabilization that will help minimize or remove shake from your videos. However, you still need an extra tool if you want buttery smooth, cinematic video footage. The simplest video stabilization tool is an electronic handheld gimbal.

There are two main gimbals out there worth considering, and they’re very competitive in terms of features and price. One is the DJI Osmo Mobile 2, and the other is the Zhiyun Smooth Q. I’ve been using the Smooth Q for the past few months and have been blown away by how much my smartphone video quality has improved.

Best of all, a gimbal is easy to use and quite affordable for the features it offers.

Extra Power

While smartphone battery life keeps gradually improving, it’s still a good idea to bring a portable cell phone charger with you.

There are tons of external batteries on the market, but Anker is by far one of the more reputable brands. In particular, the Anker PowerCore 10000 is a compact, efficient, external battery. It can charge either your smartphone or electronic gimbal or both at the same time. Just be sure to charge the battery ahead of time and bring the right cables.

Over to You

In short, you don’t need a lot of tools to start using your smartphone to make better videos. However, if you add these tools to your kit, you’ll be well on your way to producing more professional-looking videos.

Do you have any smartphone video accessories? Let us know your essential tools in the comments below!

The post Equipment List for Making Better Smartphone Videos appeared first on Digital Photography School.

Digital Photography School

August 1, 2018
Magix speeds up Photostory slideshow software and adds new effects
Imaging software developer Magix has released the 2019 version of its Photostory Deluxe slideshow application that it says is completely redesigned, easier to use and much faster than before. The company has used the engine from its Video Pro X movie editing program to run Photostory Deluxe, so it can now handle up to 16 tracks of effects to create more interesting presentations.

Magix says that the process of creation is also much faster, and a new Effects Assistant makes it simpler to apply and control transitions, music and photo looks to the slideshow and the images it contains. The program offers 1500 effects, pieces of music and sounds for users to choose from, while 24 pre-set styles are available to jazz up your images.

Users can also match the color and tonal atmosphere of two or more images to create a consistent feel to a slideshow, or import third-party pictures or movies to copy styles from external sources. Looks, styles and effects can be applied to single images or groups of selected images simultaneously to speed up the process, and now GIF files can also be used alongside high-resolution stills and 4K video. Shaky video can be stabilized using the system borrowed from the company’s proDAD Mercalli V2, and further updates to the program can be added to the application for free over the course of the first year.

Magix Photostory Deluxe 2019 is available now and costs £59.99/ $ 69.99. For more information visit the Photostory pages on the Magix website.

Press release
MAGIX Releases New Photostory Deluxe – With Twice As Many Tracks For More Effects

With the latest version of Photostory Deluxe, it is now possible to create even more impressive photo shows with significantly more effects thanks to twice as many tracks. Effect handling has never been easier – the new Effect Wizard makes it possible.

MAGIX has equipped the new Photostory Deluxe 2019 with a 16-track program engine and noticeably simplified the application of effects. With the award-winning slideshow software, even large projects can now be realized quickly and easily. Innovations such as 24 pre-designed photolooks for 1-click colour enhancement or advanced image editing make every photo show a real eye-catcher in no time.

Twice the tracks

There are almost no boundaries to creativity when creating slideshows. The latest Photostory Deluxe now offers a total of 16 tracks for even more effects, because the program now features the powerful engine from MAGIX’ professional video editing software, Video Pro X.

Easier, quicker effect handling

Photostory Deluxe contains over 1,500 effects, music and sounds for use when creating your slideshows. With the new Effects Wizard, these can be applied in just a few clicks. Never before has it been so much fun to explore the creative possibilities of the software. Digital slideshows can be designed in a no time – unique and full of effects.

click photolooks and advanced image editing

Photostory Deluxe users can now access “photolooks” to enhance images. With just one click, shots get a harmonic colour tone – matching the respective project. For more freedom of design there is the advanced image editing. From precise colour corrections with gradation curves to determining the optimal white/black values, everything is possible.

All the highlights of the new Photostory Deluxe 2019 at a glance:
- Twice as many tracks for slideshows full of effects
- Effect Assistant for simple, intuitive application of effects
- Stylish photolooks for fast colour enhancement
- Advanced image edition functions
- Grouping functions & drag & drop import
- Optimized effects area with title tab
- GIF import
Price and availability:

Photostory Deluxe 2019 –£59.99/ $ 69.99
Articles: Digital Photography Review (dpreview.com)
August 1, 2018
Now Open: X-Pedition Havana

We are announcing our second X-Pedition photo workshop, in Havana, Cuba for January 11-18, 2019.

A joint project of Strobist.com and Washington, D.C.-based Focus On The Story, X-Peditions are a shooting-intensive week centered at the intersection of journalistic photography and off-the-beaten-path travel.

You can learn full details about the January Havana workshop, here.

Please note: if last year is any indication, this trip will fill quickly. If you would like to learn more about X-Peditions in general, and/or to add your name to the advance notice list, you can do so here.

Thanks,
David
Strobist

August 1, 2018
Basic Photoshop Tutorial – How to Add Creative Overlays to Your Portraits
I’ve been shooting these moody portraits lately and I thought about adding some creative overlays to a few to make them a little different and more interesting.

Here is a basic tutorial on how to add an overlay using Photoshop. Take your images from simple portraits (top) to textured backgrounds (above) above and finally to incorporating some surreal or artistic elements in the finished portraits (below).

Getting started

First of all, I wanted my images to have a dark background and look more moody rather than smiling portraits. You can read here on how I have achieved these types of portraits in my home studio using natural light only.

Secondly, in order for you to be able to follow this tutorial, you need to have a good understanding of how to use layers and masks in Photoshop. It is a simple but extremely powerful tool which I believe to be the most fundamental editing technique you need to learn when using Photoshop.

Thirdly, you need to decide on the images that you wish to use as creative overlays. A quick search on Google provided me with some free overlays that have a high enough resolution to use with my images.

Designed by Freepik

It is essential that these overlays are in PNG format because it supports transparency. If the background isn’t already transparent (which is indicated by the checkered grey and white boxes), you can extract the image from the background if need be before you can use it as an independent overlay. But that’s a lot more work.

I will walk you through this process step-by-step. You will need to refer to the layers shown on the Photoshop screenshots below to be able to understand the process.

#1 Open your image in Photoshop

Once you open your image in Photoshop it will become the Background Layer. In my case, here I have renamed the layer as the file name “lsp-portraits-13” which appears at the very bottom of the file next to the “eye” icon. This just means it is visible and it is what I am showing you now.

#2 Open your texture image in the same Photoshop file

The texture I’m using is called Chambord as you can see on the layer name. You can easily add a new image onto an existing open Photoshop file two ways:
1. By dragging your image from its source folder on your computer into Photoshop directly.
2. Or by opening your texture file in Photoshop as a separate image, selecting the entire image, copying it and then pasting it into the portrait image you are working on.
The latter is the long-winded way. The former is quicker and it is the smarter way too because Photoshop automatically makes the new texture a Smart Object. That means it matches the size of your image yet you can still change the scale without losing any pixels.

Change the blend mode of your texture image layer (Chambord in this case) to Overlay on the Layers tab. Add a layer mask to the Chambord layer and remove the texture from the person on the image by painting on the mask with black using a soft brush.

Your layer should look like the second layer below with the “eye icon” turned on. You can also adjust the opacity of your texture to your liking by moving the layer opacity slider next to the blend mode.

Note: If you don’t mask out the texture, the person will also be covered in texture and would look really odd! You only want the texture to fill the background and nothing else.

#3 Now you can proceed with adding overlays

The set of leaf overlays, however, come as one image, so I’ve had to use the latter method mentioned above. I opened the overlay file separately in Photoshop and used the marquee tool to select the specific leaf I wanted to use. Then I copied and pasted it onto the other file that I was working with the portrait image opened.

It is essential that you set the blend mode for each texture overlay to “Overlay”. You can experiment with various modes but for this type of work, I’ve found the Overlay and Soft Light modes tend to be the most suitable.

You can see that I added a mask on the leaf layer so that I could remove anything else around the specific leaf that I didn’t want to use. I have added four leaves in total to this image, each one on separate layers with their respective masks. I have also played around the opacity for each layer.

You will also notice that three of the leaves have a separate Levels Adjustment Layer on top of them. This is a simple way of adjusting the look of the overlay, for example, brightening it, darkening, increasing the contrast, etc. You just need to make sure that you clip the levels layer to the corresponding overlay it is adjusting by pressing Alt+Cmd/Ctrl+G. The arrow down indicates it is clipped (only applies to that and no others) to the layer below it.

You will also notice that there is a layer called Group 1 with the folder icon next to it. I grouped all four overlays after I have made individual adjustments with the levels layers. This is in case I want to make further adjustments to all of them, I only have to clip the adjustments to the Group rather than repeating myself for each overlay layer. Especially if all the adjustments are to be exactly the same anyway.

You can do this by selecting all the overlay-related layers and choosing “New group from layers” from the drop-down menu at the top of the Layers panel.

#4 Use adjustment tools to make final changes

Although the leaves are now where I wanted them to be, the leaves are far too saturated for my liking and they stand out too much. Not to mention they do not match the green tone of the entire image.

To correct this, I added a Hue/Saturation adjustment layer and clipped it to Group 1 so that it only affects that group and not the other layers. I played with the sliders to get the green looking similar to the green leaves on the little boy’s shirt. I wanted the overall image to have the look and feel of an old illustrated postcard with subdued tones and muted colors.

#5 It’s time to save your work!

If you want to keep all the layers and the original image, you need to save your file as a PSD image (Photoshop Data File). As long as you don’t merge or flatten the layers, you will have access to all the original elements used in making your composite image.

This is a non-destructive process but the files can take up a large space on your computer drive. However, if you change your mind later on about some of the elements, you can always go back into it without starting from scratch. Just choose the layer you wish to make changes on.

You must also save a compressed version of your image, usually a JPEG, which is a flattened lossy file. It is much smaller and only contains the final finished image without all the layers that went into creating it.

Conclusion

So that’s the simple process of using overlays! Below are the other two images showing the various layers using exactly the same process as shown above.

I hope you enjoyed this little tutorial.

Have you used texture overlays before? If you have more tips, please share them below.

The post Basic Photoshop Tutorial – How to Add Creative Overlays to Your Portraits appeared first on Digital Photography School.

Digital Photography School
July 31, 2018
Reader poll results: What would you want from Nikon and Canon full-frame mirrorless?
We asked, and you responded. Thousands of you, in fact. We’ve already voiced some opinions about what we’d like to see from a full-frame mirrorless camera from the remaining two of the ‘Big Three’ manufacturers. So when Nikon went public with its development announcement recently, and with rumors swirling about something big coming from Canon, we turned the microphone over to you – our readers. We asked what you wanted to see from a Canikon mirrorless, and here’s what you had to say.

The number one request across the board was for full compatibility with existing lenses. When Sony created the E mount, it was starting (almost) from scratch and primarily aiming to attract new customers rather than maintain an existing base.

Ironically, creating a new system is much more daunting for Canon and Nikon since there are literally millions of F and EF-mount lenses in circulation, a huge number of them in the hands of working professional photographers. These customers just need their gear to work and can’t afford the time or expense of replacing tens of thousands of dollars’ worth of lenses and relearning an entirely new system. Equally as important are Canon and Nikon’s non-professional users, who even if they wanted to, couldn’t afford to replace their ‘old’ lenses overnight.

For these reasons, we would hope that ensuring compatibility with these legacy lenses will be a major priority for both Canon and Nikon and we weren’t surprised to see this concern reflected in our poll results.

Nikon’s 1-series showed that the company knows how to make a fast hybrid AF system, and Canon’s Dual Pixel CMOS autofocus has been impressing us for years

Coming in second is a request for a high resolution sensor, followed closely by a sports-ready AF system and a lifelike viewfinder in third and fourth place, respectively. It remains to be seen how ‘pro’ any eventual full-frame Canikon mirrorless product/s will be, but we know from interviewing senior executives at both companies that matching the DSLR viewfinder and autofocus experience is key to their vision of what a competitive high-end mirrorless camera should look like.

If nothing else, Nikon’s much-maligned 1-series showed that the company knows how to make a fast hybrid AF system, and Canon’s mirrorless-ready Dual Pixel CMOS autofocus has been impressing us for years.

Many of you want to see in-body stabilization too, which we’ve come to really appreciate in the Sony a7/a9-series, as well as in mirrorless ILCs from Olympus and Panasonic. In-body stabilization has never been a standard feature on DSLRs (notwithstanding the sterling efforts of Minolta/Sony and Pentax) and it’s hugely useful for both stills and video capture.

Comments on Facebook, Twitter and on our site ran the gamut from serious and reasonable to not at all serious and wholly unreasonable. Here are a couple of our favorites.

Easy ?
1. UHDp50/60, 4:2:2 10bit internal video recording
2. Uses new “SDUC Express” and/or CFast2.0
3. 5.5 stops of IS/VR in-camera
4. 15-stops DR for stills, 14-stops DR for video
5. 14bit RAW files (losslessly compressed & uncompressed)
6. 18-90mm f/1.8 AF lens at launch

— Eric (@1HDBIZ) July 25, 2018

We won’t be left hanging for too long – Nikon will be livestreaming its ‘special event’ on August 23rd. Until then, the speculation continues and you can view the full results of our poll below.
Have your say
$ (document).ready(function() { Poll({“pollId”:”5717924829″,”openForVoting”:false,”mainElementId”:”poll0″,”slot”:null,”isSingleChoicePoll”:false,”minNumberOfChoices”:1,”maxNumberOfChoices”:3}); })

What are the most important things you'd want from a Canon or Nikon mirrorless camera?

High resolution sensor11.3%

High speed shooting1.9%

Good quality video3.8%

Sports-ready AF system10.7%

Easy-to-use AF system4.0%

Lifelike viewfinder10.2%

Responsive controls and menus3.4%

Configurable controls/interface1.4%

Pro video features such as waveforms / 10-bit capture1.5%

Small, affordable primes5.4%

Fast primes2.5%

Tele zooms0.5%

Full compatibility / full performance with existing lenses13.0%

Lightweight4.3%

Compact size6.3%

Substantial grip1.6%

Good battery life4.5%

16-bit Raw1.4%

Top plate settings display0.3%

Dual card slots1.0%

Effective weather sealing3.2%

In-body stabilization7.9%

Total voters: 3,783
Articles: Digital Photography Review (dpreview.com)
July 31, 2018
Creative Macro Photography – Using Fairy Lights

Are you interested in doing some creative macro photography? Oftentimes, we macro photographers find ourselves photographing the same subjects over and over, searching for new compositions that seem like they’ll never appear.

In this article, I’ll discuss a macro photography technique that will get you out of that creative rut: using fairy lights. I’ll explain where to purchase them, how to set them up, and how to use them. Ultimately, you’ll learn how to enhance your macro photography with a cheap accessory. You’ll even have lots of fun in the process!

What are fairy lights?

Fairy lights are tiny LED lights. They come in a number of different colors and can be picked up for cheap ($ 10 or thereabouts) on Amazon.com. I prefer to use warm white colored fairy lights, but feel free to experiment. Different colors will give your photographs different tones.

What makes fairy lights interesting?

There is one reason why I love fairy lights, and it is this:

Bokeh, bokeh, bokeh!

When placed properly in a photograph, fairy lights can create wonderful out of focus highlights that add a magical feel to your images.

This can be used in any genre of photography. For instance, it is fairly popular in some portrait photography circles. But I most enjoy using fairy lights in creative macro photography, which is what I’ll be focusing on in this article.

How to use fairy lights?

Work in the twilight hour

Fairy lights are not very bright relative to ambient light. Therefore, it’s necessary to shoot late in the day.

I photographed this daisy a few minutes after sunset.

If your subject is shaded, or if the day is cloudy, you can start shooting a few minutes before the sun has gone down. As the level of ambient light decreases, the overall look offered by the fairy lights will change.

The fairy lights will become more noticeable, and will really pop off the background (which can be good or bad, depending on the look you desire).

I generally shoot until I can no longer handhold my camera. This is usually in the area of 30 minutes after sunset. However, If you like to use a tripod, feel free to stay out later.

Shoot wide open and feel free to underexpose

What should you use for camera and lens settings?

The lens aperture is the easiest setting to choose, widen it as much as possible. Not only does this let in the most light (to compensate for the lack of ambient lighting), but it also blurs the fairy lights in a more pleasing way.

Therefore, when working with fairy lights, I generally stick to my lens’s widest aperture, usually f/2.8.

This image was taken with a shallow aperture to ensure better bokeh. The large blobs (lower right) were created by putting some of the lights closer to the camera than the flower.

As for shutter speed, I meter off the main subject (for me, this is usually a flower), and then deliberately underexpose the image. Why? I like that blue twilight aesthetic and I want it to be clear that the image was taken after sundown. This also really causes the fairy lights to stand out.

Regarding lenses, I usually shoot with a macro lens. However, you might also work with another fast lens, such as a 50mm f/1.8. These have the added benefit of being smaller and are therefore easier to handhold.

In macro photography, being able to focus manually is often essential. This is even truer when it comes to fairy light photography. When working in such dark conditions, your autofocus will hunt and hunt until the light is completely gone and you’re forced to pack up.

Instead, switch your lens to manual focus. You can also switch on Live View, which can be very helpful in such difficult conditions.

Place the fairy lights directly behind or in front of the subject

There are two general approaches that I recommend for fairy light photography.

#1 – Put the lights a few inches behind the subject

This distance can decrease if you’re working at high magnifications or a very wide aperture. But it should increase if you are farther from your subject or working with a narrow aperture. If I’m photographing flowers, I often just drape the lights over other flowers or branches behind the main subject.

I positioned some fairy lights behind this flower by placing them in a nearby bush.

The key is to ensure that the lights themselves are out of focus. You don’t want viewers to look at your images and actually see the fairy lights as fairy lights. They should appear as beautiful background highlights. This means that you should work with a bit of distance between the subject and the fairy lights in the background.

Holding the lights in behind the daisy.

Final image.

#2 – Put the lights in front of the subject

The second approach is harder to pull off but is well worth the difficulty. This involves placing the fairy lights in front of the subject, close enough to the lens that they remain out of focus.

I held the fairy lights between the lens and the subject in order to ensure the fairy lights remained out of focus and generated strong bokeh for this image.

I generally hold the lights in front of the lens with my left hand while manual focusing the lens with the other. This ensures that the fairy lights remain nothing more than out of focus highlights.

Final Techniques to Consider

Now you know the basics of fairy light macro photography. But how do you create compelling images?

I find that there’s a particularly useful guideline for fairy light photography which is to incorporate the fairy lights into the composition.

That is, don’t just let the fairy lights spray randomly throughout the background. Yes, this will result in an interesting image, but it will probably seem chaotic as well. In any type of photography, you want every bit of your photograph to be deliberate. Fairy light macro photography is no exception.

Instead, compose so that the fairy lights complement the main subject. Place them so that they appear above the subject (in the background). Make them appear beside the subject. Put them so that they seem to ring the main subject.

I held the fairy lights in the bottom of the frame, so as not to obscure the flower.

If you are using the second technique that I mentioned above, in which you put the fairy lights in front of the lens, make sure that they don’t block out important parts of the subject.

You don’t want to obscure your main subject with lights. It needs to be recognizable in order to offer a point for the viewer to focus on.

Conclusion

Fairy lights can add creative flair to your macro photography. They can also help you get out of a creative rut.

If all goes well, you might find yourself inspired to experiment with different colored fairy lights, or even take them with you when engaging in other genres of photography like portrait or pet photography.

By following the guidelines set out above, you’ll be able to take some fantastic eye-catching images!

Got any creative macro photography techniques of your own? Please share them in the comments section below.

The post Creative Macro Photography – Using Fairy Lights appeared first on Digital Photography School.

Digital Photography School

July 31, 2018
LG G7 ThinQ review
83%

Overall score

Jump to conclusion

The G7 ThinQ is the latest incarnation of LG’s high-end G-series smartphone and comes with many of the latest must-have specs, including a Qualcomm Snapdragon 845 chipset, plenty of RAM and a high-resolution display.

In the camera department the Korean manufacturer sticks to its strategy of offering an alternative to the tele-zoom systems of the competition by installing a super-wide-angle next to main camera in the device’s dual-cam setup.

For the most part, the LG G7 ThinQ produces images with balanced exposures, and even tackles low lighting conditions relatively well – though pixel-level detail suffers from overly aggressive noise reduction. Still, its super-wide lens is still relatively uncommon among high-end phones and like previous LG devices offers a surprising level of control over video settings.

Behind both lenses you’ll find a 16MP 1/3.1″ sensor. According to the spec sheet the super-wide-angle offers an angle of view of 107 degrees (approximately 16mm equivalent) and an F1.9 aperture. The main camera comes with a 71-degree angle of view (approximately 30mm equivalent), an F1.6 aperture and optical image stabilization. The autofocus system uses both phase detection and laser assist.

Key specifications:
- Dual-camera
- Main camera: 1/3.1″ 16MP sensor, F1.6, OIS, 71-degree FoV
- Secondary camera: 1/3.1″ 16MP sensor, F1.9, 107-degree FoV
- Laser and PDAF
- LED flash
- 4K video at 30 fps
- 720p slow-motion at 240 fps
- 8MP / F1.9 front camera
- 6.1″ IPS LCD display, 1440 x 3120 resolution
- Qualcomm Snapdragon 845 chipset
- 64/128GB storage, 4/6GB RAM
- 3000 mAh battery
The LG G7 ThinQ in use

We’ve had the chance to use the LG G7 ThinQ for a few weeks. In general use, the LG feels just like most recent high-end Android phones: swift and responsive. The screen is bright and clear and nice to view even in bright light. It’s also worth mentioning that the LG still features a 3.5mm headphone jack and a microSD slot.

Battery life appears to be a bit of a weak point, however. The 3000 mAh battery doesn’t last as long as the beefier units in some of the competitors we’ve recently tested. Under heavy use, you’ll likely have to recharge at some point in the evening.

LG G7 ThinQ AI Cam

Like on the V30S, the G7 ThinQ’s camera operation is enhanced by LG’s artificial intelligence technology that can detect objects and scenes and auto-adjust camera settings accordingly. In practice the new mode is more of a gimmick than anything else. It often detects objects correctly but has also been wrong quite frequently during our testing. The impact on image output isn’t really noticeable either.

For now, we recommend that you just keep shooting in standard auto mode but LG should be applauded for being among the first to implement such a feature, and we’re looking forward to future iterations.

But now let’s have a look at the all-important image output.

Articles: Digital Photography Review (dpreview.com)
July 31, 2018

Compact Canon PowerShot SX740 HS offers 40x zoom lens and 4K video

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Canon’s new PowerShot SX740 HS is an ultra-compact long-zoom camera that replaces the SX730. As with that camera, it features a 24-960mm equivalent F3.3-6.9 lens, 20MP 1/2.3″ BSI-CMOS sensor and flip-up LCD.

The SX740 gains Canon’s latest processor (Digic 8), which brings with it UHD 4K video capture and 7.4 fps burst shooting with continuous AF. The camera also features Wi-Fi with NFC and Bluetooth, with the latter providing the ability to automatically transfer images to both mobile and desktop devices.

The PowerShot SX740 HS will be available in August, in silver or black, at a list price of $ 399.

Canon PowerShot SX740 HS specifications

Price
MSRP	$ 399
Body type
Body type	Ultracompact
Sensor
Max resolution	5184 x 3888
Image ratio w:h	1:1, 4:3, 3:2, 16:9
Effective pixels	21 megapixels
Sensor photo detectors	20 megapixels
Sensor size	1/2.3" (6.17 x 4.55 mm)
Sensor type	BSI-CMOS
Processor	Digic 8
Color space	sRGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-3200
White balance presets	5
Custom white balance	Yes
Image stabilization	Optical
Uncompressed format	No
JPEG quality levels	Super fine, fine
File format	JPEG (Exif v2.31)
Optics & Focus
Focal length (equiv.)	24–960 mm
Optical zoom	40×
Maximum aperture	F3.3–6.9
Autofocus	Contrast Detect (sensor) Multi-area Center Tracking Single Continuous Face Detection Live View
Autofocus assist lamp	Yes
Digital zoom	Yes
Manual focus	Yes
Normal focus range	5 cm (1.97″)
Macro focus range	1 cm (0.39″)
Screen / viewfinder
Articulated LCD	Tilting
Screen size	3″
Screen dots	922,000
Touch screen	No
Screen type	TFT LCD
Live view	Yes
Viewfinder type	None
Photography features
Minimum shutter speed	15 sec
Maximum shutter speed	1/3200 sec
Exposure modes	Auto Program Aperture priority Shutter priority Manual
Built-in flash	Yes
Flash range	5.00 m
External flash	No
Flash modes	Auto, on, slow synchro, off
Drive modes	Single Continuous Self-timer
Continuous drive	10.0 fps
Self-timer	Yes (2 or 10 secs, custom self-timer)
Metering modes	Multi Center-weighted Spot
Exposure compensation	±2 (at 1/3 EV steps)
Videography features
Format	MPEG-4, H.264
Modes	3840 x 2160 @ 30p, MP4, H.264, AAC 1920 x 1080 @ 60p, MP4, H.264, AAC 1920 x 1080 @ 30p, MP4, H.264, AAC 1280 x 720 @ 60p, MP4, H.264, AAC
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC card (UHS-I compatible)
Connectivity
USB	USB 2.0 (480 Mbit/sec)
HDMI	Yes (micro HDMI)
Microphone port	No
Headphone port	No
Wireless	Built-In
Wireless notes	802.11b/g/n + NFC + Bluetooth
Remote control	Yes (via smartphone)
Physical
Environmentally sealed	No
Battery	Battery Pack
Battery description	NB-13L lithium-ion battery & charger
Battery Life (CIPA)	265
Weight (inc. batteries)	299 g (0.66 lb / 10.55 oz)
Dimensions	110 x 64 x 40 mm (4.33 x 2.52 x 1.57″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes (up to 4K)
GPS	None

Articles: Digital Photography Review (dpreview.com)

July 31, 2018

Six Non-Photography Tips to Super-Charge Your Travel Photography

It’s a real challenge to portray the true essence of a destination and to show it to the world the way you see it. This genre, travel photography, calls for immense creativity, technical expertise, and unflinching dedication to the art. Every little detail that can weigh off your shoulders count.

I have been traveling across the most remote corners of the country and beyond for years now, and the best results are a boon of some of the non-photography decisions I’ve made. When you are on the road for long, you realize the real beauty of a travel shot goes deeper than its aesthetic value. All the technical training in the world, the best gear money can buy, and time-tested templates of composition can only take you so far. But then comes the real work. The stuff that makes a photograph, speak.

Here are six non-photography tips that will help you improve and super-charge your travel photography.

#1 – Go solo

This insanely frightening, uncomfortable, non-economic travel decision is also the most rewarding of all. This might mean, you will have to make all the plans, work out all the logistics, and deal with any issues by yourself. But, in a very unexpected way, this is what you need.

Travel photography does not allow for the luxury of blending and adjusting to plans of your co-travelers. The darkest hours, the first light of the sun, the busiest markets – what catches the artist’s eyes are endless. To be at the right time and the right place, you will need the freedom you only get when you have no strings attached.

You must be ready to ditch your plans and make new ones at a snap, and be prepared for longer stays to get that one single extraordinary shot. Besides, you can always find backpacker hostels, local transport, and the denizen cuisine to fit into the budget; even without a companion to share the charges.

#2 – Learn the tongue

This tip is not just for the special ones with an eidetic memory though. Practically, all you need are a few dozen commonly used phrases and words to get the ball rolling. You will be amazed at how useful a little conversation with the locals can turn out to be, albeit with broken wording and all.

Learning the tongue goes beyond speaking a few words. It’s also about how you approach the culture and the people within. You have to understand them, think like them and start feeling their home like they do. That doesn’t just open up new doors and undiscovered locations but puts truth in the photographs.

The more you blend in with their culture, the more un-alienated the subject can be perceived.

#3 – Take the local choice

The tourist trails are often unrevealing and pompous. The rustic secrets, the basic ingredients to amazing travel photographs need to be chased by getting off track. This might mean, taking the bumpy bus rides, eating spicy street food, cramped roadside shows, and everything over and under.

It adds an amazing perspective, nothing else can provide. Look for couch surfing and home-stays. Try the local cuisine and home-made meals. Take the local roads and transport, and even take part in the native leisure and social events. All of these things will add rocket fuel to your images.

#4 – Volunteer

Taking time off from your camera sounds crazy, right? Being a part of the local’s life, besides gives an understanding of the destination, can be translated into unique perspectives, flavors, and themes in your work. The financial freedom, longer stays and new acquaintances are also invaluable.

This can be extended to work exchanges, internships, or any other short-term work you can find. Sites like Workaway, Volunteerhq, Helpx offer tons of opportunities all over the world. Deviating a little, one can consider online work, that can enable extended stays in a single place.

The goal is to try and get an inclusive feeling into the community and culture, standing in their shoes before photographing their homes.

#5 – Stay fit. Stay resistant.

Being picky when traveling is the one biggest art killers. Compatibility of body and mind in extreme of conditions is the greatest tool you can ever have. A travel photographer needs to endure heat, rain, snow, and hail alike and still be ready to go.

Training so you are able to walk for miles or travel for hours is worth the effort exponentially. Being able to sleep wherever, eat whatever, and tune your body to be able to function in diverse habitats, let’s you break the physical barriers needed to visit THE photo spot. A tired body can no longer push itself for perfection.

#6 – Be ready to take the leap

Adventure and nature photography are close cousins of the travel genre, and mastering them too makes you a Jedi. Most of your favorite shots are from off-beat places only the deadliest daredevils venture out. Economic travel facilities and easy gear have saturated the internet with spectacular shots.

To make the difference, you have to see like no one has ever seen and go where no one has ever been. This might mean kayaking down the stream, cycling up a valley, hiking up a hill, or flying on a glider. Sometimes this might even mean, getting your own ride, staying in tents, and living off candy bars.

And more essentially, have a heart filled with enthusiasm and craving for adventure. Every step forward past other photographers is a step forward to more unique travel shots.

Conclusion

None of these skills require special training or innate power to accomplish. All of them can and will be acquired over time. But to be ready with these in mind, you can get one step ahead of every other photographer in town.

More than anything, a good travel photograph tells a good story and has a strong spirit to it. The best camera is what you have with you, or so they say. So, it’s time to hack into how you are going to make the best of it!

The post Six Non-Photography Tips to Super-Charge Your Travel Photography appeared first on Digital Photography School.

Digital Photography School

July 31, 2018
Nissin MG10 hammerhead flash goes on sale

The MG10 hammerhead flash unit from manufacturer Nissin will be available from the end of this month priced $ 599. The handle-mount flash is designed to be used both attached to the camera and as a studio-type head, and has a maximum guide number of 262ft/80m@ ISO 100 and with the zoom set to the 200mm position.

When connected to the camera via the company’s 2.4Ghz Nissin Air System radio communication the flash can be remotely triggered and controlled, and the zoom head will automatically synchronize with the focal length of the lens in use. The head can adjust to cover focal lengths of between 24mm and 200mm, while an additional diffuser panel expands the coverage to 18mm. Using the Air system the flash unit can be used to trigger the camera too, as it has a shutter release button built-in to its grip.

The handle can be mounted on the left or the right side of the camera, and is powered by either eight AA cells or a pair of rechargeable PS8 lithium ion batteries. When the Li-ion batteries are in use recycling time drops from 3.5 seconds to just 1.5 seconds at full power, and we should expect 500 full power bursts per charge.

A modeling light is included to assist pre-visualization, and every unit comes with a quick release L mounting bracket, AA magazine, a ball head and a filter holder. Via the Nissin Air System the MG10 can wirelessly operate with up to eight groups of other flashes in TTL and M modes, and a MicroSD card slot is designed to allow users to update firmware themselves when improvements are released.

For more information see the Nissin website.

Press release

The ultimate power – Nissin MG10

An advance NAS 2.4Ghz Wireless strobe for on-camera and studio shoot

Nissin Japan Limited (Chairman Mr. Goto Chikara) proudly announces the MG10, an advance NAS (Nissin Air System) 2.4Ghz Wireless strobe for both on-camera and studio shoot, available in the bottom of Jun 2018

The MG10 is a high power (80GN, 165 w/s) advance strobe in the N.A.S., Nissin Air System*1. The flexible hand grip arrangement which can be used both left and right side with height level adjustment. Every single MG10 included a quick release mounting magnesium “L” bracket, AA battery magazine, Li-Ion battery magazine, ball head, filter holder and wide-angle diffuser. There is a shutter release button on top of the handle and standard adapter screw under the flash head for using in the studio shooting. It also fully supports Air 10s and Air 1 commander wirelessly.

Patented design – magnetically contacted motorized zoom head *2

The removable external motorized zoom allows MG10 to zoom 24 ~ 200mm and 18mm with diffuser. It can also control in manual and auto synchronize lens focal length via Air 10s.

Fast recycling time with full power

When two Li-ion batteries with PS8, type 26650, the recycling time is only 1.5 seconds (500 flashes with 5000mAh batteries or higher). With 8 AA re-chargeable batteries the recycle time is approximately 3.5 seconds*3.

High power modelling light (LED)

The powerful modelling light without zoom head which is perfect match for applying to the studio usage.

Set your group of strobes free – The Open Mode allowing multiple Air10s pair to the same group of strobes

The “open mode” allows for multiple Air10s units to pair the same group of the MG10 strobes which means the need to re-pair devices is eliminated. Even if cameras are changed, the same settings can be used as the shoot continues. This convenient functionality allows multiple cameras and commanders to share a same group of NAS strobes (MG10).

New wireless remote shutter replaces the camera shutter button

With the wireless remote button from flash, signal can transfer through the shutter cable socket (2.5mm) on Air 10s and then go to the camera. It is more flexible for holding MG10 as shutter release to moving around during shooting.

Independent control of maximum 8 groups

MG10 supports the basic and advance groups in maximum 8 groups via Air 10s. The basic group which is independently control the exposure setting in TTL or M mode. The advance group which is control both TTL and M mode in the mixing setting.

Sustainable performance – easily updated via a Micro SD card slot

The MG10 equipped with a Micro SD card slot that allows user to update the device easily by themselves. Nissin plans on putting a Micro SD card slot on all future strobes and commanders.

Articles: Digital Photography Review (dpreview.com)

July 31, 2018